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
© ARTURIA SA – 2018 – All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
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
Table Of Contents
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.
Arturia - User Manual 1973-Pre - ACTIVATION AND FIRST START 9
3. USER INTERFACE
The 1973-Pre is packed with great features, and in this chapter we’ll take a tour and show
you what it can do. We think you’ll be amazed by the range of audio processing options this
plug-in is capable of.
This plug-in is more flexible than you probably would expect at first sight, due to the relative
simplicity of its User Interface. That will always be the main focus of every Arturia product:
to unleash your creativity while remaining easy to use.
3.1. The Control Panel
We will have a detailed look at the Control Panel in the Control Panel chapter [p.28].
10 Arturia - User Manual 1973-Pre - USER INTERFACE
3.2. The Toolbar
The plug-in GUI (Graphical User Interface) has the usual Arturia toolbar that runs across
the top edge, with the Arturia logo / plug-in name on the left (the colored part), followed by
the Library button, the Library selection filter button, the Preset name on the center, and the
MIDI button on the right. This toolbar is common to all current Arturia plug-ins, and gives
access to many important functions. Let’s look at them in detail.
The first seven of these options can be found by clicking on the Arturia 1973-Pre button at
the top left-hand corner of the plug-in window. Since these options are also common to all
current Arturia current plug-ins, they may be already familiar to you.
3.2.1. Save
This option will overwrite the active preset with any changes you have made, so if you
want to keep the source preset also, use the Save As option instead. See the next section for
information about this.
3.2.2. Save As…
If you select this option, you are presented with a window where you can enter information
about the preset. In addition to naming it, you can enter the Author name, and select a Type.
You can even create your own Type, by entering custom names in the respective place. This
information can be read by the preset browser and is useful for searching the preset later.
3.2.3. Import Preset
This command lets you import a preset file, which can be either a single preset or an entire
bank of presets. Both types are stored in .1prx format.
After selecting this option the default path to these files will appear in the window, but you
can navigate to whichever folder you are using to store presets.
Arturia - User Manual 1973-Pre - USER INTERFACE 11
3.2.4. Export Menu
You can export presets in two ways: as a single preset, and as a bank.
• Export Single Preset: Exporting a single preset is handy when you want to share
a preset with someone else. The default path to these files will appear in the
"save" window, but you can create a folder at another location if you like. The
saved preset can be reloaded with the import preset menu option.
• Export Bank: This option can be used to export an entire bank of sounds from the
instrument, which is useful for backing up or sharing presets.
3.2.5. Resize Window options
The 1973-Pre window can be resized from 60% to 200% of its original size without any
visual artifacts. On a smaller screen such as a laptop, you might want to reduce the interface
size, so it doesn't dominate the display. On a larger screen or a second monitor, you can
increase the size to get a better view of the controls. The controls work the same at any
zoom level, but they can be harder to see at the smaller magnification values, or when using
high resolution monitors (like HD monitors or higher). The higher the resolution, the bigger
the size that should be used.
3.2.6. Preset Selection
The Preset browser [p.17] can be opened by clicking the library symbol on the toolbar. The
filter, name field and left / right arrows in the toolbar all assist with preset selection.
12 Arturia - User Manual 1973-Pre - USER INTERFACE
3.3. MIDI Learn assignment
The MIDI plug icon at the far-right side of the toolbar places the instrument in MIDI learn
mode. MIDI-assignable parameters will be shown in purple, which means you can map
physical controls to those destinations inside the instrument. A typical example might be
to map a real expression pedal to the Output Trim control, or knobs and faders on your
controller to the different virtual knobs and switches of the plug-in.
MIDI Learn assignment mode in the 1973-Pre
In the image above one of the parameter control knobs is red. That means it has already
been assigned to an external MIDI control. It can be reassigned, though.
♪: Remember that you can also assign the Preset Forward and Backward arrows to an external
control.
3.3.1. Assign / Unassign controls
If you click on a purple area, you’ll put that control into learning mode. Move a physical
dial, fader, or button and the target goes red, indicating that a link has been made between
the hardware control and the software parameter. There’s a pop-up window that displays
which two things are being linked and an Unassign button that will disconnect the two.
Arturia - User Manual 1973-Pre - USER INTERFACE 13
3.3.2. Min / Max value sliders
There are also minimum and maximum value sliders that you can use to restrict the
parameter change range to something other than 0%-100%. For example, you might want
the Output Volume knobs to be controllable via hardware from 30% to 90%. If you make this
setting (Min set to 0.30 and Max set to 0.90) your physical dial will be unable to alter the
volume lower than 30% or higher than 90%, no matter how far you turn it. This is very useful
to prevent you from accidentally making the sound too quiet or too loud when controlling it
in real time.
In the case of switches which only have two positions (On or Off – like the LOW PASS and
HIGH PASS switches), those would normally be assigned to buttons on your controller. But
it is possible to toggle those with a fader or other control if you like.
3.3.3. Relative Control option
The final option in this window is a button labeled “Is Relative”. It is optimized for use with
a specific type of control: one which sends only a few values to indicate the direction and
speed at which a dial is turning, as opposed to sending a full range of values in a linear
fashion (0-127, for example).
To be specific, a “relative” dial will send values 61-63 when turned in a negative direction and
values 65-67 when turned in a positive direction. The turn speed determines the parameter
response. Refer to the documentation of your hardware controller to see if it has this
capability. If so, be sure to switch this parameter on when setting up its MIDI assignments.
When configured this way, movements of the physical control (usually a dial) will change
the software parameter by starting at its current setting, rather than being an “absolute”
control and snapping it to some other value as soon as you start to move it.
