For example, if you require a bank of eight preamps, you’ll only need to budget for one 500-series chassis and eight preamps. COMP-3A JR. Above and a little to the right of this last pair is a single rotary switch that engages the high-pass filter: Off, 50, 80, 160, or 300 Hz. Each channel featured a Pre-573 MkII mic preamp, a Comp-554 diode-bridge compressor, and two EQ-573 inductor EQs — one to process the signal itself, and another to sculpt the compressor’s side-chain. Phone Hours | The classic Neve 1073 wrote the book on characterful mic preamplification, so in designing their I'm looking to buy a Neve type preamp and am interested in both the new Golden Age Premier PRE-73 and Warm WA73 ranges. A vintage-style, single-channel mic/line/instrument preamplifier and 3-band EQ with inductor-based midrange, the PREQ73 Premier employs all-discrete circuitry similar to the that of the preamp and the equalizer sections of the venerable 1073 console module. In other words, it’s a lovely, characterful sound, and the compression action is wonderfully smooth and forgiving on a range of sources. The last position allows you to use an EQ-573 module to fine-tune the internal side-chain signal. It’s worth noting that, as with all diode-bridge compressors (including the original Neve from which this design is derived), the Comp-554 can be a little noisy: if you’re compressing hard and adding loads of makeup gain, you’ll hear a distinct hiss. The PSUs have often (not always) been external OEM wall-wart types, and in some cases less money seems to have been lavished on the enclosures and switches than on either the classic devices on which GAP’s products are based, or on higher-cost clones from other manufacturers. From beginners to rock stars, millions of music makers rely on our Sales Engineers' expertise to help achieve their musical goals. No project is too big or small, so give us a call today and let's talk gear! The down position is off, and it must be set to that position if you wish to engage the Active DI. I’ve already mentioned the preamp’s 6dB Air EQ boost, but the compressor goes one better: the three-position Air EQ switch can boost the signal by 3 or 6 dB at 30kHz (the other position being Off). Generally, I preferred the 1.2kΩ setting, but it’s nice to have the option — I sometimes like, for instance, guitar cabs miked with the duller/more mid-rangey sound of a dynamic mic such as an SM57 when used with a lower-impedance preamp. The circuit still uses the preamp and output section from the classic 1073-module, adapted to work in the api rack format. Today, this coveted tone can be yours for a song, with the Golden Age Project PREQ73 Premier. Locating, purchasing, restoring, and maintaining vintage gear is time-consuming and costly. There's nothing on golden ages site so Golden Age PRE-573 | 500 Series Preamps @ ZenPro Audio - Says its shipping by end of month, I've got two on order so they bloddy better!! They are available to offer you personalized product advice any time you need it. I say ‘you can’t yet do’ because Bo tells me he has been considering adding transparent IC-based balancing to the design, to allow the EQ to accept line-level signals without significantly increasing the costs. Whichever setting you use, you’re always reading left to right: I’d half-expected in the GR mode for the needle to move left from 0VU as more gain reduction was being applied, but it moves the other way, and is indicated on a second scale with smaller numbers, from 0 to 100 percent. Exclusive deals, delivered straight to your inbox. This results in a sound that is warm, punchy, sweet, and musical. What is a "hybrid" audio interface anyway? First Look: Pro Tools | Carbon. What all this boils down to is that while there may be more painstakingly authentic clones around, owner/designer Bo Medin has exercised very good judgement in bringing down the manufacturing costs without sacrificing much by way of sonic and tonal quality, and the great news is that those cost savings mean the asking price is, for this sort of gear, very competitive. I'm particularly interested in the Golden Age Premier PREQ-73/PRE-73-DLX models and the Warm WA73-EQ. The greater number of high-pass filter options on the EQ module, compared with those built into the compressor, might also come in handy. I tended to catch the controls adjacent to the one I wanted to turn, particularly when adjusting the HF band at the bottom — it was nothing too problematic, as the knobs aren’t easily knocked out of position, and the knurled edges and switched and detented nature of the different controls made it easy to select the desired setting with only my fingertips, but it’s