TEST: GAP Pre-73 MK III

 There are truly only a few names in studio technology where even the biggest critic can be carried away to an introspective “Aaah” because of the sound technical directions. Even if the names may vary depending on prioritization, everyone probably has the name “Neve” on the list. As the “father of the console”, Rupert Neve has left too many marks for every sound engineer not to be proud to show a product from the Neve stable to their customers and colleagues as part of their studio equipment.

But as always when it comes to legends, two hearts beat in the chest of the economically minded studio operator. The corresponding names also want to be compensated with corresponding euros, although both in a new purchase and on the vintage market, the prices for even the smallest preamps can easily be increased to an ambitious four-digit amount. Even though almost all Neve products live up to their legendary status in terms of sound, even with the current products, everyone has to ask themselves personally whether it makes financial sense to purchase a product in the hobby or semi-professional sector, which, in terms of sound, would bring the expert to tears but the sales figures are unlikely to be boosted to such an extent that the purchase is economically viable.

Whenever thoughts of this kind haunt a technician, the copyist's hour comes. In this case it is the Swedish company Golden Age Project (GAP), which is preparing to copy the extremely successful original from the seventies with a copy of the legendary Neve 1073 that is almost identical in terms of circuitry, but not without incorporating a few interesting extensions. The preamp was named Golden Age Project Pre-73 MK III and, as the name suggests, is now in its third version. However, it was not possible to find out whether the product is also built in Sweden, despite the obligation to note this on the product or the sales box. Gosh …


construction

Normally I don't want to start the first test lines with a big minus point, but in this case I unfortunately have no other choice. Even if the guys/gals from the Golden Age Project sometimes have a friendly, quirky/indie attitude in both the layout of the products and the website, a desktop device with open screws around the housing without rubber feet or something similar is simply not possible! Not only does the product slip every time you plug in the cable as if we were on the ice rink, no, the screws will scratch your work surface in no time. With an MDF board this may be secondary, but my work surface is made of white piano lacquer. You can only avoid scratching by placing a DIN A4 sheet or something similar underneath, which in my opinion is out of the question. Four stick-on rubber feet cost less than a cent to produce, but that really can't be the problem.

Enough complaining, let's get to the pleasant aspects. The preamp comes in a pretty dark red and was flawlessly processed. I don't understand why the screws of the steel housing are not sunk on the front side as opposed to on all other sides. In terms of width, the product is just under half the 19 inch rack width, which means that installation, even with a 9.5 adapter, requires proper conversion work. Therefore, it is important to plan enough space on the worktop.

In order to better describe the development of the MK II model into the current MK III, here are the key points of the predecessor, which were adopted into the current version. The Pre-73 is a single-channel preamp whose entire circuit is built discretely without any ICs and works in Class A. The preamp receives power via a 24 V “wall wart”, which is included with the product.

On the front, the preamp shines with a very clear structure, the handling of which is almost self-explanatory. On the left is the power switch, whose activity is confirmed by a red operating LED. Right next to it is a 100 kOhm instrument input, which is activated via a “DI” switch and provides information about its switching status using a green LED. At the same time, the combination socket for microphone and line on the back is muted.

To the right is the switchable 48 V phantom power and a pressure switch labeled Low-Z, which switches the impedance for the microphone input from 300 to 1200 ohms. This change in impedance allows you to have a massive impact on the basic sound character of the microphone used. There is also a switchable phase inverter on the outside right of the front panel. 2 large rotary controls allow comprehensive level management, with the gain control in particular being particularly noticeable.

On the one hand, it manages line and microphone input together, with the level reaching up to 50 dB. From this value onwards, a second gain stage kicks in, allowing amplification of up to a respectable 80 dB. Owners of low-level ribbon microphones in particular will be happy to hear this. On the back there is also the connection socket for the power supply, the said combination socket for the microphone/line input, an insert socket for connecting additional peripherals and 2 outputs in TSR and XLR form.

As a further development of the MK II version, the MK III version has the following changes, most of which were adopted from the DLX version:

Tantalum capacitors in the signal path
a double booster (3 dB or 6 dB) at 30 kHz called AIR
a double high-pass filter



Practice

Everyone has to decide for themselves whether they can accept the concessions on the selling price in the form of, for example, the external power supply. The fact is, however, that for a price of less than 350 euros you get a massively built-in device that really comes very close to the Neve feeling.

In terms of sound, the product is well above the majority of audio interfaces that are still available in this area. Especially in the treble range, the Golden Age Project Pre-73 MK III manages to bring a fresh pinch into the frequency range that otherwise just sounds cheaply boosted. People used to say that “the amp sounds expensive” and what they meant was that little bit of clarity, which significantly increased the intelligibility and assertiveness of the vocals.
The midrange is very far forward, which means that you should look in the mix to see whether the vocals come across too hard. What requires additional attention on the vocals will please the instrumental section. Especially in the guitar and bass range, the mids are the linchpin for an official sound.

But to raise the preamp to the same level as the original at a tenth of the price would be a bit too much of a good thing. If the signal is enhanced in any way, it will not achieve the “silkyness” of the original. But let's be honest, did anyone really expect that? Shouldn't we rather rejoice in the fact that you can even get to the edge of the legend at this price?