This can be a great feature when controlling things like volume, filter, or effect controls since
you won’t usually want them to jump noticeably from their current setting when they are
modified.
♪: Pitch Bend, Mod Wheel and Aftertouch are reserved MIDI controllers that cannot be assigned to
other controls.
14 Arturia - User Manual 1973-Pre - USER INTERFACE
3.4. MIDI controller configuration
There’s a small arrow at the far right-hand side of the toolbar (after the MIDI icon) that
deals with MIDI controller configurations. This allows you to manage the different sets
of MIDI maps you may have set up for controlling the instrument’s parameters from
MIDI hardware. You can copy the current MIDI assignment setu p or delete it, import a
configuration file or export the currently active one.
This is a quick way to set up different hardware MIDI keyboards or controllers with 1973-Pre
without having to build all the assignments from scratch each time you swap hardware.
Note the check mark on the bottom of the menu: that indicates that the configuration with
that name is the one currently active. Empty means that there's no configuration loaded.
Arturia - User Manual 1973-Pre - USER INTERFACE 15
3.5. The lower toolbar
When you are changing a parameter, you will see a readout showing the value or state
of whatever control you are modifying at the left-hand side of the lower toolbar. It will
also display the current value of a parameter when you place the mouse pointer over that
parameter control in the control panel. This is handy, because you don’t need to touch the
parameter control to read the current value.
At the right-hand side of the lower toolbar are several small windows and buttons. These
are very important features, so let’s take a closer look at them.
3.5.1. VU Calibration
The 1973-Pre has two VU meters (one when in Single Channel mode) at the top-right of the
control panel. By clicking this button, we can access a menu where we can calibrate their
response. By default, they are calibrated for -18dBFs but we can change this to -14dBFs or
-8dBFs.
3.5.2. Bypass
This one is obvious. Activating the bypass option will disable 1973-Pre processing.
3.5.3. CPU meter
The CPU meter is used to monitor how much of your computer’s CPU is being used by the
plug-in. If you stress your computer too much, the global performance of your system and
the audio may suffer.
16 Arturia - User Manual 1973-Pre - USER INTERFACE
3.6. The Preset browser
The preset browser enables you to search, load and manage preset configurations in
1973-Pre. Although this looks and is based on the usual Arturia Preset Browser, it is simpler,
and even easier to work with. You access the preset browser by clicking on the library
symbol next to the Arturia logo on the left.
When you click on the library symbol, you will see a screen with all the Presets you have
saved. You can sort the list by several different criteria, to make it easier to find the right
preset. There are two columns. The first one lists the Presets by Name or by "Featured".
Featured are presets that were classified as important by Arturia. The second one lists the
Presets by Type, or Designer.
There is only one attribute visible, which is the one you select by clicking the column title.
By default, Type is the attribute selected. When you select the Designer attribute, the list
changes, and that attribute appears in the second column, in the place where the Type field
was before.
If we want to delete a preset, we may do that by selecting it, and then, by clicking in the
name field, choose the option "Delete current" that's in the bottom of the list.
Arturia - User Manual 1973-Pre - USER INTERFACE 17
4. 1973-PRE OVERVIEW
As we said already in the Introduction, the Neve mixer channels (preamps and EQs) have
become industry favorites since the time he made the first EQ units for Philips in 1964.
Neve circuits usually employed a simple 3-band EQ, consisting of high and low shelves with
a bell mid band. The shelves used a Baxandall type design providing a High Shelf with a
fixed frequency and a Low Shelf with some selectable switching frequencies. These Shelf
EQ bands usually provided a boost/cut range of +/- 16dB. The Mid band usually had an
inductor-based bell design with also a fixed number of selectable switchable frequencies,
and a boost/cut range of +/- 18dB.
To complete the set, a High Pass filter was also added, again with a choice of several
switchable fixed frequencies.
This was also the design of the celebrated Neve 1073 that was the basis of the present
Arturia emulation. However, some modifications were introduced.
The most notable is the changing of the Midrange Bell and Low Shelf bands from switchable
to sweepable. This allows a much wider range of choices, since we can now use ANY
frequency within the range of both EQ bands.
In addition to these, the High Pass filter also has sweepable selectable frequencies between
the lowest and the highest. Only the Off point is a switch.
The plug-in works as a Single Channel or as a Double Channel, according to the audio
channel it is inserted on. In Single Channel we just have Mono mode, but in Double Channel,
we can use the plug-in in Stereo mode, Mid/Side mode and Dual Mono mode.
4.1. What is a preamp?
A preamplifier (preamp or simply "pre") is a device that takes care of the first stage of
amplification. It is usually designed to boost a weak electrical signal to "working level", to
make it strong enough to be noise-tolerant and for further processing, for example in a
mixing desk. The working level is usually called "line level".
Many of us probably still remember the days of vinyl records. Vinyl records were played by
turntables, a device which had an output with a completely different impedance than, for
example, a tape recorder. The turntable output signal was much weaker. To drive it to a level
strong enough to be audible meant that it had to pass through a circuit that would amplify
it to a level where it could be passed to the main audio amplification circuit. More than that,
the circuit also had to transform the tone, in order to decode the special RIAA encoding tone
curve. Without this previous stage, the signal would be weak and distorted harmonically.
This circuit was (is) a preamplifier, and was usually part of any Hi-Fi amplifier (those special
inputs labeled "phono", which seem to be coming back as of lately). It should be mentioned
that Arturia's AudioFuse audio interface also features a microphone preamp circuit, and it
even features the special RIAA preamp we just mentioned.
