![neve 1073 preamp pcb neve 1073 preamp pcb](http://media.uaudio.com/products/1073-collection/oview-clarity.jpg)
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. The Waves Scheps 73 is a colorful 3-band EQ modeled on the classic 1073 console's EQ and mic preamp module and developed in association with world-renowned mixing engineer Andrew Scheps. 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.
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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 console, a 24-channel Neve A88, was the first to include the Neve 1073 preamp and EQ modules. 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. In 1970, Neve Electronics was commissioned to design a mixing console for Wessex Studios, a celebrated recording facility whose clients would eventually include the Rolling Stones, Queen, the Clash, and Sex Pistols. Why we could not splice them together I'll try :) Here some ideas that I want bring to. It really wasn't that hard to hear differences on the female because she is really powerful and is expert at working a mic. HI GUYS I have a plan to do pcb diy project of mic/line preamp based on 1073 pre with 1081 EQ 1073 contain very nice sounding class-A make up stage, 1081 contain most flexible EQ from all 10's series. 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.
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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. I read it and was a bit skeptical because I believe I can hear a signature for the different classes of pres I own. 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.