All of the brands being mentioned in recent posts are very good, and probably more similar than is being suggested. What's for sure is that you'd be getting great Neve-ish tone in any case.

I had a AMS Neve 1073, BAE 1066DL and a Rupert Neve Shelford.

I preferred the BAE by far over the AMS. Much smother and creamier sounding and did what I expected It to sound like. I just sounded like the records I grew up with on guitars and was nicer on vocals.

I kept the shelford because it was 99% close to the BAE and had much more versatility and a better user interface!

I bought a pair of rack-mounted AMLs. Many people believe that transformers alone can change the entire sound of a Neve. Capacitors play a very important role. The AML uses Wima film capacitors, but I didn't like them in the treble section and replaced them with Silver Mica. I also used Styroflex and Tropical Fish capacitors in the amplification section. If BAE and Stam Audio sound darker, it's because they overuse very large film capacitors; the treble also sounds softer. That's why they have such a bass-heavy sound. I'm not familiar with any Neve amplifiers with Silver Mica; it's a very fast sound with very detailed treble. Deep and stable bass. They're expensive, but there are some very large Russian ones at good prices. They need to be wired. For me, the ones that most resemble the old Neve sound are the Heritage 80 series. These use Tropical Fish, Styroflex, Orange Drop, Tantalum, Film, and Electrolytic capacitors.

Wow, that sounds bad!! Did that machine have robotic arms? did it have transformers inside? YOU DIDN’T CHECK THEY WERE AUTOBOTS???!!!

If you know how to remove components and re-solder them, please don't waste your money. For a little more money and a few hours, you'll get a better sound than the old Neve. Because old Neve have many electrolytic capacitors, if you replace those electrolytic capacitors with tantalum, I assure you the sound will be clearer and more natural. A vintage Neve isn't known for its clean sound, but you do get a warm, clean sound. You've got a beast there.

Transformers...those little thingies inside are indeed not so impressive ;-)

I got a new one, but it doesnt fit in the Neve...

A close examination of the AMS Neve specifications for the 1073SPX and the 1073LB reveal extremely similar electrical characteristics and performance (typically generated with an Audio Precision analyzer).

Normally I use my 1073SPX with the EQ bypassed when tracking. The EQ in/out button on the 1073SPX always makes a difference in the sound because the High Frequency control has no separate off position, it's IN the signal path if the EQ is engaged. This means the high frequencies are always slightly boosted or cut depending on where the High Frequency knob is resting (I tend to leave mine just slightly boosted because I like that sound best).

The 1073LB and 1073SPX sound very similar when the EQ is bypassed on the SPX version. All the other features on the SPX make up for the price difference. I appreciate all the integration on the SPX. I gotta have the output level indicator. The insert (switchable pre or post EQ) on the SPX is balanced-TRS, I use it all the time if I want to track with a compressor. The SPX has an amazing direct-box built right into it on the front panel. The two XLR inputs on the SPX are switch selectable.

AMS Neve did a good job on the 1073LB but you really give up a lot of useability to be in the 500 format and save a few dollars.

I've written extensively about the AMS Neve 1073 on High on Technology http://www.highontechnology.tech/202...-ams.html#more

I've done extensive electronic comparisons between the AMS Neve and Warm Audio clones
http://www.highontechnology.tech/202...-audio-wa.html

and the most read review on High on Technology currently is the AMS Neve 1073SPX compared directly to the Behringer 1273 copy.
http://www.highontechnology.tech/202...d-to-neve.html

I'm an older person and have been following Mr. Neve since the early 1970's. His console creations inspired my interest and career in Professional Audio. Personally I think the only company that can be legitimately called Neve is the one known as AMS Neve today. They are the rightful owners of the legacy and have the employee background to prove it. The products they manufacture say Neve on them.

Mr Neve was a brilliant designer but a terrible business man and even worse manager (probably too much of a gentleman). In conversation with him at AES in 1991 he freely admitted it. Now that he has passed away RND is releasing newly designed products based on their somewhat recent association with Mr. Neve.

BTW I also love the sound produced by the current AMS Reverb which is a 500 size package.

I find it interesting that so many folks cling to the distortion characteristics of Neve products, Mr Neve detested distortion and worked hard to minimize it. Distortion on the current AMS Neve products is listed at .07% @ +20dBu, that is not much distortion and that is a super hot signal for most folks DAW interface line input.