But there are other kinds of preamplifiers, that do other things. The preamp devices that
brought us to this point are those typically used to amplify signals from audio sources
such as microphones and instrument pickups. Because of this, preamplifier circuits are now
usually built into the audio mixers (and are included in many computer audio interfaces
too).
But it wasn't always like this. There was a time when preamps were separate units that
received the signal from microphones and delivered it to the mixing circuit. The Telefunken
V76 was one of those units. Then they became modules that could be plugged into those
mixers (like the Neve units). Now, they are simply standard equipment. But there are still
many other devices that use preamp circuits besides mixers, as electric guitar and bass
players know very well.
18 Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW
4.2. What does a preamp do?
A preamp usually is designed and used to do one or more of the following actions:
• Increase the gain from an audio source (for example a microphone)
• Changing the tone (by using filters, for example)
• Lowering the output impedance
• Converting from unbalanced to balanced
One of the most important controllers in a preamp is Gain. Gain just means the amount your
signal level is increased by the circuit. The amount a specific preamp increases your gain is
of utmost importance, because every device your signal will be sent to (in our case probably
the mixer) has an ideal range of signal level it expects in order to operate best. Not every
preamp can effectively drive a power amp, for example. The preamps we are looking into
were usually built to feed the mixing circuit, therefore they usually had a fixed gain amount.
Impedance can be described as the efficiency of the signal transferring from one piece of
gear to another. It is the opposition of a circuit to the flow of alternating current, a result of
the complex sum of resistance and reactance. A good illustration of this is cycling uphill. If
you are in the right gear, pedaling requires some energy; but if you are in the wrong gear, it
requires a lot more energy. An ideal impedance relationship is a very low output impedance
device connecting to a very high input impedance device. That is being "in the right gear". If
your instrument or device has an output impedance that is too close to the input impedance
of the device you're connecting it to, you will be "in the wrong gear", and your signal will be
too weak. That weakness may result in a lower signal level and/or a dull tone.
Preamps are usually "active", meaning they require a power supply. This is because it
requires energy to boost a signal. Currently, the preamps get the energy from the main
power circuit of the mixer. Older preamps like the V76 had their own power circuit built-in.
A balanced circuit is a signal-carrying circuit with two active electrical conductors of equal
impedance with respect to a common reference point, which is usually ground. Each
conductor carries the signal with a polarity that's the inverse of the other one. Usually, both
conductors are enclosed within an overall metallic shield, which does not carry the signal.
Balanced circuits can be found on professional-level microphones, XLR inputs on a mixer,
and balanced connections between an amplifier and speakers. The advantage of these
circuits is that the two signals are going to be decoded in the destination (remember they
were polarity-inverted), and the audio signal will be the difference between the two identical
signals. Any interferences picked up in transit will presumably not be polarity-inverted, and
therefore will have little to no difference between the channels. These will be eliminated,
resulting in an interference-free signal.
An unbalanced circuit is a signal-carrying circuit with only one electrical conductor and an
overall metallic shield. It is usually used in domestic connections, like Hi-Fi, for example.
Although there will be little to no problem in closer connections (input and output are
near to each other, therefore minimizing the risk of possible interferences), they would be
problematic in longer connections (a long wire basically works like an antenna).
That's why when we use microphones or other sound sources that are distant from the
mixer, we have to use balanced connections, and when they don't have them, we have to
connect them to a closer device that will convert the signal from unbalanced to balanced.
Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW 19
4.3. What is an EQ?
The equalizer allows you to cut or boost any frequency, or group of frequencies, within the
audio spectrum.
It was one of the first signal processing devices to enter a recording studio. Actually, even
the old domestic radios had some kind of EQ built-in. Usually, besides the control for the
volume, we also had a control for the Bass and another for the Treble. These Bass/Treble
EQs were also usual in Hi-Fi amplifiers.
Of course, in a studio the devices are more complex than that, and usually have more
controls. But in the beginning they didn't have many of those, either.
4.4. What does equalization do?
Equalization usually is used to correct a sound timbre and its harmonic balance. We can use
EQ, for example, to correct a particular sound in a mix, allowing it to “breathe” by boosting
the frequencies that are more important, and sometimes also by decrementing those same
frequencies in other instruments.
We may also use it as a creative tool, for example by manipulating the timbre of a certain
instrument to better match another one during overdubs, or (again) to better fit in the whole
mix.
We can finally use equalization to position an instrument in a three-dimensional stereo
image, increasing the separation between the different timbres.
Of course, this comes at a price, and the price is that every time we adjust frequencies we
create some phase shifting and discrepancies that may deteriorate the original sound.
It's up to us to balance the use of equalization, in order to get a final result that sounds
good and musical. Like with almost everything, EQ must be used only when and where it’s
necessary.
20 Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW
4.5. The 1973-Pre preamp and EQ plug-in
The Arturia 1973-Pre plug-in is both a preamp and an EQ. This means that it works not only
as an amplifier section, which induces a natural and pleasant saturation to the sound, but
also has an equalizer to further sculpt the spectrum content.
That said, if we are going to use the 1973-Pre EQ and preamp plug-in, we must be aware
that this is a device with a strong coloration, and that is its main strength. More than an EQ,
of which we may have better and more precise units available, this plug-in is justified by the
changes it makes in the timbre, which have been highly praised by audio professionals for
many decades now. So, although it is still considered a very musical EQ, the main reason to
use it will be the desire to achieve the sound of a classic.