Conclusion

With the Golden Age Project Pre-73 MK III, the Swedish sound company knows how to impress in many areas. For a comparatively very low selling price, the ambitious sound engineer can bring a touch of the British legend into his home recording studio without having to calm down his lovely wife screaming loudly in the apartment because of the selling price.

Due to the very good signal routing, a consistently discrete circuit design and high-quality input and output transformers, the preamp is well above the standard project studio standards.

At this price it's almost a must for a small budget.

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Additional Informations:

Introduction:
Rupert Neve is a name synonymous with excellence, innovation, and uncompromising quality in the world of audio engineering. As a pioneering figure whose contributions have shaped the landscape of professional audio for over half a century, Neve's legacy extends far beyond the confines of traditional engineering. From his groundbreaking designs in recording consoles and signal processing equipment to his enduring influence on modern music production, Rupert Neve remains a towering figure whose impact reverberates throughout the industry.

Early Life and Education:
Rupert Neve was born on July 31, 1926, in Newton Abbot, Devon, England. Raised in a family with a rich musical heritage, Neve's early exposure to music and technology would later fuel his passion for audio engineering. After serving in the British Army during World War II, Neve pursued his interest in electronics and studied at the University of Liverpool, where he honed his skills in engineering and physics.

Career Beginnings:
Neve's career in audio engineering began in the late 1940s when he founded his first company, CQ Audio. Specializing in the design and manufacturing of public address systems, Neve quickly gained a reputation for his innovative approach to sound reinforcement. His early experiments with audio equipment laid the groundwork for his future endeavors and set the stage for his groundbreaking contributions to the field.

In 1961, Neve established his eponymous company, Rupert Neve Designs (RND), with a focus on designing high-quality audio equipment for recording studios and broadcast facilities. It was during this period that Neve would create some of his most iconic designs, revolutionizing the way music was recorded and mixed.

Innovations in Recording Consoles:
One of Neve's most significant contributions to the field of audio engineering was his development of recording consoles that set new standards for sonic fidelity and versatility. Neve's consoles, such as the legendary Neve 80 Series, became the gold standard for recording studios around the world, prized for their pristine sound quality, robust construction, and intuitive layout.

The Neve 80 Series consoles, introduced in the 1970s, featured modular construction, allowing engineers to customize the console to suit their specific needs. With innovations such as the 1073 preamp/EQ module, renowned for its warm, musical sound, and the 2254 compressor/limiter, prized for its transparent dynamics control, Neve's consoles became indispensable tools for recording engineers seeking the highest level of audio fidelity.

Neve's consoles were not only revered for their technical excellence but also for their musicality and character. Engineers and producers prized the "Neve sound," characterized by its rich harmonic content, wide dynamic range, and musical response. Artists ranging from The Beatles to Pink Floyd to Nirvana sought out Neve consoles for their recordings, cementing their place in music history.

Signal Processing Innovations:
In addition to his groundbreaking work in recording consoles, Rupert Neve was also a pioneer in the field of signal processing, designing a wide range of outboard gear that became essential tools for audio professionals. From equalizers and compressors to microphone preamplifiers and reverb units, Neve's signal processing equipment offered unparalleled sonic performance and versatility.

One of Neve's most enduring contributions to signal processing was the development of the Neve 1073 preamplifier/EQ module. Launched in the early 1970s, the 1073 quickly became a studio staple, prized for its warm, punchy sound and musical EQ curves. Its transformer-coupled design and Class A amplification ensured optimal signal integrity and sonic purity, making it a favorite among recording engineers and musicians.

Neve's signal processing innovations extended beyond the studio realm, with the introduction of the Neve 2254 compressor/limiter. Renowned for its transparent dynamics control and musical response, the 2254 became a go-to choice for mixing and mastering engineers seeking precise control over dynamics and transient shaping.

Legacy and Influence:
Rupert Neve's impact on the world of audio engineering cannot be overstated. His innovative designs, meticulous craftsmanship, and unwavering commitment to sonic excellence have set the standard for generations of audio professionals. Neve's consoles and signal processing equipment continue to be revered as timeless classics, sought after by recording studios, broadcast facilities, and artists worldwide.

Beyond his technical achievements, Neve's legacy is also characterized by his passion for music and his dedication to serving the creative needs of artists. Throughout his career, Neve remained deeply engaged with the music community, collaborating with engineers, producers, and musicians to refine and enhance his designs. His intuitive understanding of the recording process and his ability to translate artistic vision into technological innovation have earned him the respect and admiration of his peers.

In recognition of his contributions to the field of audio engineering, Rupert Neve has received numerous awards and accolades, including a Technical Grammy Award in 1997 for his lifetime achievements. Despite his passing in 2021, Neve's legacy lives on through Rupert Neve Designs, which continues to uphold his standards of excellence and innovation in the pursuit of sonic perfection.

Conclusion:
Rupert Neve's impact on the world of audio engineering is nothing short of transformative. From his pioneering work in recording consoles to his innovations in signal processing, Neve's contributions have shaped the way music is recorded, mixed, and mastered. His uncompromising commitment to sonic excellence, coupled with his passion for music and technology, have earned him a place among the most revered figures in the history of audio engineering. As the industry continues to evolve, Rupert Neve's legacy remains a guiding light, inspiring future generations of engineers and musicians to push the boundaries of what is possible in sound.