Join J. Scott Giaquinta for an in-depth discussion in this video Neve 1073 Preamp & EQ, part of Up and Running with Universal Audio UAD-2/Apollo.
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- The Neve 1073 Console Channel Module is probably considered to be the most revered Preamp and EQ circuit ever designed. Introduced in 1970, the 1073 was found in Neve consoles, such as the Wessex A88 and the 8014. It's been used on a massive number of popular recordings from the late 20th century until today. The Neve 1073 for Apollo in UAD 2 provides all the features, unique circuit behaviors, and coveted sound of Neve's original hardware design. Now, you can use this plugin in two different ways. As an insert in your DAW, or as a Unison-enabled plugin in the Apollo Console.
If you remember the video on the UA 610 where I showed you how to use it as a Unison-enabled plugin on the input, then you already know how Unison works with this plugin. I'm going to show you how I've used it in Sky Song for this video instead of the Apollo Console. First, let me break the interface down for you. Let's start at the top left. The Input Gain control, also known as the Red Knob, adjusts the input gain for both the mic preamp input and the line input. Now, this knob doesn't work like any other knob you've seen before, because it controls the input for both the mic and the line inputs, but at different ends of the knob itself.
You can turn it by clicking and dragging, or you can click outside the knob to any value you want. So, let's just turn with click and drag. Now you'll notice that it stops here. And because we're not using this in Unison mode, the knob will only work on the line input side because it's not being used as a mic preamp. You'll also notice that the impedance and pad switches don't work either. Now, if we were using these in the console with the mic on the input you'd have access to it. So when it is in Unison, you can actually turn this more to the right, but since we're not in Unison then we'll only go to that range. Next, we're going to get in to the EQ section. We'll start at the high shelf knob here at the top.
The high-shelf knob gives you plus or minus 18 dB of fixed frequency shelving EQ at 12k. So just turn it to the right to boost, and to the left to lower it. The mid-range band below that is controlled by dual concentric knobs. The inner knob controls the band gain, and the outer ring controls the frequency, or band disable, which is in the middle. Turning the knob clockwise boosts, and counter-clockwise, which attenuates. The low frequency band below that is also controlled by dual concentric knobs. It works the exact same way as the mid-range band. The inner knob controls gain, and the outer ring selects frequency or band disable.
Again, turning the knob clockwise boosts, and counter-clockwise attenuates. The last section at the bottom is a highpass filter. This knob specifies the fixed frequency of the high-pass, which is a low-cut filter. Below that is the EQ enable and disable switch, and the phase button. When the EQ is on, which is the darker shade, which is on right now, the EQ's enabled. To the right of that is the phase button. This just inverts the polarity of the signal. Again, when the button's dark, the phase is on. Over to the right is the level control. This controls the signal of the output stage, and it works like any standard mixer fader.
The output knob at the very bottom here adjusts the signal level of the output of the plugin without affecting the sonic character of the signal. Now the difference between this and the level fader above is that this doesn't affect the coloration of the sound. For example, gain level can be cranked up for more distortion, but you could use this knob to lower the output to avoid digital clipping in your DAW. And finally, at the bottom is a power switch, which is a bypass. So let's hear how it sounds in Sky Song. Now, I've used it on both the vocal and the guitar track, so I'm going to enable and disable it first on the vocal as the song plays, so you can get a sense for how it's affected the sound.
♫ Hey, let's go ♫ (ad-libs) - (mumbles) the mid-range band there. ♫ You caught me going down the alleyway ♫ You say you don't know where you're going ♫ So follow me into the day ♫ 'Cause I'll keep you all night ♫ Our dreams ♫ - All right, let's hear it on the guitar. It's this one over here. (guitar strumming) Low-cut filter here at the bottom.
(guitar strumming) All right, so let's hear it together. What I'm going to do is I'm going to bypass both of these and then I will un-bypass them. So you can hear how it's affected the overall song. ♫ Hey, let's go ♫ (ad-libs) (guitar strumming) ♫ You caught me going down the alleyway ♫ You say you don't know where you're going ♫ So follow me into the day ♫ 'Cause I'll keep you all night ♫ Our dreams don't go down anymore ♫ They just tell you you're all right ♫ So stay with me and see a world ♫ That you've never known ♫ - As you can hear, the 1073 has done a killer job on giving the guitar and vocal life and presence in the mix.
And that's why it's a staple for me and so many other people in the pro audio world. I hope this video has helped you to understand how to use the interface a little bit better.
- Navigating the interface
- Configuring the Apollo Console
- Using the wordclock to ensure high-fidelity mixes
- Exploring the UAD core plugins, compressors, EQs, effects, processing units, and reverbs