Golden Age Premier PRE-73 DLX PREMIER

This is the way audio components were built before integrated circuits became available. The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern products, a situation that is even more obvious now when music is recorded with clean sounding digital audio equipment.

The circuit used in the PRE-73 DLX PREMIER is similar to the preamp section in the classical 1073 module with a corresponding sound character that is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

FEATURES

– Vintage style electronics. No integrated circuits in the signal path.

– All soldered, connector-free internal design for the purest and most reliable signal path, the only connector used is for the gain switch,

– UK-made Carnhill mic input and line output transformers and highpass inductor. The line input uses a custom transformer and the circuit board is prepared for the Carnhill tone. The output is balanced and fully floating and can drive a 600 ohm load up to about 28 dBu.

– Traditional 23-position 1073-style gain switch that is also used to select the mic or the line input jack.

– Combo XLR/TRS mic and line input jacks and separate output XLR and TRS jacks for flexible connections.

– A Neutrik XLR/TRS combo jack with gold over nickel plated bronze contacts is used for the mic input.

– Maximum gain on the mic input is 80 dB, enough to handle passive ribbon mics with quiet sound sources.

– Switchable impedance on the mic input, 1200 or 300 ohms. Changing the load impedance will change the tone of many mics.

– Gain range on the line input: -20 to + 10 dB.

– An active instrument input for guitar and bass that passes the signal through the mic input transformer, with selectable input impedance, hi-Z or 100 kohm, by an internal jumper.

– Switchable phantom power and absolute phase.

– Traditional gain switch plastic knob and metal knobs for the other controls.

– The phantom power can deliver up to 10 mA according to the specification standard. The 6.8 kohm phantom power resistors are matched to within 0.1% to maintain good common-mode rejection in the circuit.

– Selectable 1073-style inductor based highpass filter at 50, 80, 160 or 300 Hz with a slope of 18 dB / octave.

– Selectable two position AIR EQ with a boost of about 3 or 6 dB at around 30 kHz.

– Insert jack for inserting EQ´s and other units. The insert jack can be switched in/out from the front panel. An internal jumper can select if the insert jack always has an output signal or not.

– The output level control makes it possible to make fine gain adjustments and also to overload the main gain stage(s) for more character and then lower the signal to a suitable level before the output stage.

– An output pad allows the user to add character by attenuating the output signal after the output transformer by -7, -14, -21 or -28 dB for overdriving the output stage and the output transformer by adding gain and then lower the output signal to a suitable level with the pad.

– A simple but effective 4-step LED output level meter.

– Tantalum and polystyrene capacitors in the traditional positions. Neutrik XLR/TRS combo jack is used for the mic input.

– Switches on the back panel for 600 ohm output termination and ground lift.

– Relays are used to control internal switching for phantom power, mic low-Z, insert and DI for shorter circuit board signal paths. The relays are controlled by front panel switches.

– Circuit board star grounding scheme.

– Power supply with separate regulators for the audio circuit and the relay and LED circuit.

– External power supply to avoid interaction with the audio circuits and transformers.

– A solid build quality that will last many years of normal use.