TECHNOLOGY REVIEW
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AMS Neve 1073N STANDALONE MIC PREAMP
Alan Branch finds out if the new standalone version of the iconic Neve 1073 lives up to its predecessor’s reputation.
I DON’T think there are many recording engineers that wouldn’t give a knowing nod to hearing the numbers 1073. This infamous model number is a Rupert Neve designed and crafted mic pre for the 80 series of Neve consoles that quickly became known for their smooth, lush sounding recordings back in the 1970s. As an engineer myself there simply isn’t much more sound satisfaction than tracking a live orchestra or a band in a great recording room through a Neve console with some good mics. The Neve 1073 has to be
one of the most well-known and well-respected mic preamps available; the hand- wired transformers, Class A circuitry, and musical EQ set the recording standard others aspire to. Since its manifestation in console form, the 1073 has evolved into multiple rack and lunchbox formats. The new AMS Neve 1073N model is a standalone version of the iconic unit. A refined circuit board with smaller components has enabled the addition of dedicated ports for audio I/O and power alongside the existing Amphenol console connection. This means you can mount the 1073N in your studio rack or remove it for mobile recording, with nothing more than some cables and a small power supply. The 1073N’s front panel has the same original distinct look
42 December 2013
with simplistic gain, three- band EQ, and HP filter. On the right is a latching push button for the EQ and a phase reverse, while on the left is the gain control. This retro knob has the line, DI, and mic gains combined extending from +20dB to 80dB for the mic and -10dB to +20dB for the line. The important thing to note here is the ‘off ’ separations in the 5dB increments – from there it’s clockwise for the mic and DI input and anti-clockwise for the line input. Obvious, really, but it can be confusing at first. The rear of the 1073N
includes, alongside the large console connector, a wealth of extra options including an integrated DI input and direct I/O connection with Neutrik combi-XLR/jack sockets for the mic/line input and XLR line output. A thoughtful feature is the addition of Hi/Lo switchable signal impendence for the mic input. This can help when a mic’s input impendence is mismatched with the preamp. A small phantom power switch, a -20dB pad, an earth lift, and a main off/on round off the remaining additions. One thing that struck me
right away, however, was how open the rear of the unit is. The large connector with its exposed contacts could easily be shorted or gather dust (I can’t help thinking it would have been wise to add a cover or cap) and the mic input impendence switch does
“The heritage of the Neve 1073 is obvious the moment you take the unit out of its packaging.” Alan Branch
protrude out past the case so care has to be taken not to damage it.
IN USE The heritage of the Neve 1073 is obvious the moment you take the unit out of its packaging. The build quality is lovely. Yes, it has the old style plastic knobs, but that’s all part and parcel of this classic unit. It’s also incredibly heavy – something to consider if you’re thinking of carrying this around. What’s great about the 1073N is its simplicity: you simply plug it up, trim your gain, and go. The analogue circuitry sound is apparent straight away. We used it to track some
vocals, acoustic guitar, and various percussion for the first part of a new album project and it was lovely to work with. Every sound source came out with crispness and full character, even a DI guitar was helped by enriching the little bottom end it has. The trick of the 1073 is the mic amp transformer – driving this with high gain fills the input source sound with that lovely warmth. The bottom end from some of the low percussion drums came
out so strong, while snares are thickened but not without any loss of a nice bright top end. Using the EQ with vocals or guitars to help shape sounds is purely magical – I always loved the musical quality of the 1073. I apologise for the superlatives but as an engineer an EQ is the sound-sculpting tool at your fingertips and when it responds without being artificial or unnatural it’s such a pleasure.
OVERALL The AMS Neve 1073N is a lovely addition to the 1073 range and its new space saving circuit design hasn’t compromised any of the original quality that the 1073 is known for. The quality was obvious when recording or applying EQ to anything we threw at it, especially when driving the analogue preamp saturation. The purpose of the new design is to make the classic 1073 more portable: for an important location recording surely a 1073 preamp is a no-brainer. However, I have to point out if you compare the 1073N to
INFORMATION Feature set
• Mic input: Gain +80dB to +20dB in 5dB steps • Line input: 10k ohms impedance, gain +20dB to -10dB in 5dB steps
• DI input: input impedance 10M ohms (pad off) / 10K ohms (pad on), gain +80dB to +20dB in 5dB steps
• Frequency response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz. EQ Out
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other portable mic pres it does lack a few features like a trim control, output attenuation or any kind of front LED indication. It’s also very heavy for a portable unit, and the exposed rear does seem vulnerable to easy damage. But we are talking about having a classic 1073 mic pre with a simple external power supply and normal I/O connections that you can carry around. If that’s not attractive enough, the new surface mount design has resulted in a massive drop in price. From a recording point of view, it’s a great idea that I’m sure every purist of classic gear will relish. If you want a great classic mobile preamp for the studio and the road I simply can’t recommend the 1073N enough.
THE REVIEWER ALAN BRANCH is a freelance engineer/ producer and ex-member of the On U Sound Crew. His list of credits include Jamiroquai, Beverley Knight, M People, Simply Red, Depeche Mode, Shed 7, Sinead O’Connor, Bjork, and Sade.
www.alanbranch.com
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