Portico II Stereo Buss Processor

Get excited!  Rupert's legendary touch is again returning to the stereo bus.  Since, I'm sure most of you are already salivating I'll cut to the chase. The Portico II Stereo Buss Processor is the second and newest addition to the Rupert Neve Design's Portico II line, and as of right now it is still un-available for sale to the public.  With the unit arriving at dealers at the end of August the industry is already a buzz.  I figured I'd share the news with those who may not know about it yet while also catering to my new friends who have stumbled across my site in their quest for more info on the latest bit of stereo buss glory from Rupert Neve.

SoundToys Devil-Loc Free Saturation Plug-in

The word "free" is undoubtedly one of the most effective marketing words ever concocted so it's no wonder SoundToys caught everyone's attention by putting the word free next to the word plug-in.  Now that we've gotten over that bit of marketing 101 we can move onto to the audio which is likely why you're all here anyways.  SoundToys is currently offering a free release of their latest plug-in darkly dubbed the Devil-loc.  SoundToys has given it the catchy pseudonym; "Audio Level Destroyer" while it is catchy, it's definitely not a gambit.  Devil-loc is every bit of an Audio Level Destroyer and while I must admit I'm a fan of subtle coloration, this sonically aggressive freebie has won me over.  Devil-loc was inspired by Shure's late 60's Level-Loc mic limiter which has since been made famous the world over by countless audio engineers looking for that extra bit of in your face grit for their mixes. 

Slate Digital VCC The Virtual Console Collection

It would be an understatement to say that I'm excited for this release, in fact to be more true to my feelings I should say that I'm ecstatic.  I am a very satisfied owner of Slate Digital's FG-X and can honestly say that there isn't a compressor/limiter plug-in I've used that can even hold a candle to FG-X on the mix bus.  The ability it has to maintain dynamics and clarity under even the most punishing of digital signals is truly remarkable.  Needless to say, I'm pretty excited about Slate's Virtual Console Collection, keep reading to find out why.

RMS755 Super Stereo Compressor from Roll Music Systems

Looking for your first piece of analog gear?  Tired of the brittle sound digital mix bus compressors provide over your mix downs?  An affordable & high quality stereo mix-bus compressor might be your ticket to turning your lifeless digital mixes into something quite fantastic.

What is an Optical Compressor?

I'm not an electrical engineer, when people start getting super electrically geeky regarding audio I usually get lost rather quickly.  The gritty important details fly over my head before I can even think about absorbing & understanding them.  Keeping this in mind I'll make this simple enough so that anyone who understands basic compression can understand how an opto-compressor works on an electrical level.  After all, it was the simple explanations that taught me what I know about them.  Once you know how it works, you'll know more about compression in general.  That way when you do go analog compressor shopping and you'll be better informed when making your audio investment.

An optical compressor (also known as a leveling amplifier) is a compressor that uses an electro optical attenuator & a photo conductive cell to monitor and control the dynamics & amplitude of processed program material (audio).  Already lost?  Wondering what the hell an electro optical attenuator & photo conductive cell is?  Keep reading you don't need to know what they are, only what they do. 

An electro optical attenuator features a light source. (in newer products these are LEDs)  This light source's intensity is directly proportional to the input signal of the material you're compressing.  So, as input level rises the LED shines brighter & with more intensity.  Conversely, as input level drops the LED shines with less intensity.  Well that's all fine and dandy but...  How does a flashing light source compress audio?  Here's how: The amplitude dependent light source is just one part of an optical compressor, we also need something to monitor this light source.  This is where the photo conductive cell comes in.  It monitors the lights source so the unit knows how loud the incoming signal is via the light's intensity.  Remember, I said earlier that the intensity of the light is directly affected by the level of input signal.  That's really important for understanding the larger concept. 

A photo conductive cell's job is to watch over the light source and then adjust resistance based on the intensity of the light.  When a louder signal is pushed through the optical compression unit the light shines brighter, the photconductive cell picks up on this brightness and in turn reduces its resistance being applied to the given signal.  This then tells the amplifier to reduce it's gain thereby creating a form of compression.



