![neve 1073 preamp schematic neve 1073 preamp schematic](https://awave.com.au/wp-content/uploads/2016/08/1081-V_3.jpg)
Perhaps AMS–Neve felt it important to address that sector of the market directly, with a properly engineered version, with all the panel legends the right way around - but they’ve done more than that, because this version boasts some very useful additional features. Why another version? As enthusiasts know very well, there is a plethora of original vintage (and clone) modules converted to varying levels of competence and quality into dual–channel rackmounted systems. But I was wrong, because brand new, and reviewed exclusively here in Sound On Sound, is the Neve 1073 DPX, an enhanced, dual–channel, 2U rackmounting version of this enduringly popular design.
![neve 1073 preamp schematic neve 1073 preamp schematic](https://www.amazona.de/wp-content/uploads/2020/05/ams-neve-1073-opx-2.jpeg)
I thought I’d already seen every possible variant of Neve’s 1073 preamp - including the original 1073N ’45–series cassette’, the 1073 DPA and DPD models, and the 1073LB and LBEQ 500–series preamp and partnering EQ modules, not to mention the numerous clones from various boutique manufacturers. It is what happens at the transient extremes that exposes the wonderful character of any good mic pre.Just when you thought you’d seen every possible permutation of the 1073 preamp, Neve offer up something a little different. It is true it can be hard to tell the difference between Pres with middle of the spectrum, even transient material. When slammed an API 512 and a Neve 1073 sound worlds different. This way the UA is in it's sweet spot but you get all the nice saturation, color and smooth distortion of the emulated pre.Īs far as the SOS test goes, it sounds as if they just didn't hit them hard enough. You really have to listen to the transients and decay to hear it.Īll quite true but the beauty of the unison technology is that you push the emulation hard with out getting the actual UA mic pre out of it's comfort zone. I also did the comparison on various percussion instruments and didn't drive the tubes and transformers quite so hard and it got even more subtle. But I don't think you really want to push the Apollo pres into breakup and that makes it a bit apples and oranges. The break-up of a tube pre and to some degree, an input transformer pre like the Phoenix has a signature, even if it's subtle, compared to a unit like the EL or Apollo. It really wasn't that hard to hear differences on the female because she is really powerful and is expert at working a mic. The guy couldn't hear anything significantly different but I don't think he's a real critical listener. I did my best to equalize the volumes, etc., then gave comparisons to the singers. I used the Grace m-201, the Apollo, the UA 610, the Phoenix DRS-8, the Toft ATC-2 and the EL Mike-E. One singer was a 50-something male rock singer, the other a lady in her 30s that is an incredible blues/jazz singer. I was doing a bunch of vocal overdubs and had a couple of willing victims, err, I mean singers, and we played around with it over the course of a few weeks.
![neve 1073 preamp schematic neve 1073 preamp schematic](https://medias.audiofanzine.com/images/normal/ams-neve-1073lb-mono-mic-preamp-module-4137942.jpg)
I read it and was a bit skeptical because I believe I can hear a signature for the different classes of pres I own.
![neve 1073 preamp schematic neve 1073 preamp schematic](https://www.kmraudio.com/media/catalog/product/cache/dc3c78d248ef9ccec159fea745843881/n/e/neve_1073n_angle_kmr.jpg)
They had a hard time hearing differences between the contestants. There was a Sound On Sound article a while back where they did a shoot-out with a bunch of mic preamps.