Arturia 1973-PRE Users Manual

USER MANUAL

Special Thanks

DIRECTION

Frédéric Brun Kevin Molcard

DEVELOPMENT

Vincent Travaglini

Nicolo Comin

DESIGN

Martin Dutasta Shaun Elwood Morgan Perrier

MANUAL

Fernando Rodrigues Morgan Perrier Florian Marin

BETA TESTERS

Fernando Rodrigues

Ben Eggehorn

Paolo Negri

www.arturia.com

Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A.

All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners.

Product version: 1.0

Revision date: 7 March 2018

François Reme

Raynald Dantigny

Terry Marsden

Peter Tomlinson

Marco Correia

Bapiste Aubry

Pierre Pfister

Jay Janssen

Luca Lefèvre

Chuck Zwicky

Matthieu Courouble

Ken Flux Pierce

Dwight Davies

Thank you for purchasing 1973-Pre!

This manual covers the features and operation of 1973-Pre.

Be sure to register your software as soon as possible! When you purchased 1973-Pre you were sent a serial number and an unlock code by e-mail. These are required during the online registration process.

Special Messages

Specifications Subject to Change:

The information contained in this manual is believed to be correct at the time of printing. However, Arturia reserves the right to change or modify any of the specifications without notice or obligation to update the hardware that has been purchased.

IMPORTANT:

The software, when used in combination with an amplifier, headphones or speakers, may be able to produce sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high level or at a level that is uncomfortable.

If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction

Congratulations on your purchase of Arturia's 1973-Pre

Since the late 1990s, Arturia has received acclaim from players and reviewers alike for designing state-of-the art software emulations of the venerable analog synthesizers from the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a modular system that was introduced in 2010, to the Matrix 12 V (2015), the Synclavier V (2016), and most recently the Buchla Easel V, the DX7 V and the CMI V, Arturia's passion for synthesizers and sonic purity has given demanding musicians the best software instruments for professional audio production.

Arturia also has a growing expertise in the audio field, and in 2017 launched the AudioFuse, a pro studio quality audio interface that features two proprietary DiscretePRO® microphone preamplifiers and a set of top-notch AD/DA converters.

The ARTURIA 1973-Pre is the culmination of over a decade of experience in recreating the most iconic tools of the past.

ARTURIA has a passion for excellence and accuracy. This led us to conduct an extensive analysis of every aspect of the Neve 1073 hardware and its electrical circuits, even modeling the changes in behavior over the course of time. Not only have we faithfully modeled the sound and behavior of this unique mixer channel, we have added some features that were unimaginable in the days the Neve 1073 was being manufactured.

1973-Pre runs as a plug-in in all major formats inside your DAW. It has easy MIDI learn functionality for hands-on control of most parameters, and as a plug-in also allows parameter automation for greater creative control.

DISCLAIMER: All manufacturer and product names mentioned in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Arturia. The trademarks of other manufacturers are used solely to identify the products of those manufacturers whose features and sound were studied during 1973-Pre development. All names of equipment inventors and manufacturers have been included for illustrative and educational purposes only and do not suggest any affiliation or endorsement of 1973-Pre by any equipment inventor or manufacturer.

The Arturia team

1. WELCOME ......................................................................................................................................................................... 2

1.1. Arturia's secret ingredient: TAE®................................................................................................................................... 3

1.2. Arturia's 1973-Pre ................................................................................................................................................................... 5

2. ACTIVATION AND FIRST START.......................................................................................................................... 6

2.1. Activate the 1973-Pre license.......................................................................................................................................... 6

2.1.1. The Arturia Software Center (ASC).................................................................................................................................................................... 6

2.2. Initial Setup .............................................................................................................................................................................. 7

2.2.1. 1973-Pre as a plug-in.................................................................................................................................................................................................. 7

2.3. Quick Start: A basic patch............................................................................................................................................... 8

3. USER INTERFACE ....................................................................................................................................................... 10

3.1. The Control Panel............................................................................................................................................................... 10

3.2. The Toolbar.............................................................................................................................................................................. 11

3.2.1. Save....................................................................................................................................................................................................................................... 11

3.2.2. Save As…............................................................................................................................................................................................................................ 11

3.2.3. Import Preset................................................................................................................................................................................................................. 11