I've known of Brent Averill for a long time, last time I saw him was at AES in 2013 in LA, he was chatting with Bruce Swedien who was signing copies of his new book. BAE makes nice sounding products.

The studio gadgets that actually say Neve on the front have the best resale value in the product sector. They also sound really good.

Good Music to You!

I used to have the BAE MPF, the Neve DPD, MA5 and Aurora GTQC and now Stinger, and in my opinion the Aurora one is the best sounding, the tightest in the low end and the most even. BAE seemed a little loose and dark sounding, Neve sounded too mid focused and modern, MA5 was very tight sounding but not really a Neve sound, the mids seemed too strong and the lows too small. The TG-2 500 is great but it's not really a Neve, it's definitely in the same family but a different console. Tried Great River as well and didn't like it, there was no cream to it. The Aurora has cream, has good balanced, has the definition without sounding piercing, but maybe the Esses can feel a little much on it.

Here's a song tracked with the c800g/Aurora Stinger.



Another song with the c800g/Aurora GTQC:



I've had to be careful with the Esses on both songs, De-essing with the rde-esser, vocal riding the esses, ts, cs, and I'm still not fully happy with it (never will be), but in the end the fans love it, that's what matters.

This is the c800g with the REDD preamp, less Esses popping up, but I did ride them there too. I always have that issue because I compress a lot itb.



I think it's the mic though, using the REDD microphone, the esses are perfect to my ears (I mean maybe I de-essed too much lol). The c800g can be a bit of a dog on my voice. The mastering is also more tamed which helps with esses.

the C800 sound great on your voice.How is the DI on the Aurora ? Nice songs and recordings

It's really good the DI on it. The Stinger is my favorite Neve Style preamp, it's a tad brighter than an actual Neve 1073. The EQ on it is similar to a Neve but with more options. You can make hit records with any of these Neve preamps, but to me the characteristics of a vintage Neve 1073 is heard more with the Aurora Preamp, and then the BAE. They're both so good though.

I need to clarify something. Yes, I think the BAE is the closest to a Neve 1073, but I prefer the Aurora preamps because the bass feels a bit tighter and the highs are brighter and the mids more defined compared to the slight hollowness/veilness of the BAE.

The Aurora to me is a fine tuned 1073, and it feels creamy, a bit like using a vintage u67, where the mids can be heard well but it's not piercing you.

MA5 is too fine tuned and the lows are too light and the mids too present to feel like a 1073 (but they don't claim it's trying to be a 1073, and that 10k knob is amazing).

The AMS DPD felt too clean sounding to be a 1073, no cream at all, too solid sounding.

The TG-2 500 has Neve qualities but the sound feels a bit more contained/controlled than a 1073. There's also a lot of revisions on the 1073. Maybe I need to get all those preamps back in my studio and re-evaluate, who knows!

Right now I have the Aurora Stinger and TG-2 500 in my studio, and I don't really use them currently, I've just been running everything in the Camden Audio, but I'll be re-evaluating what I want to do next for future recordings.

I think, like being in a marriage or a friendship, gear selection is about compromise.

I like the c800g for it's clarity but I wish it was creamier and less spiky at times and less zingy.

I like the REDD microphone and the creaminess but I sometimes wish it was a little bit clearer like the c800g.

If you can find something that's 90% there without breaking the bank, then you're set! I'd love to get a vintage 1073 and a vintage u67 with a vintage LA-2A, but for the $$$ I'm not sure it's worth the price they're asking.

The Camden preamp has a thump feature that does sound like a Neve, and then it has a cream feature that reminds me of my Redd preamp. For the price it's a steal.

If I ever find the perfect vocal chain, I will let you know, but right now, for my voice, most Neve style preamps make me sound a bit too Essy and makes my voice sound small, and so I try to stay away, because I don't like vocal riding, it takes the fun out of the recording process.

The REDD microphone straight into the Burl AD is the closest that I can get to a "perfect" vocal sound, meaning, something that I can slap a compressor itb then a de-esser itb and call it a day. The Sony on my voice, is not that kind of mic, but the end result is usually outstanding after careful editing.

I used to use the c800g on my wife, but I feel like the Beesneez b67 sounds the best on her voice, where it brings out the emotional qualities of it more, and hides the singing imperfections better in my opinion.