4.5.1. Signal Flow
The signal flow of the 1973-Pre follows the logical path for this type of devices. Therefore, the
audio enters through the preamp section, controlled by the Input Gain knobs. This section
adds saturation and harmonic distortion to the signal.
The Transformer switch on the right, which allow us to change the type of transformer in
use, will have a slight impact on the kind of induced saturation and harmonic distortion
produced by the plug-in.
After this stage, the signal enters the EQ section, where it will be further transformed by
boosting or cutting groups of frequencies. Besides the three EQ bands, this section also
features a filter to cut the lower range of frequencies (High Pass).
The signal is then directed to the main output, where we have the Output Trim knobs to
control the final level.
There is a switch on the bottom of the EQ section to invert the phase of the audio (globally),
and another that allows bypassing the EQ section.
Stereo Link and Stereo Mode are two global switches that affect the way signal is routed
and processed when in Double Channel, as explained below.
Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW 21
4.5.2. The EQ section
The EQ section allows three frequency bands at any one time, with sweepable values on
the Midrange and Low bands, while the High band has a fixed frequency. So, we have a
hybrid EQ, with two semi-parametric bands (a fixed Q or bandwidth factor, and selectable/
sweepable frequencies and boost/cut values). This goes beyond the original, which had
switchable fixed frequencies for both the Midrange and the Low bands, while the High band
had a single fixed frequency.
Another word about the type of filter slope we have on each band: High and Low bands
have a Shelf filter, while the Midrange has a Bell (Peak) filter. For those not familiar with this,
the differences are as follows:
A Shelf band boosts (or attenuates) all frequencies equally, above or below a certain point.
The frequency specified for a Shelf equalizer circuit is usually the point where it effectively
reaches its “shelf” state. A High Shelf EQ band boosts or cuts high frequencies and a Low
Shelf EQ band boosts or cuts low frequencies.
This is the type of circuit that’s used in Hi-Fi systems, but is also highly musical when applied
in a recording environment.
On the other hand, a Bell (Peak) EQ band is one that, as its name implies, has a center
frequency around which the boost or cut happens. The bell name derives from the type of
curve drawn by the filter. The frequency range over which it reaches its bell peak and then
falls down is known as the bandwidth (or Q).
Because this design reaches a peak and then falls away, it is possible to focus on a
particular area of frequencies and make adjustments on that, without affecting those
around them. This can be particularly useful when working with instruments such as
guitars, snare drums, or any kind of acoustic instrument that has a limited spectrum range.
However, that's not exactly what we will get with the 1973-Pre EQ.
1973-Pre Double Channel EQ section
22 Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW
The 1973-Pre EQ has two Shelf bands, which will take care of boosting or cutting the high
and low frequency content of the audio. The midrange band has a broad range of selectable
frequencies. All three EQ bands have a relatively large and smooth bandwidth (read what
we wrote about the Baxandall curves in the introduction [p.2]).
So, in what concerns the Midrange Bell, this band is more about boosting or cutting the mids
in general than about precisely sculpting a short range of the frequency spectrum. Actually,
it was labeled Presence in the original, and that gives a pretty good idea of why it was
dreamed of, designed, and what it does. It changes the globally perceived "presence" of the
audio by altering the midrange content, but with a relatively large and smooth bandwidth.
Each of the three EQ bands has a separate rotary knob to control the boost or cut. We can
apply a boost or cut of up to 18dB, which is actually more than the original High and Low
Shelf could achieve in the original. So, to get a behavior closer to the original, we should limit
the boost or cut in those two bands a little (actually, we doubt anyone would feel the need
to use a boost or cut of 16db). Anyway, mixing is about sound, and the best way to judge
that is to use our ears: Focus on the sound and use the EQ boost or cut at will.
Besides the boost/cut knob, the Mid Bell and the Low Shelf have another knob to control the
base frequency (the High Shelf frequency is fixed at 12kHz). Unlike the original, which had a
fixed number of switchable frequencies, here we can sweep to any value within the ranges
defined by the lower and the higher frequencies. So, the Mid Bell can sweep between 360Hz
(labeled 0.36) and 7.2kHz, while the Low Shelf can sweep between 35Hz and 220Hz. This
gives the EQ section more flexibility than was available in the original.
The High Pass Filter complements the three band EQ. It has a slope of -18dB per octave,
and a range of frequencies that goes from 50Hz to 300Hz. Curiously enough, the range
of filter frequencies completely covers the range of frequencies of the Low Shelf EQ band,
so pay attention when using it. Although the original also had a fixed number of switchable
frequencies, here we have a sweepable filter that covers all frequencies within the minimum
and maximum.
On the bottom of the EQ section, we have two switches. The left switch turns the EQ section
On or Off, and is On by default. The other switch is for Phase inversion, and is Off by default.
Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW 23
4.5.3. The preamp section
The preamp section has knobs (potentiometers) for the Input Gain, adjustable between -80
dB and -20 dB, positioned right below the VU meters.
By adjusting the input gain, we change the color of the sound by adding harmonic distortion
and saturation. Even at minimum input gain with EQ off, there is a very slight coloration as
you would find on the original.
1973-Pre Single Channel
Preamp and Output
Right below these we have another pair of knobs to control the Output level (labeled Output
Trim), with a range between -24dB and +24dB.
We also have a switch that lets us choose between two different types of transformers.
This is an add-on introduced by Arturia. Type 1 is the original transformer, while Type 2 is a
different model, inspired by another famous brand of vintage equipment. The difference is
subtle. Try each of them and use the one you like best for your audio.