3.2.4. Export Menu .................................................................................................................................................................................................................. 12

3.2.5. Resize Window options......................................................................................................................................................................................... 12

3.2.6. Preset Selection.......................................................................................................................................................................................................... 12

3.3. MIDI Learn assignment................................................................................................................................................. 13

3.3.1. Assign / Unassign controls.................................................................................................................................................................................. 13

3.3.2. Min / Max value sliders ......................................................................................................................................................................................... 14

3.3.3. Relative Control option .......................................................................................................................................................................................... 14

3.4. MIDI controller configuration..................................................................................................................................... 15

3.5. The lower toolbar ............................................................................................................................................................... 16

3.5.1. VU Calibration .............................................................................................................................................................................................................. 16

3.5.2. Bypass.............................................................................................................................................................................................................................. 16

3.5.3. CPU meter ..................................................................................................................................................................................................................... 16

3.6. The Preset browser............................................................................................................................................................ 17

4. 1973-Pre OVERVIEW................................................................................................................................................. 18

4.1. What is a preamp? ............................................................................................................................................................ 18

4.2. What does a preamp do? ............................................................................................................................................ 19

4.3. What is an EQ?.................................................................................................................................................................. 20

4.4. What does equalization do?..................................................................................................................................... 20

4.5. The 1973-Pre preamp and EQ plug-in ................................................................................................................... 21

4.5.1. Signal Flow ..................................................................................................................................................................................................................... 21

4.5.2. The EQ section ........................................................................................................................................................................................................... 22

4.5.3. The preamp section................................................................................................................................................................................................ 24

4.5.4. Mid/Side mode........................................................................................................................................................................................................... 26

5. 1973-Pre CONTROL PANEL................................................................................................................................... 28

5.1. Single Channel (Mono).................................................................................................................................................... 28

5.1.1. Single Channel EQ Section................................................................................................................................................................................... 28

5.1.2. Single Channel Preamp Section and Output ........................................................................................................................................... 31

5.2. Double Channel .................................................................................................................................................................. 33

5.2.1. Double Channel EQ Section................................................................................................................................................................................ 33

5.2.2. Double Channel Preamp Section and Output....................................................................................................................................... 35

5.2.3. Some final words..................................................................................................................................................................................................... 36

6. Software License Agreement............................................................................................................................ 37

1. WELCOME

Rupert Neve started building devices for studios in the beginning of the 70s, coming from a broadcast background and having some experience himself with recording. He grew u p in Argentina, and as a young boy he repaired radios, built radios and sold them to friends, studied the Radio Amateurs Handbook, and already knew the valve catalogs by heart. At 17, he enlisted to serve his country during World War II, joining the Royal Signals.

After the war, Rupert Neve used a small legacy from his Grandmother to buy an ex-US Army Dodge ambulance, where he installed equipment to convert it into a mobile recording and public address control room. He recorded choirs, amateur operatic societies, music festivals and public events on 78 RPM lacquer disks (before the days of tape).

Rupert gained audio design and manufacturing experience with Rediffusion, Ferguson Radio, and as Chief Engineer of a transformer manufacturer. Since his employer was not interested in manufacturing Neve's designs, he decided to start his own company.

The first mixer designed by Rupert Neve was for Desmond Leslie, a composer of "musique concrète" (a musical style that worked with pre-recorded real world sounds, assembling, mixing and manipulating them). Leslie needed a device that would help him mix these sounds together, specifically because of a contract with EMI to produce the background music for Shakespeare plays. Neve created a mixer that was a truly unique, customdesigned piece of equipment, and not saleable to anyone else.

In 1961, a new opportunity presented itself: the advent of the pop music scene in London. One of Neve’s very early clients was Leo Pollini of Recorded Sound in London, for whom he designed and built two valve consoles.

By 1964, Rupert Neve had already developed high-performance transistor equipment that replaced the traditional valve designs. The first client for the new transistor equipment was Phillips Records Ltd.

Neve was commissioned to design and build a series of equalizers to enable his clients to change the musical balance of material that had been previously recorded. This was before the days of multi-track tape machines. The success of the equalizers led to orders from Phillips and other recording studios for mixing consoles. These attained a reputation for excellent workmanship and sonic clarity. Demand grew rapidly.

