The variable bands of the 1063 featured a dual-concentric control set with an aluminum
outer ring to select the frequency and an inner plastic knob to control the amount of boost
or cut.
Rounding off the features of this channel amp is an inductor-based high-pass filter with a
slope of -18dB per octave and selections of 50, 80, 160, and 300Hz. There are also two
button switches at the base of the front panel, one to engage or bypass the EQ and the other
to invert the signal phase.
The basic functionality of the 1063 module set a precedent for all future class-A Neve
channel amps in that most subsequent models included a mic/line preamp, 3 band EQ and
filter(s).
The 1063 was quickly followed by the 1064, which was similar in functionality, though it
provided separate mic and line inputs, each with their own input transformer (10468 for mic
and 31267 for line). The three-band EQ featured the same Baxandall high/low shelves and
inductor-based peaking midrange design as used on the 1063, though frequency selection
was a bit altered: 10kHz on the High Shelf, 700Hz, 1.2, 2.4, 3.6, and 7kHz in the Midrange
Bell (usually called Presence) and 35, 60, 100, and 220Hz on the Low Shelf. Instead of
pots for the cut/boost controls the 1064 used rotary switches for stepped (and recallable)
functionality.
The HPF of the 1064 was switchable at 45, 70, 160, and 360Hz, instead of the 50, 80, 160,
and 300Hz of the 1063.
The Neve 1066 was another milestone in Neve channel amplifiers. Again, it had the
traditional 3-band EQ, featuring High Shelf with a fixed frequency of 10kHz and boost/cut
of +/- 16dB, Midrange Bell, called Presence as usual in the Neve devices, with selectable
switching frequencies of 700Hz, 1.2, 2.4, 3.6, and 7kHz and a boost/cut of +/- 16dB, and Low
Shelf with switchable fixed frequencies of 60, 100, and 220Hz and again a boost/cut of
+/- 16 dB. According to Neve, the shapes of the curves and the frequencies were carefully
chosen to give the maximum possible flexibility in high quality recording.
In addition, and as it had became customary in Rupert Neve designs, a high-pass filter was
added, with a slope of -18dB per octave and a choice of cutoff frequencies of 20, 45, 70,
160, and 360Hz.
Also, the usual two button button switches to turn On or Off the EQ circuit and to invert the
phase were added.
The Neve 1073 follows this design closely (actually, we can say the 1073 is the 1066 with
different frequencies). With the exception of the switchable frequencies of each of the three
EQ bands, the internal circuitry, in terms of transformers and amplifiers, was identical.
Somehow, the 1073 became the most popular.
So, the EQ section of the Neve 1073 comprised the usual three bands: High Shelf with a fixed
frequency of 12kHz, and a boost/cut of +/- 16dB; a Low Shelf with selectable frequencies
of 35, 60, 110 and 220Hz, again with a boost/cut of +/- 16dB; and a Midrange Bell (Peak)
with fixed bandwidth and selectable center frequencies of 360Hz, 700Hz, 1.6k, 3.2k, 4.8k
and 7.2kHz.
The 1073 also had a High Pass Filter with a slope of -18dB per octave, and frequencies
switchable between 50, 80, 160, and 300Hz, as well as the two button switches for EQ On/
Off and phase inversion.
It is this last famous preamp and EQ that Arturia is now recreating.
1.1. Arturia's secret ingredient: TAE®
TAE® (True Analog Emulation) is Arturia's outstanding technology dedicated to the digital
reproduction of analogue circuits used in vintage synthesizers.
Arturia - User Manual 1973-Pre - WELCOME
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Summary of Contents for 1973-Pre
Page 1: ...USER MANUAL...
