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The DDA recording was clean and a little clinical, with little of the Neve’s big-hearted character, while the Lola – a 1073-inspired design – gave a decent approximation of the classic Neve sound, but couldn’t quite match the real thing, lacking a touch of body and focus. The Early Bird sounded sweeter at the top end but lacked the punch and low-mid warmth of the Neve, giving the lie to the old chestnut that all valve amps sound warm.
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By way of comparison, I captured repeat performances using the same mic in the same position while swapping the 1073 forour reference Early Bird valve preamp, a channel of our DDA console and our recently built Hairball Audio Lola.Īll four preamps gave excellent results, however, side by side, the differences in sonic character were stark. The classic Neve sound was instantly recognisable, producing a smooth yet solid sound with plenty of detail and presence. With the unit fully warmed up, I began the listening tests by plugging in an AKG C414 and recording some acoustic guitar. In addition to this, a High-Pass-Filter provides an 18dB per octave slope at 50Hz, 80Hz, 160Hz or 300Hz. The Mid and Low controls appear on dual-action pots to select frequencies and level of boost or cut. More shelving is available at the bottom end with Low-band frequency choices of 35Hz, 60Hz, 110Hz and 220Hz.
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The High-band provides +/-16dB of shelving equalisation fixed at 12kHz, while the Mid-band offers +/-18dB of peaking EQ with a variety of frequencies centered on 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz. Top-quality Greyhill pots and switches also contribute to the genuine feel and performance of the unit, while metal film resistors and through-hole components for coupling capacitors, EQ capacitors, signal transistors and EQ inductors are used internally. The SPX employs Neve’s bespoke Marinair transformers on the both the input and output stages and their performance is crucial to the true 1073 sound. Vintage-gear junkies may well lust after original 1073 modules from the 1970s however many of those old units will likely be way off-spec by now, especially if internal components have been replaced with inferior ones. Their precise measurements and definitive listening tests ensure that these new units perform just as the originals did when new. These men were working for Neve when the first 1073s were built and know the model intimately. An optional digital input/output module providing AES and FireWire connectivity at a range of sample rates will be made available in mid 2018 and can be easily retrofitted our review sample is pure analogue.ĭesigned by Neve’s highly skilled engineers, the team includes John Turner and Robin Porter, both of whom have been with the company for decades. Housed in a 1U 19-inch rack-mountable case and beautifully finished in Neve’s familiar grey colour, the unit is solidly built and laid out in classic 1073 style. A pure Class A solid-state design, the 1073 SPX incorporates a single-channel mic preamp with a three-band equaliser. On test here is AMS Neve’s latest reproduction of its classic design – the 1073 SPX.
DIY NEVE 1073 PREAMP EQ KIT FOR SALE PRO
This was an exciting time for pro audio in the UK eight-track recording enabled producers and engineers to create expansive recordings far in advance of the tinny pop records of the 1960s, and 16-track was just around the corner. While those vintage designs date back to the 1950s, the 1073 module first appeared in 1970, housed in the A88 console designed by Rupert Neve for Wessex Studios. As legendary analogue recording equipment goes, the Neve 1073 microphone preamplifier is right up there with Neumann mics, Pultec equalisers and Fairchild limiters. Push them further to identify the company’s most revered design and the reply will almost certainly be the 1073. Ask any number of recording engineers to name a classic make of mixing console and chances are the top answer will be – give or take the odd SSL – Neve.