After a few years, Neve Channel Amplifiers comprised a range of high-performance input amplifiers available for use on Neve sound control consoles, which incorporated alternative arrangements of filter and frequency response curves. These amplifiers were designed to accept signals from microphone and line sources and raise them to a level suitable to work in the main mixer circuit. Important features: low noise & distortion and generous overload performance. The first one was the 1053 and many more followed, with changes in the selectable band frequencies and in components.

Designed in 1969, the 1063 was the first Neve channel amp to use the beloved red/grey/blue knobs that became one of the distinct images of Neve. The 1063's equalizer was a simple 3-band affair consisting of high and low shelves with a bell mid band. The shelves used a Baxandall type design providing a High Shelf at 10kHz and a Low Shelf selectable between 35, 60, 100, and 220Hz. These Shelf EQ bands provided a boost/cut range of +/- 16dB. The Mid band was an inductor-based Bell (also called Peak) design allowing choices of 700Hz,

1.2, 2.4, 3.8, and 7kHz with a boost/cut range of +/- 18dB.

Baxandall tone control circuits were named after Peter Baxandall, an English audio engineer who first came up with this type of circuit in the 1950s. They are characterized by sweet sweeping curves in the bass and treble shelf EQs (these were even named Baxandall curves) that give a broad yet musical adjustment. The slope is lower than what was usual, and that contributes to the curves sweetness, since they sound smoother and more natural.

2 Arturia - User Manual 1973-Pre - WELCOME

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 3

Linear Frequency spectrum of a well known software synthesizer

TAE®’s software algorithms result in spot-on emulation of analogue hardware. This is why 1973-Pre offers an un paralleled quality of sound, as do all of Arturia’s virtual synthesizers and plug-ins.

Linear frequency spectrum of an oscillator modeled with TAE®

TAE® combines major advances in the domain of synthesis:

Temporal representation of the "sawtooth"

waveform of a hardware synthesizer

4 Arturia - User Manual 1973-Pre - WELCOME

Temporal representation of a "sawtooth"

waveform reproduced by TAE®

1.2. Arturia's 1973-Pre

So, what is and what do we get with the 1973-Pre preamp and EQ plug-in?

The goal of Arturia was to model the sound of this famous and well sought-after vintage preamp and EQ unit, definitely one of the most famous and revered, as well as add some new features that are helpful in a modern workflow.

Therefore, we have the amplification circuit, and a 3 band EQ with High Shelf, Mid Bell (Peak) and Low Shelf bands, and High Pass Filter. The EQ in the plug-in version has sweepable frequencies for the filter, the Low Shelf and the Midrange Bell. Only the High Shelf kept the fixed frequency of the original. This gives the plug-in much more flexibility in the EQing, while preserving the great sound that was the main characteristic of the original Neve 1073.

We also have some other changes, like for example two transformer types (the original Neve 1073 was a Class-A). The first transformer keeps the original sound of the original Neve amplifier, while the second is a novelty introduced by Arturia to give the users some sound variation, based on another famous piece of vintage equipment.

The plug-in has Single Channel and Dual Channel versions, or configurations. The Dual Channel configuration can work in three different modes. The default mode is Stereo, which means the Stereo Link button is On and the Stereo Mode switch is in the L/R (Left/Right) position. When we change this switch to the M/S position, the plug-in enters the Mid/Side mode. This automatically disables (turns Off) the Stereo Link button.

When the Stereo Link switch is Off, and the Stereo Mode button is in the L/R position, the plug-in is in Dual Mono mode. In this mode each channel works independently, which means we can have the EQ switched On in one channel and Off in the other, for example, and the phase switched On in one and Off in the other.

Arturia - User Manual 1973-Pre - WELCOME 5

2. ACTIVATION AND FIRST START

1973-Pre works on computers equipped with Windows 7 or later and macOS 10.10 or later. You can use the 1973-Pre as an Audio Unit, AAX, VST2 or VST3 plug-in.

2.1. Activate the 1973-Pre license

Once the software has been installed, the next step should be to activate your license, so that you can use it without limitations.

This is a simple process that involves a different software program: the Arturia Software Center.

2.1.1. The Arturia Software Center (ASC)

If you have not already installed the ASC, go to this web page:

https://www.arturia.com/support/updates&manuals

Look for the Arturia Software Center at the top of the page, and then download the version of the installer that you need for your system (macOS or Windows).