Unlike other compressors that allow you to choose attack & release times, an opto's release time is program dependent.  You can't choose the attack & release, they will change based off the material they are processing. (this is what makes optical compressors desirable)   Since a light doesn't just shut off and instead dims as it goes out, the release time is directly proportional to the level of the incoming signal which is simply being represented as light in an opto-compressor.  The same is also true for the attack times of compression when using a opto-compressor. This is why many people believe opto-compressors sound better.  They're said to be more musical because their response is non-linear, just like music is.  Other compressors have set response times (you adjust the attack & release) that are linear and exact.  With optical compressors the response (attack & release times) is set internally.  This response as I stated before is based of the properties & responsiveness and quality of the light source & photo conductive cell being used in the optical compressor.

Most Compressors you've seen also usually have a makeup gain control.  We need this control because when we apply compression to something we're working on the amplitude decreases.  We use makeup gain to return the material to it's previous amplitude with the compression applied.  Opto-compressors do not have a makeup gain control.  Their makeup gain is set and built into the circuit.  For every dB above the chosen threshold the signal hits the gain will increase by just less than a dB.  This can make using an optical compressor tricky because a lot of people aren't used to the gain adjusting as they adjust compression.  However this also means there are less controls to adjust and it's just a matter of getting used to this new way of manipulating compression.

Hopefully this all made sense to the folks in audio layman's term land.  Like I said before you don't have to know exactly how each part functions, only what each electrical component does to understand how it works.  Now that you know a little bit more about optical compressors when you're ready to buy a nice analog compressor to fatten up your own sound you'll be more educated about the wider process of compression! 

Best,

Nick

Empirical Labs EL-8 Distressor

The ELB Distressor from Empirical Labs is probably the most recognizable and consistent piece of gear you'll ever see in any music production studio.  If you look at videos or pictures of professional dance music producer's studio you'll see at least one EL-8 and most of the time you'll see two!

Empirical Labs EL8 Distressor is an analog compressor that integrates digital control over separate analog circuits.  This design gives the user total flexibility and makes the Distressor one of the most versatile compressors out there.  The Distressor is really a handful of units all rolled up into one single rack space unit.  Even without any compression applied there is a treasure trove of harmonic tricks & character you can apply to your material using the various harmonic/distortion modes built into the Distressor.  Most of these modes model vintage sounding gear that today would cost you an arm and a leg to afford. (more on this at the end of the article)

The Distressor offers 8 different compression ratios from a subtle 1:1 ratio to Empirical Lab's "Nuke" setting (200:1)  These ratio's aren't selected with a knob like on most compressors, you use a switch, this switch digitally engages different analog circuits based on your chosen compression ratio.  Thus giving each compression curve it's own personality and release character.  The more subtle curves add just the right amount of low order harmonics while the intense ratios provide the user bright and shiny sound characteristics perfect for livening up drum groups or room mics.  The most sought after curve the Distressor possesses is no doubt the 10:1 "opto" curve.   In this setting the analog circuits are switched to a different set designed to emulate the famous opto LA2A of yesteryear from Universal Audio.  Professionals will tell you that the Distressor's "opto" mode sounds a bit harsher than the LA2A but, they will also tell you the Distressor does a damn good job of emulating on of the finest compressors ever built.

Another very handy feature of the Distressor is it's "fool proof" operation, you don't have to be an compression master for this beast to help your work.  According to Empirical labs if you leave the knobs towards the middle and the ratio set around 6:1 you can't really go wrong.  The large knobs with high resolution numbering in small steps makes it very easy to adjust settings, furthermore this feature makes recalling previous settings when coming into the studio with fresh ears in the morning a breeze.

The last feature I'll touch on is the Distressor's three harmonic/distortion modes.  The first two modes; Clean & Distort 2 are designed to add warm 2nd order harmonics similar to the sound achieved when using classic tube gear.  The third mode; Distort 3 provides 3rd order harmonic distortion much like the warmth & sound achieved when using an analog tape machine.

The Distressor isn't built cheap, it's built like a tank and housed in solid and sturdy vent-less single rack unit.  The components are all top quality and most are military grade.  You don't hear of Distressors breaking down too often because they have been designed and built with an immense amount of care.  The power supplies are designed to run cool and all the components were selected in part because of their long life.  Rest assured, you're investment is quite safe when you purchase a Distressor, no need to worry about quality issues with any of Empirical Lab's gear.  If you ever do have an issue they will surely get it resolved for you as quickly as possible.  The people behind Empirical Labs are passionate about audio and this shows in their products and services.