When operating in double channel (two channels) the plug-in has two other switches. The
first one is to activate/deactivate Stereo Link (the label is two intersecting circles). The
second one is labeled Stereo Mode, and switches between L/R and M/S.
24 Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW
With these two switches, we can choose between the three modes the plug-in works on
when in Double Channel configuration: Stereo, Mid/Side or Dual Mono.
Stereo mode is achieved only if the Stereo Link button is On and we have the second
switch in L/R (Left/Right) position. In this mode, any changes we make to one channel are
reproduced in the other channel as well.
If we switch the Stereo Link to the Off position, we enter the Dual Mono mode. In this mode,
each channel works independently, as if we had two mono channels.
There is a third mode that is activated by changing the Stereo Mode switch to the M/S
position. This mode is called Mid/Side, and in this mode, although we are still in Stereo,
the channels work in a way that is completely different than the traditional Left/Right way.
For this mode each channel has to be independent, which is why the Stereo Link button is
automatically switched Off when we select M/S.
Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW 25
4.5.4. Mid/Side mode
Mid/Side mode is a highly effective way of making adjustments to the spacialization of a
mix or master. In Mid/Side, the Mid channel is the center of a stereo image, while the Side
channel is the edges of that same image. When we make adjustments in the Mid channel,
this is perceived in the centered image of the stereo spectrum (we can think of it as the
mono compatible image). For example, a boost in the Mid channel will make the sound more
“mono” (both channels will sound more equal).
On the other hand, when we make adjustments in the side channel, this will have an impact
on the width of the stereo image, and a boost in this channel will be perceived as a more
spacious (wider) stereo sound.
For M/S purposes, the controls on the left side will affect the Mid channel, while the controls
on the right side will affect the Side channel. Also, when in M/S mode the VU meters show
the output level of the Mid for the first one (Left), and the output level of the Side for the
second one (Right).
While we're at it, there is a simple test that you can run to check the differences between
stereo, Dual Mono and mid/side processing. Here are the steps to do it:
• Load your favorite DAW;
• Create a new project, and create a stereo audio track;
• Load a stereo clip in that track. A full mix or a sub-mix would be better for the
test we want to do;
• Load an instance of 1973-Pre as an insert in that track. Open the 1973-Pre
window;
• Check that you have the Default preset loaded. You should have the plug-in set
for Stereo, with the Stereo Link button On, Input Gain at -80dB, Output Trim at
0dB, and all EQ settings at their default values (which means that, with these
settings, the influence of 1973-Pre in your track should be neutral);
• Start the DAW. The stereo clip should sound as you recorded it. You may check
by clicking the Bypass button in the lower toolbar and compare;
• You may try some processing, just to check if the 1973-Pre is working. For
example, you may raise the Input Gain to add some saturation (you will not
perceive any change in the overall volume, due to a feature called Autogain
Compensation), and boost the High Shelf by turning its knob to +3dB (this will
give a little more "air" to the mix, by reinforcing the high frequencies);
• You may also turn the High Pass Filter to the 45Hz setting. This will cut the bottom
lows;
• Now press Bypass again. You will already be able to notice some differences in
the mix. You probably also noticed that each time you made a change in one
channel it was reflected in the other. This is because we are working in Stereo
mode (the Stereo Mode switch is on the L/R position, and the Stereo Link button
is On);
26 Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW
• We will now work in M/S mode. To do this, we'll click the Stereo Mode button to
toggle it to the M/S position. The Stereo Link button should automatically turn Off.
The 1973-Pre is now in M/S mode;
• Since no controls have changed, we will not notice any changes in the audio, for
now;
• Let's turn one of the Output Trim knobs to the minimum (-24dB) position. We'll
start with the left, which is now the Mid channel;
• Since we reduced the output of the Mid channel by 24dB, we are now listening to
a very different signal. We almost have no signal in the middle of the spectrum,
and are only left with sound in the edges of the spectrum band (which are
controlled by the Side channel). You may even want to try this with headphones,
which will give you an even better perception;
• Double click left Output Trim knob. It will return to its default position, and the
sound will return to "normal";
• Now let's reduce the output of the Side channel, by turning the right Output Trim
knob all the way to the left (-24dB position). Now, we almost have no signal in the
edges of the spectrum signal (which are controlled by the Side channel) and are
left with what is almost a mono signal (the Mid channel);
• Note that even though we turned each of the two channels almost off, we still got
sound on both left and right speakers. This is because we are making changes
in the stereo spectrum and not in the Left or Right channels alone;
• Double click the right Output Trim knob. It will return to the default position, and
the sound will be back to "normal" again;
• Now, while leaving the Stereo Link button Off, toggle the Stereo Mode button
again to the L/R position. The 1973-Pre is now in Dual Mono mode;
• In this mode, Left and Right channels are completely independent - they work as
if they were two mono tracks;
• Now turn the left Output Trim knob again to the -24dB position. You'll notice that,
this time, the sound on the left speaker will decrease to almost silence, while the
right will remain as it was;
• Double click on the left knob, and do the same with the right knob. This time,
the right speaker will become almost silent, while the left one will play unaltered.
Double click the knob again, to get it back to the default position;
And with this last action, we have concluded our test. By now, you hopefully became
familiar with the three working modes of the 1973-Pre in double channel configuration, and
will have a clear idea of what you can do in each of them.
Arturia - User Manual 1973-Pre - 1973-Pre OVERVIEW 27
5. 1973-PRE CONTROL PANEL
The 1973-Pre plug-in can be used as a Single Channel (mono) plug-in or as a Double Channel
plug-in. When in Double Channel, we can use it in the traditional Stereo mode (Left/Right) or
the special Mid/Side mode (M/S) which we described earlier. We can also use it as a Dual
Mono device (each of the two channels works independently).