Follow the installation instructions and then:

• Launch the Arturia Software Center (ASC)

• Log into your Arturia account

• Scroll down to the My Products section of the ASC

• Click the Activate button

That's all there is to it!

6 Arturia - User Manual 1973-Pre - ACTIVATION AND FIRST START

2.2. Initial Setup

2.2.1. 1973-Pre as a plug-in

1973-Pre comes in VST2, VST3, AU and AAX plug-in formats for use in all major DAW software such as Live, Cubase, Logic, Pro Tools and so on. You can load as many instances as you find useful, and you will also find some other useful features:

• You can automate numerous parameters using your DAW’s automation system;

• Your settings and current plug-in state will become recorded in your project, and you can pick up exactly where you left off the next time you open it.

Arturia - User Manual 1973-Pre - ACTIVATION AND FIRST START 7

2.3. Quick Start: A basic patch

The patch below is an ideal starting point for getting to know the 1973-Pre plugin. We will use the sequencer to modulate the saturation (drive) and the EQ amount of one or two bands. It illustrates how you can use 1973-Pre to process sound. The example below was tested in Cubase Pro, but it will work in a similar way in other DAWs.

Please load the default factory preset. This ensures that you have all knobs in the correct starting position.

Let's give it try:

• Load a four-beat clip into an audio track in your DAW (a drum track is ideal for testing the EQ and the saturation of the preamp).

• Load an instance of 1973-Pre as an insert on that same track.

• Make the interface of the 1973-Pre visible by clicking its name in the Mixer.

• Now start your DAW and play the loop. It will sound the way it was recorded. By default, all parameters are in a neutral position. There is still some minor harmonic distortion, but that's OK with our demonstration.

• Set the ln put Level to -50 and observe what happens on the VU meters; if a dot signal appears on the right, the Input Level may be too much. Although harmonic distortion can be used as a sound design tool, you may want to reduce that level. By raising the Input Level, you just added some saturation to your signal.

• Now increment the High Shelf. Remember that this band is set to a relatively high frequency (12kHz). So, just give it a little boost (maybe 1dB). This will give your mix a little more "air".

1973-Pre configured to add some "presence" to the sound

8 Arturia - User Manual 1973-Pre - ACTIVATION AND FIRST START

• You may also want to give it a little more presence. This may be achieved by boosting the mid frequencies. Try using the Midrange Bell band for this (remember that we said it was even called "Presence" in the original). For better results, you first have to change the base frequency to a higher value (maybe around 1.6k). Since this is a sweeping control, you can adjust it later to find your "sweet spot".

• Now give this band a boost of 3dB, for example. Always pay attention to the VU meters and the volume in your DAW, to be sure you are not overloading it (and listen to the results too, of course).

• You can now experiment with the Bass Drum, using the High Pass Filter and the Bass Shelf band. As soon as you switch on the High Pass filter, you will probably notice that the Bass Drum sounds weaker than before.

• Now choose a frequency in the Low Shelf EQ (maybe between 60 and 110Hz) to boost frequencies around that point. The Bass Drum will now appear more prominently, but with a different timbre.

• When you conclude that the the parameter settings have achieved the desired sound, it's time to define some MIDI modulation. For that, you need to click the MIDI icon in the right side of the upper toolbar.

1973-Pre ready for MIDI learning. Notice the MIDI control setup window over the selected control, which is already

assigned (when assigned, the color changes to red).

• Now, many of the controls in the 1973-Pre become purple, which means they are ready to "learn" MIDI automation controls.

• Click the Boost/Cut knob of the Mid Bell band. A pop-u p window like the one in the picture above will appear.

• Now move the controller knob/fader you want to use to control that parameter. If the connections are well established, you should see the parameter assigned to the Input Level. If your controller is able to, and the control you selected is of the right type, you should select "Is Relative", to make sure that when you touch that parameter the control will not jump suddenly. For more information about this feature, refer to the section Relative Control option [p.14] in the USER INTERFACE chapter.

• Now select the Input Gain of one channel. Repeat the operation above, for the knob to "learn" which MIDI control it should respond to.

• Remember that, since we are working in Stereo Mode (the Stereo Link button is On) any changes made on one channel will be reflected on the other as well.

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