Fact is, I could go on about the Distressor for days, like I said in the introduction to this article, you will be hard pressed to find a professional production studio without at least one Distressor.   I feel like I've said enough for you to get the basic idea though.  The EL-8 Distressor is an extremely versatile and flexible piece of gear perfect for almost any tracking or mixing situation.  If you're making music completely inside of the box and looking for something to add a little magic to the brittle and linear sound of digital music get yourself a Distressor.  It is one of the most unique sounding and multifaceted pieces of professional audio gear you can buy without spending 6 months salary.  To learn more about the Distressor check out Empirical Labs website and scope the video featuring the founder of Empirical Labs!

PS: All of Empirical Labs gear is currently 15% off to celebrate their 15 years in the audio industry.

Rupert Neve Designs Portico II Channel

 

Rupert Neve... This man needs no introduction, he's a legend and his creations have been put to work on countless hit records from around the world.  Walk into any major recording studio and there is a 50% chance you will see a console bearing the name Neve.  The name Neve sends shivers down any audiophiles spine and touching one is akin to a car addict taking a Bentley for a spin.  While the original Neve brand (AMS Neve) is now owned by SAE. (where I was educated)  Rupert Neve has created a new brand, this one bearing his full name.  Rupert Neve Designs is the new professional audio company churning out quality products for producers & engineers who demand the best.   

The Portico II Channel is the latest product in the Portico line and the first full 2U rack space Channel Strip Portico Unit.  This rack mount beast features the same circuitry & transformers from Rupert Neve Designs 5088 Console.  The Portico II Channel strip features: Input Section (Mic, Line, DI) 4 channel EQ Section, Compressor Section & a unique Neve Texture Section. The larger unit size also means larger transformers for the Preamps. =)  This Portico unit is a step above the rest.  I'll start with a few words about the input section featuring Rupert Neve Pre's and move on from there to cover the rest of the Portico II Channel. 

The input section of the Portico II Channel features a very unique preamp from Rupert Neve.  The preamps are TLA (Tube Leveling Amplifier) design.  You've got 66dB of gain with the Portico II Channel's pre and this can be adjusted in 6dB increments using the gain pot.  You can also make fine adjustments with the trim pot between these 6db increments.  The amplifiers are true Class A Tube preamps and as a result they process 100% of the incoming signal.  Other Class B (Push-Pull) amplifiers only process 50% of the incoming signal.  From the lips of Rupert Neve himself, "They are very inefficient as a result but who cares about efficiency when we're talking about music."  You can also bring Line & DI signals into the Portico II Channel as well.  All of the inputs are of course ultra high quality Neve Design Inputs.  The input section also features; 48v Phanton Power, Phase Inversion Switch, Mute Switch and a transient optimized HPF from 20khz-20hz (High Pass Filter, also known as Low Cut Filter)  The input section can handle a 26dBu signal without the use of a pad.

The EQ section of the Portico II Channel is incredibly advanced and unlike a lot of other analog rack mount EQ's that are available today.  The design allows the EQ in the Portico II Channel to retain a variety of characters from classic EQ's while still allowing the EQ to be surgical enough to make precise EQ adjustments.  The EQ is 4 bands and lies in between the HPF and the compressor in the signal chain.  However it can be moved behind the compressor by switching the Post Comp Switch on the unit.  The following sentences are from Rupert Neve Designs and they do a far better job than I could of explaining the nerdy details of the Portico II Channel's EQ/De-Esser Circuits.   

  

"The Low Shelf has an independent engage switch, Classic Peak/ Accelerated Shelf selection, with +/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit.  The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak/ Accelerated Shelf selection, +/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material."

If you're not familiar with EQ terminology you're no doubt tripping out right now wondering what you just read but fear not, I will help put all this into normal human speak.  When they say Low Shelf they are reffering to the Low End of the Frequency spectrum.  This knob/pot (pot is a term used in the industry to describe knobs) controls the low end.  You've got 12dB+/- of gain adjustment for the low freqeuncies at 35, 60 100 & 200Hz.  The Classic Peak/Accelerated shelf refers to the Q (or shape) of how the EQ attenuates and boosts the selected frequencies.  This little bit should help you understand EQ terms and you should be able to take this knowledge with you when you read about the LMF, HMF and HF sections of the EQ.  A De-Esser is a tool used to remove sibilance (the sss sound in vocals)  This sound can often get out of control when recording some vocalists and a De-Esser is a good way to cut out this sibilance that can be so disturbing to our ears when played back.  If you're still confused about EQ terminology send me an email and I'll link you up with a bunch of tutorials to help you out!

