![]() ![]() ![]() In terms of the preamp, it was the transformer that gave the original unit its characteristic sound, and Waves have been particularly painstaking in modelling it. You can activate or deactivate each band, allowing you to A/B with and without its effect. The mid is a peak EQ, and the low is a shelving EQ both are frequency-selectable and gain-adjustable. The high band is a shelving EQ set at 12 kHz, with adjustable gain. There are three bands-low, mid and high-and an 18 dB per octave high-pass filter with settings ranging from 50 to 300 Hz. The Scheps 73 is more or less functionally identical to the 1073. So even though there are plenty of Neve 1073 emulations on the market, each new one has the potential to be more faithful to the original than the last. As the speed of personal computers increases, the models can become more detailed. They used a component modelling approach, which means that the physical behaviour of the individual circuit components is modelled with software algorithms. (The issue of price is particularly pertinent here: a modern unit will set you back some $3000, and a vintage original $5000-and that's for one channel's EQ section.) Waves' Scheps 73 version was designed in collaboration with Andrew Scheps, an experienced engineer with credits ranging through Metallica, Jay-Z and Adele. Additionally, UAD, PSP, Nomad Factory, FabFilter and more have offered their take on it. Not surprisingly, there are quite a number of digital emulations available, including a version made by Waves in the form of their VEQ-3. ![]() EQ Magazine went so far as to call it "probably the most famous… preamp in the history of recording." The 1073 was the EQ on many of those consoles, and its preamp, in particular, was a key contributor to the fat, punchy, coloured "Neve sound." It's a desert island preamp for many engineers, and Sound On Sound readers voted it the best mic preamp available. Rupert Neve offered an affordable solution with the 80 series consoles, and as a result, they became ubiquitous throughout the recording industry (and he got credit for creating the modern mixing console).Īlmost every major recording in the '60s and '70s had at least one of its tracks put through a Neve preamp, and almost every independent studio was equipped with a console. In the 1960s, studio technology and industry dynamics were changing quickly, and building a studio's equipment in-house was becoming less economical. The success of the Neve 1073 channel EQ was partly a case of being in the right place at the right time. ![]()
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