AML ez1073-pre MK2

43 models 20 models with low-cut engaged (120 Hz) 32 Mic path models, 11 Line models 10 models with 20dB Pad engaged (33 without) Seems to help manage a pinched or nasal tone. It can help when something is too bright. To my ear it sounds more natural and less dark than the Neve 1073LB. Warm… compressed but punchy… classic Neve crunchy ‘smoked’ sound. Considered massive, thick, musical - rather than a mere clone. Unit favored by Marc Alan Goodman (Tape Op), Daniel Schlett (Total Slacker, on guitars/solos), Clay Parton (Duster), Jay Watson (Tame Impala), Clay Blair (Counting Crows, The Pogues). PAD was engaged as option to reduce aggressive top end or reduce proximity bloom while pushing the output transformer. Drive levels on the preamp were adjusted for captures to keep the unit in its sweet spot for a variety of uses (guitar, bass, drums, monophonic, polyphonic sources...) TECHNICAL DETAILS 400 Epochs API lunchbox Ferrofish A32 A/D: CS5368, D/A: CS4365 The analog output stage uses RC4580 and OPA1664 op-amps. A true 1073 should perform the same way whether in 300 Ω / 1200 Ω while in Line mode, but the build I purchased has a noticeable flat broadband gain shift. The Line path is not fully isolated from the impedance path. (The XLR path works properly.) So I am indicating where the switch was set and I’m treating it like a free “soft” vs “harder” setting which may be musically useful. You can decide whether it’s a problem or a quirky bonus. Converter I/O Levels were adjusted per setting to access the usable tonal range of the unit while matching the return peaks, although in hindsight I probably should have gone by RMS or LUFS instead.