The compressor section of the Portico II is just as felxible as the EQ and I/P sections of the Portico II Channel Strip.  If you're looking for clean subtle dynamic adjustments or massive compression with a ton of fat ass Neve character the dynamics section of the Portico II can put itself to work for you.  It features the same Forward Feed/Return Feed modes from the Portico 5043.  Each of these responses features it's own character the first has a more transparent and modern response while the second option gives you a more tonally aggressive "old school" character.  The HPF to SC feature allows you to insert the HPF into the side chain of the compressor which makes it much easier to tame the low end material that can really screw up dynamic compression processing in some situations.  There is also a "Blend" switch which allows you to blend the compressed and uncompressed materials together thereby giving the less loud material in the track a chance to be heard dynamically with the louder signals.  If you just smash a signal into a compressor you'll loose all the dynamics, the quietest sounds and the loudest sounds will all be at the same amplitude, the blend switch affords you a lot more control when compressing material.  This whole idea goes into Parallel Compression which I will cover in a later post.  There is also a "send" & "return" insert feed from the compressor so you can hook up external EQ's and other equipment to it for even more control.  The "return" i/p can also be used as a key input for the compressor.  

Finally we have the "Texture" or "Silk" Section on the Portico II Channel.  This feature can be found in other Portico units but the idea has been expnaded upon in the Portico II Channel providing the user with even more texture options to shape their sound harmonically in a subtle or very aggressive manner while still maintain the original source material without destroying it.  Here's a few words from Rupert Neve Designs explaining their unique "Silk" section.

One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.  Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound.  

Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble vintage designs by Mr. Rupert Neve. Velvet mode pushes this technique further, by increasing saturation on the output transformer to achieve a more colored sound. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.

That pretty much sums up Rupert Neve Design's Portico II Channel rack mount system.  There is of course much more to be said on this monster but I unfortunately haven't gotten my hands onto one yet.  Everything I wrote here I got from other information sources on the web.  I'm pretty confident pumping up Neve though, they have been doing it right forever and will continue to break new ground in the audio industry so long as they continue to create new products.  If you want to learn more about the Portico II Channel be sure to watch the video below featuring the one and only Rupert Neve.  You can also learn more by visiting Rupert Neve Designs Website.  

All the best,

Nick

Free SSL Compressor!

Nothing sounds quite like a Solid State Logic console, period. I've had the pleasure of working with their AWS 900 console and I really must say that nothing even comes close. I might even argue that I like the SSL sound better than that of Mr. Rupert Neve's. (this probably just made some old school engineer cringe) Nonetheless SSL has crafted quite the sound. Solid State Logic has become a legendary brand in the audio industry and despite the high cost of most of their equipment you too can have a little piece of SSL in your productions. How? Simple, SSL makes a few plugins available on their website for FREE!

This free plugin is a model of SSL's "E" series from the late 1970's. The actual LMC-1 compressor was used to heavily compress the signal coming from musicians in the sound booth so the engineer and them could communicate during the recording session. Leave it to some engineer to figure out that the insane compression of this listen-mic compressor sounded fantastic on drums. The engineer had the desk re-wired so he could send signal to and from this listen-mic compressor. Thus, the legend of the "E" Series Listen-Mic Compressor was born.

You don't have much control with this plugin over compression as your used to with normal compressors. Remember this wasn't originally designed to be used with music. The attack and release curves are set, and the only control you have is with a "less-more" control which I'm assuming adjusts the threshold and ratio values of compression. However control, isn't really the point with this plugin. Every plugin is different and is created to address specific tasks in your productions or mix. The advantage of this plugin may not be control, but it certainly has it's own character and feel, unique to SSL. Plus, did I mention it was FREE!!!

Follow the link below to go to SSL's website and download the LMC-1 as well as a couple other plug-ins they offer for free.
SSL's Free Plug-Ins