User Manual

15
PEAK
Selects a symmetrical bell-shaped EQ curve with an approximate “Q” of 2.5. With the button de-
selected, the EQ is a special Accelerated Slope shelf curve rst introduced by the Portico 5032, that is
particularly sweet.
HZ
Selects the center frequency of the bell in peak mode and the 3 dB down point in the shelf mode.
The four rotary switch selectable frequencies are 4.7 kHz, 6.8 kHz, 12 kHz and 25 kHz. Yes, we get
asked why have a 25 kHz setting if we only hear to about 18 kHz, but 25 kHz just describes the center
frequency and there can still be a lot of action from the slopes of the lter down well within the audio
band, not to mention that almost any EQ implies some phase shift which in this case may be equally
useful and desirable if used carefully.
COMPRESSOR SECTION
THRESHOLD
Sets level where the compressor may begin to react from -30 dB to +20 dB. Minimal or no compression
is with this control fully clockwise and it gets more sensitive and tends to cause more gain reduction as
the knob is rotated counter-clockwise (which may be counter-intuitive to some).
RATIO
Sets the “slope” of the compression from 1.1:1 (minimal) to LIMIT (approximately 20:1) (or drastic). For
example if this knob is set for 3:1 then if the signal goes 15 dB over the threshold then it attenuates 10
dB and allows the output to rise 5 dB. In general, low ratios can not damage the music as much as high
ratios but high ratios may be more useful to minimize clipping and OL lights in the recorder.
Excuse the front panel jump and digression, but it is appropriate to mention the GAIN REDUCTION
and OUTPUT meters now because so many of us learned to set up compressors by watching the all-
important GR meter. When setting the Threshold and Ratio it does help to use the meters however, as
always, we should rely on our ears and ye olde “COMP IN” (Bypass Button) most of all. One might try
to interpret the OUTPUT meter as one exercises ye olde “COMP IN” button too, as this might be more
appropriate to your goals than a target of X dB or number of LEDs of compression. Is the goal to make
great sounds or to blink LEDs half way down the meter because you read it somewhere?
BLEND
This just mixes the dry or raw uncompressed signal and the compressed signal. Fully counter-clockwise
is uncompressed and is very very similar to not having the “COMP IN” button pushed in. Fully
clockwise is 100% compressor path and one can “blend” or mix how much compressor to dry signal.
This control is not found on vintage compressors and is a recent invention that has gained popularity.
Why? Compressors generally attenuate the louder signals and leave the quiet bits untouched, which
might be re-worded as compressors tend to reduce transient peaks. If one then mixes in some dry signal,
peaks and all, with the compressor (usually with the Threshold lowish, Ratio steepish and “GAIN” turned
up to compensate) then the “blend” will be mostly dry for the loud bits and compressor for the quiet
bits, which can likewise be re-worded to the quiet stuff became louder or the room reverb increased.
Obviously one has a fair amount more control over the entire dynamic range given this control and it
should be mentioned less likelihood of damage to parts of the music, because “blending” implies not
100% compression electronics and thereis important musical information in those transient peaks (like
the hit of drums and percussion where a lot of the groove lives).