worth mentioning. The lowest one in the left column of switches chooses the 1.5MΩ FET-buffered Active DI input or the Mic/Line input, and when this is in the up position, the toggle immediately above it is used to select Mic or Line. The user needs to juggle three metal toggle switches to select the appropriate source. That’s a minimal but sensible arrangement given the limited availability of front-panel space. Thank you for your request. Advice on ceiling-suspended microphone arrays. The one thing you can’t yet do is use the EQ on its own — it’s designed only to be used as an insert for the Pre-73 MkII or the Comp-554, with those modules’ transformers taking care of the signal levels and balancing. The main input, received through the host chassis’ sockets, is switchable between Mic and Line level via another toggle switch, and there’s a front-panel DI input jack. Our Sales Engineers are a world-class team of music gear experts whose sole job is to provide you with helpful advice and unparalleled service completely free of charge. 1 x 1/4" (Hi-Z), 1 x XLR-1/4" combo (line), 1 x XLR-1/4" combo (mic), Vintage-style Class A electronics with no integrated circuits in the signal path, 80dB of gain, enough to handle passive ribbon mics with quiet sound sources, 23-position Line/Mic gain switch with 5dB steps and a gain range of 20db–80dB for mic and -10dB–20dB for line, 2-band LF (±15dB) and HF (-20dB) shelving equalizer with two selectable frequencies for each band, Inductor based —15dB midrange EQ section with three selectable frequencies (lowest selectable between 350HZ and 700Hz), Switchable impedance in mic mode, 1200 or 300 ohms, will change the tone of most mics, Switchable 48-volt phantom power and absolute phase (polarity), High-impedance instrument input for any sound module, electric guitar or bass, Simple but effective 4-step LED output level meter, Output level control for fine gain adjustments and intentional overload of the main gain stages for additional vintage character, Separate combo XLR/TRS jack for the Mic and Line input, Separate output XLR and TRS jacks for flexible connections, Prepared for mounting 1 or 2 units in optional Unite Premier rack kit, May also be mounted with red/black Golden Age Project units in optional Unite rack kit, Connector-free internal wiring; all connections (except the ones to the gain switch) are soldered for the purest signal and most long-term stable signal path, UK-made Carnhill microphone input and line output transformers, The PCB is prepared for optional Carnhill 9046M line input transformer, Polystyrene capacitors in the amplifier circuits, Sturdy toggle switches with gold-plated contacts, External power supply avoids interaction with audio circuits and transformers, Solid build quality for long-term reliability. Obviously, the 3dB setting is subtler than the 6dB one, and I found it a useful addition — adding top end can become addictive, and it’s easy to overdo it as your ears grow tired if you’re not careful! The gain control layout borrows from the Neve 1073, with three 'off' positions, the one between the 50 and 55dB positions being for a second mic gain-stage. The only other control is a Bypass toggle switch. The PRE-573 MKII is a one width module for the api 500 format that has the sound and the features that made the PRE-73 so successful and a few additional ones. The 500-Series Pre-73 MKII provides a low cost alternative to microphone pre-amplification featuring a fully discrete signal path by utilizing separate transformers for the balanced mic input, the line input and the output. Finally, there are two more small metal toggles. Figure of Eight Microphones in Near Co-incident Stereo ... One Synth Challenge V - The Filter Strikes Back! The Golden Age Project was founded in 2005 on the belief that vintage gear sounds best, and the desire to pass on this sonic legacy to a new generation of musicians, engineers, and producers. To learn more about our cookie policy, please check our Privacy Policy. Chameleon Labs CL 581 Studio Projects SPM5. The top-most controls physically govern the lowest frequency band, a shelving type which can be set to Off, or 33, 55, 100, 175 or 300 Hz, and can be treated to ±15dB of gain. The mic and line input, as well as the line output, are transformer-balanced using three separate UK-made Carnhill transformers, each optimized for its function. And authoritative, this coveted tone can be yours for a song, with the version... Results in a brighter-sounding high-end, Neve-esque channel strip that, again, has! However, the Premier PREQ-73 does n't have a HPF which I often use not! 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