When in Single Channel configuration, the plug-in has just one column of EQ controls,
and the preamp section also has fewer controls. The Single Channel configuration is
automatically loaded when we use the plug-in with mono tracks.
5.1. Single Channel (Mono)
5.1.1. Single Channel EQ Section
When working in Single Channel, we have only one column in the EQ section, and a simpler
preamp section. This is the configuration that's closer to the original Neve 1073, which was
mono. So, let’s take a look at all the controls.
The EQ section of the 1973-Pre is very simple and straightforward. It's a classic three-band
EQ, with Shelves for the High and Low frequencies and Bell (Peak) for the Mids. To round out
the picture, we have a High Pass filter on the bottom, to cut the extreme low frequencies.
One difference we have in the 1973-Pre is that the Midrange Bell and the Low Shelf, although
they have marked the switchable frequencies of the original, are sweepable. This means
that we can select ANY frequency between the lowest and the highest. Lowest and highest
frequencies conform to the original, and mark our boundaries.
The same applies to the High Pass Filter - this one also has sweepable frequencies between
the lowest and the highest.
Another difference we have in the plug-in when compared to the original is in the boost/cut
amount, that goes up to +/- 18dB instead of the +/- 16dB of the original Neve 1073.
So, to sum it up, we "almost" have a semi-parametric EQ. And we say "almost" because the
High Shelf has a fixed frequency, like the original. So, we have two semi-parametric EQ
bands and a fixed High Shelf band. And we have a boost/cut amount that adds 2dB in either
direction to the original range of the EQ bands.
28 Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL
1973-Pre Single Channel
EQ
But let's go back to the controls. On the top, we have the High Shelf band. As we just said,
this one has a fixed frequency, therefore we just have a control for the boost/cut, between
-18dB and +18dB. The Default position is 0 (middle).
Below this single control knob, we have the two controls for the Midrange, a Bell (Peak) EQ
band. The original 1073 had an aluminum outer ring to select the frequency and an inner
plastic knob to control the amount of boost or cut. Here, we have two separate controls and,
as we said, we are not limited to the six pre-determined frequencies of the original.
In fact, the frequency selection control knob where we define the center frequency for
the Bell EQ band, which is positioned a little higher than the boost/cut one on the right,
is sweepable, and allows us to choose any frequency within its range. It starts as low as
360Hz (the lowest fixed frequency selectable in the original) and goes all the way up to
7.2kHz, which was the highest selectable frequency in the original. By default, the knob is
positioned in the lowest point (0.36 or 360Hz).
The boost/cut control is on a separate knob on the right, positioned a little lower than the
frequency knob, and allows a boost/cut of +/- 18dB. The Default position is 0 (middle).
The third EQ band is the Low Shelf. Like the Midrange, this band is also sweepable. This time
we start really low, in the 35Hz range, and we can choose any frequency up to 220Hz. Both
frequencies were the respective lowest and highest selectable frequency of the original Low
Shelf band. As with the Midrange band, the default position is in the lowest point (35Hz).
Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL 29
On the right, a little lower, as with the Midrange controls, we have the boost/cut knob, again
with a boost/cut of +/- 18dB. Again, the default position is in the middle (0).
Finally, we have the High Pass filter control. Since the filter slope is pre-determined and
fixed (we have a slope of -18dB per octave, like the original) we just need a control for the
filter cutoff frequency. Again, like it happened with the Midrange and the Low bands, we
have a sweepable control that starts at 50Hz and goes u p to 300Hz, which is the same
range as the original. However, unlike it happened with the EQ bands, this time we have an
extra position, on the lower left, which is the switch that turns Off the filter. Off is the default
position.
On the lower part of the EQ section, below the filter controls, we have two button switches.
These correspond to the same two button switches we had in the original. The switch on the
left activates or deactivates the EQ section (turns it On or Off). The switch on the right is to
invert the phase of the audio. The default position for the EQ switch is On, and for the Phase
inverter is Off.
♪: Make some changes on the EQ bands. Now press the EQ button to turn Off the EQ section, and
turn it On again. You should perceive a noticeable difference in the audio. The frequency range of the
filter is quite broad, and covers completely the frequency range of the Low Shelf Band, so, pay attention
to that.
30 Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL
5.1.2. Single Channel Preamp Section and Output
The preamp section in the Single Channel configuration is very simple. It is located on the
right side of the control panel. On top, we have a single VU meter. Remember that we can
calibrate the response of the VU meter by clicking in the respective button of the lower
toolbar section of the User Interface (which displays the default value of -18dBFs). We can
change that value to -14dBFs or -8dBFs. If you don't have a good reason to change the
calibration, leave it that way.
1973-Pre Single Channel
Preamp
Right below the VU meter, we have the Input Level knob. This knob controls the saturation
level (drive) added to the sound. Its values go from -80dB to -20dB with the default position
in -80dB. When we increase this value, we increase the saturation level.
However, we will not have an increase in the overall perceived volume. This is due to the
fact that the 1973-Pre plug-in has an Automatic Gain Compensation, which balances the gain
induced in this stage so that we don't have to bother with differences in volume, and can
concentrate on the real deal, which is the audio saturation.
Below the Input Level knob, we have the Output Trim knob. This knob controls the overall
output volume of the 1973-Pre, and goes from -24dB to +24dB. Default value is 0dB (no
change in volume).
Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL 31
Below this knob, we have the Transformer button. This button allows you to activate a
second type of transformer, that introduces a slight variation in the kind of saturation
produced by the Neve 1073. This second type is a custom recreation of the transformer of
another famous piece of vintage equipment. By default, we have Type 1 selected, which is
the original 1073 Transformer type.
32 Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL
5.2. Double Channel
The Double Channel configuration is the one we use to process stereo tracks. We don't need
to select it, since the plug-in automatically recognizes if the audio track is mono or stereo,
and opens the proper configuration accordingly.
However, the Double Channel configuration doesn't operate exclusively in stereo mode. In
fact, we have three modes to work with in this configuration. The default one is, of course,
Stereo mode. We can confirm this because the sections are tied between left and right
channels (the Stereo Link button is On). So, when we move a control in the left channel, the
corresponding control in the right channel follows, and vice-versa.
But we can also work in Mid/Side (M/S) mode and in Dual Mono mode.
An audio tool that supports M/S processing (such as the 1973-Pre) creates two separate
processes, one for the Mid channel (the center of the stereo image) and one for the Side
channel (the edges of the stereo image), as we explained before [p.26].
To work in this mode, we have to adjust the corresponding switch (which is only present
in Double Channel configuration) to the M/S position (by default it is positioned in the L/R
position, for Left/Right, or Stereo mode).
Of course, in this mode, Mid and Side channels work independently, so, any changes we
make on one channel are NOT followed by the other channel, as it happened in L/R mode.
The Stereo Link button is turned Off. This is not a Dual Mono mode though. As we said,
changes in the channel on the left (the Mid Channel) affect the way we perceive the sound
in the center of the stereo spectrum, while changes in the channel on the right (the Side
channel) affect the way we perceive sound in the edges of the stereo spectrum.
We also have a third mode, which is Dual Mono. In this mode, each of the two channels
works independently, as if they were mono channels. Therefore, any adjustments we make
on one channel will not be followed by the other, and will affect ONLY that channel. This
may seem similar to the behavior of the M/S mode, but it is different because, in this mode,
we are processing each channel in Mono mode, while in M/S mode the processing done on
each channel has influence on the stereo image.
This mode is activated when the Stereo Link switch is Off and the Stereo Mode button is in
the L/R position.
By default, the plug-in works in Stereo mode (the Stereo Link button is On and the Stereo
Mode button is in L/R position).
Now, let’s examine each control in Double Channel configuration:
5.2.1. Double Channel EQ Section
The EQ section is basically the same as it is in Single Channel configuration, except that
we have two columns side by side (one for the Left, or Mid, or channel 1 in Dual Mono,
and the other for the Right, or Side, or channel 2 in Dual Mono). So, everything is doubled.
Note that the Neve 1073 channels were mono, so, when we are working in Double Channel
configuration it’s like we were using two 1073 channels (except that we have the special
Stereo and Mid/Side modes that we didn't have in the original).
Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL 33
1973-Pre Double Channel EQ
Besides that, all the controls we have here (High Shelf, Midrange Bell, Low Shelf, High Pass
Filter and the EQ and Phase switches) were already explained previously in the Single
Channel configuration, so please read that description [p.28].
34 Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL
5.2.2. Double Channel Preamp Section and Output
The preamp section in the Double Channel configuration, besides having doubled the
controls we saw in the Single Channel configuration, also has some extra buttons to select
the special working modes we have available with this configuration.
It is located on the right side of the control panel, as was the case in the Single Channel. On
top, we have two VU meters, one for each channel. Their behavior and calibration is exactly
the same as we described [p.31] for the one present in the Single Channel.
1973-Pre Double Channel Preamp
Right below the VU meters, we have the Input Gain knobs. Again, we now have two, one
for each channel. These knobs control the saturation level (drive) added to the sound. Their
values go from -80dB to -20dB with the default position in -80dB. When we increase this
value, we increase the saturation level.
Below the Input Gain knobs, we have the Output Trim knobs. Like it happens in the Single
Channel configuration, these control the overall volume for each channel, and go from -24dB
to +24dB. Default value is 0dB (no change in volume).
Again, when we work in Stereo (the Stereo Link button is On) any change we make in one
of these knobs will be automatically reflected in the other.
Below the Output Trim knobs, we have a pair of switches for the Transformer type. These do
exactly the same thing the corresponding switch does in the Single Channel. Theoretically,
we can have a different type of transformer for each channel. Although this is possible, it
isn't at all natural, and perhaps even undesirable, so, it's probably better to have the same
Transformer type for both channels.
Below these switches, we have the Stereo Link switch. This is a very important one. It
changes the behavior of the Double Channel configuration. By default, it is On, which means
we are working in Stereo mode.
Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL 35
1973-Pre Double Channel Output. Note that, although the Transformer Type switches are
placed below the Output Trim knobs, they affect the signal right after it enters the plug-in,
therefore the Transformer Type selection will have a subtle but effective influence on the
type of induced saturation and harmonic distortion.
Below the Stereo Link, we have the Stereo Mode switch. This is another very important
switch. It's where we change the behavior between True Stereo (L/R, which means Left/
Right) or Mid/Side mode (M/S switch position). The Mid/Side mode has been described in
detail in the "Mid/Side mode" entry [p.26] in the "1973-Pre OVERVIEW" chapter, so please
refer to that part of the manual if you want to clarify something. Bear in mind, though, that
it's with this switch that we change the mode configuration. Possible configurations are as
follows:
• Stereo Link On and Stereo Mode at L/R - True Stereo mode
• Stereo Link Off and Stereo Mode at M/S - Mid/Side mode (Stereo Link is
automatically turned Off)
• Stereo Link Off and Stereo Mode at L/R - Dual Mono mode
5.2.3. Some final words
Some final words to mention something very important. Usually, to change values in the
plug-in controls, we click on the corresponding control and drag the mouse up or down. If
the controls are switches, we simply click them to toggle On or Off. If we want finer editing
values, we can use Ctrl+Drag (Cmd+Drag on macOS). Alternatively, we can mouse RightClick and Drag. Using this key combination, the values change in a slower way, which allow
us to get more precise values easily.
