Rupert Neve Portico 5045: Primary Source Enhancer - Manual (Page 7)

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“playing it safe” when introducing effects that cannot be removed.
1. Tsutomu Oohashi, Emi Nishina, Norie Kawai, Yoshitaka Fuwamoto, and Hishi Imai. National
Institute of Multimedia Education, Tokyo. “High Frequency Sound Above the Audible Range,Affects Brain Electric Activity and
Sound Perception” Paper read at 91st. Convention of the A.E.S.October 1991. Section 7. (1), Conclusion.
2. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina. “Temporal resolution of hearing probed
by bandwidth restriction”, M. N. Kunchur, Acta Acustica united with Acustica 94, 594–603 (2008) (http://www.physics.
sc.edu/kunchur/Acoustics-papers.htm)
3. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina.Probing the temporal resolution and
bandwidth of human hearing , M. N. Kunchur, Proc. of Meetings on Acoustics (POMA) 2, 050006 (2008)
5045 USER NOTES
The 5045 Primary Source Enhancer is a two channel device that is exceptionally useful for reduce the
tendency of feedback ringing and effectively increase the level a microphone can be raised before
feedback occurs in a live sound environment. The controls are easy to use and understand and generally
require minimum adjustment once set properly.
The 5045 shares some traits with conventional “noise gates” but operates with a different principal
involved. One common aspect is that both reduce the gain during the absence of signal, or more
specifically, it begins to attenuate when the level of a signal falls below a certain threshold that the
operator can set. The 5045 senses when someone is speaking or singing into the mic and allows the
signal to pass through, and senses when the person has stopped talking or singing and reduces the gain
appropriately, which tends to help reduce the tendency of a system to feedback. Most importantly, the
5045 does not introduce filtering and digital processing to achieve significant benefits.
Operation is simple. The 5045 accepts line level signal such as the output of a microphone preamplifier
or the “Insert” send of a console. The 5045 outputs are also line level that typically feed a console
line input or “Insert” return. Because the 5045 uses transformer coupled inputs and outputs it easily
connects to virtually any combination of balanced or unbalanced inputs and outputs provided you have
commonly available appropriate adapters.
Once the 5045 is connected and power turned on the next steps are relatively simple. A good safe initial
starting point is; “PROCESS ENGAGE” not pressed, “TIME CONSTANT” set to C or D, “RMS/PEAK”
button not pressed (RMS mode), “THRESHOLD” all the way down or -18, and the “DEPTH” also all the
way down at 0.
Now, have someone talk or sing into the microphone and press the “PROCESS ENGAGE” button and if
the 5045 is connected properly there should be no change in level. As the person is talking or singing,
adjust the “THRESHOLD” so that the green “PROCESS ACTIVE” LED glows solidly when they talk and
dims when they stop talking (for example between sentences). Gently increase the “DEPTH” knob to
about -10 dB as a starting point.
If the sound system was previously on the edge of feeding back, the above procedure should have
helped. If the system volume was set low to “play it safe” and well under the feedback zone, as you
learn the new box, you can try increasing the volume of the channel slowly and adjusting the “DEPTH”
to achieve more volume before feedback sets in. The 5045 will not eliminate the chance of feedback
given enough volume, but is generally effective at allowing both increased levels along with less chance