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Randy Poole
Portico™ 5042
- August 2006
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Saturation On Demand
Rupert Neve Designs’ Portico 5042 ‘True Tape’ Emulator
I’ll admit it, I miss analog tape—the smoothness, the overtones, the distortion. Analog tape gave some instruments extra soul; others it helped loose their harshness, while giving some added character. This harshness often came from the instrument itself, from our microphones, or maybe our equipment was sometimes the culprit. We didn’t have to really deal with that harshness in the mix, because for better or worse, analog tape rounded us out. The fact is, most of us don’t have access to, or want to bother with, what it takes to record analog multitrack these days. I believe this is why we’ve seen such a resurgence in ribbon mic usage, as there isn’t any analog tape to hit to smooth things out (or, as some say, to add the fatness of tape). The lack of tape in the modern-day recording path is why Rupert Neve decided to give us a little bit of analog tape mastery, via his new Portico 5042 true tape emulation and line driver. Inside this half-rack-space 2-channel box are Rupert’s new custommade transformers, used throughout the Portico series, and his proprietary tape head emulation circuit with actual tape heads inside! The 5042 box includes two channels of emulation with controls for saturation and input level, two tape speeds (7.5 and 15 ips), an engage tape switch, meters, and a bus switch that’s built into all the Portico products. Included on the back panel are XLRs for in and out, as well as 1/4-inch connectors for the bussing system. Also, on the back panel is the power switch and the outboard 12-volt power supply connection, used across the Portico line. In use, I first hooked the 5042 up to the 2-mix bus for a mix I had up. I gradually added some tape saturation and low, and behold! A blast from the past (or what seems like it) appeared. At first, though very nice, it was kind of subtle, so I added more vibe via the saturation knob. This is kind of addictive, but as I added more, the unit quickly got overloaded and crunchy, as the saturation knob automatically turns down the output, I knew it was happening inside the 5042. A quick call to the Rupert Neve Designs headquarters confirmed that when adding the saturation effect to an already hot level, like the 2-mix bus level, one must turn down the level going into the box in order to add more saturation effect without the overload characteristic. Implementing this technique definitely opened up the palate to add more saturation, although I had to bring the level back up post the Portico unit—not a big deal. I also tried out the 7.5 versus the 15 switch, and found a nice, subtle character change. I preferred the 15 ips setting in general, but I found out I preferred the 7.5 setting on acoustic guitar tracks recorded with excessive pick attack to the sound. I liked the result so much I printed the stereo acoustic back to my rig and made them the real track and deactivated the original track. Although this may not be the effect for every individual track, everything I tried it on was a fun and useful experience. There are a few small drawbacks, in my opinion, and I’ve already alluded to some of them. These include the power switch being on the rear of the unit and that for hot levels you have to turn the input knob or source down in order to add more tape emulation effect without overdriving. That there’s no center detent on the line-level trim knob is the final negative I found in use. That said, the Portico 5042 is unlike any tape effect plug-in I’ve tried. With its engage tape bypass switch you can bypass the tape circuit just to hear Rupert’s new tranny. It’s also capable of providing a range of sound from very subtle tape emulation to a totally usable overloaded sound (I find myself wondering if Rupert can come out with switches for different tape formulations?). Or as I preferred, a medium saturation setting that added right amount of compression, while slightly swelling the stereo image. It really doesn’t matter what source you put the Portico 5042 on—throw it on a DAW insert bus and reprint some tracks and compare which ones make you want to listen again. One great thing about using this unit on the 2-mix is that you get to hear the effect while you’re mixing, not afterward. For most of us, getting the real analog tape multitrack or 2-track benefit is less and less of an option. Thanks go to Rupert for seeing fit to give us another unique audio tool to round out our sonic options.