Double-clicking a control changes it automatically to the default value. This also works with
Alt+Click (Opt+Click on macOS).
And that's it. We just finished describing all the controls you have at your disposal to process
sound in your DAW using the 1973-Pre. We hope you'll enjoy your new plug-in and the results
you get when using it, as much as we enjoyed making it.
36 Arturia - User Manual 1973-Pre - 1973-Pre CONTROL PANEL
6. SOFTWARE LICENSE AGREEMENT
In consideration of payment of the Licensee fee, which is a portion of the price you paid,
Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to
use this copy of the SOFTWARE.
All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
Arturia permits you only to copy, download, install and use the software in accordance with
the terms and conditions of this Agreement.
The product contains product activation for protection against unlawful copying. The OEM
software can be used only following registration.
Internet access is required for the activation process. The terms and conditions for use of the
software by you, the end-user, appear below. By installing the software on your computer
you agree to these terms and conditions. Please read the following text carefully in its
entirety. If you do not approve these terms and conditions, you must not install this software.
In this event give the product back to where you have purchased it (including all written
material, the complete undamaged packing as well as the enclosed hardware) immediately
but at the latest within 30 days in return for a refund of the purchase price.
1. Software Ownership Arturia shall retain full and complete title to the SOFTWARE recorded
on the enclosed disks and all subsequent copies of the SOFTWARE, regardless of the media
or form on or in which the original disks or copies may exist. The License is not a sale of the
original SOFTWARE.
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You shall have no further right or interest to use the software other than the limited rights as
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a compulsory registration of the OEM software for license control to protect the software
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the software will not work.
In such a case the product including the software may only be returned within 30 days
following acquisition of the product. Upon return a claim according to § 11 shall not apply.
4. Support, Upgrades and Updates after Product Registration You can only receive support,
upgrades and u pdates following the personal product registration. Support is provided only
for the current version and for the previous version during one year after publication of the
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5. No Unbundling The software usually contains a variety of different files which in its
configuration ensure the complete functionality of the software. The software may be used
as one product only. It is not required that you use or install all components of the software.
You must not arrange components of the software in a new way and develop a modified
version of the software or a new product as a result. The configuration of the software may
not be modified for the purpose of distribution, assignment or resale.
Arturia - User Manual 1973-Pre - Software License Agreement 37
6. Assignment of Rights You may assign all your rights to use the software to another
person subject to the conditions that (a) you assign to this other person (i) this Agreement
and (ii) the software or hardware provided with the software, packed or preinstalled
thereon, including all copies, upgrades, updates, backup copies and previous versions,
which granted a right to an update or upgrade on this software, (b) you do not retain
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recipient accepts the terms and conditions of this Agreement as well as other regulations
pursuant to which you acquired a valid software license.
A return of the product due to a failure to accept the terms and conditions of this Agreement,
e.g. the product activation, shall not be possible following the assignment of rights.
7. Upgrades and Updates You must have a valid license for the previous or more inferior
version of the software in order to be allowed to use an upgrade or update for the software.
Upon transferring this previous or more inferior version of the software to third parties the
right to use the upgrade or update of the software shall expire.
The acquisition of an u pgrade or update does not in itself confer any right to use the
software.
The right of su pport for the previous or inferior version of the software expires upon the
installation of an upgrade or update.
8. Limited Warranty Arturia warrants that the disks on which the software is furnished is
free from defects in materials and workmanship under normal use for a period of thirty (30)
days from the date of purchase. Your receipt shall be evidence of the date of purchase. Any
implied warranties on the software are limited to thirty (30) days from the date of purchase.
Some states do not allow limitations on duration of an implied warranty, so the above
limitation may not apply to you. All programs and accompanying materials are provided “as
is” without warranty of any kind. The complete risk as to the quality and performance of the
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necessary servicing, repair or correction.
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either (a) return of the purchase price or (b) replacement of the disk that does not meet the
Limited Warranty and which is returned to Arturia with a copy of your receipt. This limited
Warranty is void if failure of the software has resulted from accident, abuse, modification,
or misapplication. Any replacement software will be warranted for the remainder of the
original warranty period or thirty (30) days, whichever is longer.
10. No other Warranties The above warranties are in lieu of all other warranties, expressed
or implied, including but not limited to, the implied warranties of merchantability and fitness
for a particular purpose. No oral or written information or advice given by Arturia, its dealers,
distributors, agents or employees shall create a warranty or in any way increase the scope
of this limited warranty.
11. No Liability for Consequential Damages Neither Arturia nor anyone else involved in
the creation, production, or delivery of this product shall be liable for any direct, indirect,
consequential, or incidental damages arising out of the use of, or inability to use this product
(including without limitation, damages for loss of business profits, business interru ption, loss
of business information and the like) even if Arturia was previously advised of the possibility
of such damages. Some states do not allow limitations on the length of an implied warranty
or the exclusion or limitation of incidental or consequential damages, so the above limitation
or exclusions may not apply to you. This warranty gives you specific legal rights, and you
may also have other rights which vary from state to state.
38 Arturia - User Manual 1973-Pre - Software License Agreement
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