Arturia 1973-Pre User manual

USER MANUAL

Special Thanks
DIRECTION
Frédéric Brun Kevin Molcard
DEVELOPMENT
Vincent Travaglini
Nicolo Comin
François Reme
Raynald Dantigny
Bapiste Aubry
Pierre Pfister
Matthieu Courouble
DESIGN
Martin Dutasta Shaun Elwood Morgan Perrier
MANUAL
Fernando Rodrigues Morgan Perrier Florian Marin
BETA TESTERS
Fernando Rodrigues
Ben Eggehorn
Paolo Negri
Terry Marsden
Peter Tomlinson
Marco Correia
Jay Janssen
Luca Lefèvre
Chuck Zwicky
Ken Flux Pierce
Dwight Davies
© ARTURIA SA – 2018 – All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 7 March 2018

Thank you for purchasing 1973-Pre!
This manual covers the features and operation of 1973-Pre.
Be sure to register your software as soon as possible! When you purchased 1973-Pre you
were sent a serial number and an unlock code by e-mail. These are required during the
online registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update the hardware that has been purchased.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia's 1973-Pre
Since the late 1990s, Arturia has received acclaim from players and reviewers alike for
designing state-of-the art software emulations of the venerable analog synthesizers from
the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a modular system that
was introduced in 2010, to the Matrix 12 V (2015), the Synclavier V (2016), and most recently
the Buchla Easel V, the DX7 V and the CMI V, Arturia's passion for synthesizers and sonic
purity has given demanding musicians the best software instruments for professional audio
production.
Arturia also has a growing expertise in the audio field, and in 2017 launched the AudioFuse,
a pro studio quality audio interface that features two proprietary DiscretePRO® microphone
preamplifiers and a set of top-notch AD/DA converters.
The ARTURIA 1973-Pre is the culmination of over a decade of experience in recreating the
most iconic tools of the past.
ARTURIA has a passion for excellence and accuracy. This led us to conduct an extensive
analysis of every aspect of the Neve 1073 hardware and its electrical circuits, even modeling
the changes in behavior over the course of time. Not only have we faithfully modeled the
sound and behavior of this unique mixer channel, we have added some features that were
unimaginable in the days the Neve 1073 was being manufactured.
1973-Pre runs as a plug-in in all major formats inside your DAW. It has easy MIDI learn
functionality for hands-on control of most parameters, and as a plug-in also allows
parameter automation for greater creative control.
DISCLAIMER: All manufacturer and product names mentioned in this manual are
trademarks of their respective owners, which are in no way associated or affiliated with
Arturia. The trademarks of other manufacturers are used solely to identify the products of
those manufacturers whose features and sound were studied during 1973-Pre development.
All names of equipment inventors and manufacturers have been included for illustrative and
educational purposes only and do not suggest any affiliation or endorsement of 1973-Pre by
any equipment inventor or manufacturer.
The Arturia team

Table Of Contents
1. WELCOME ......................................................................................................................................................................... 2
1.1. Arturia's secret ingredient: TAE® ................................................................................................................................... 3
1.2. Arturia's 1973-Pre ................................................................................................................................................................... 5
2. ACTIVATION AND FIRST START.......................................................................................................................... 6
2.1. Activate the 1973-Pre license.......................................................................................................................................... 6
2.1.1. The Arturia Software Center (ASC).................................................................................................................................................................... 6
2.2. Initial Setup .............................................................................................................................................................................. 7
2.2.1. 1973-Pre as a plug-in.................................................................................................................................................................................................. 7
2.3. Quick Start: A basic patch............................................................................................................................................... 8
3. USER INTERFACE ....................................................................................................................................................... 10
3.1. The Control Panel............................................................................................................................................................... 10
3.2. The Toolbar.............................................................................................................................................................................. 11
3.2.1. Save....................................................................................................................................................................................................................................... 11
3.2.2. Save As…............................................................................................................................................................................................................................ 11
3.2.3. Import Preset................................................................................................................................................................................................................. 11
3.2.4. Export Menu .................................................................................................................................................................................................................. 12
3.2.5. Resize Window options......................................................................................................................................................................................... 12
3.2.6. Preset Selection.......................................................................................................................................................................................................... 12
3.3. MIDI Learn assignment................................................................................................................................................. 13
3.3.1. Assign / Unassign controls .................................................................................................................................................................................. 13
3.3.2. Min / Max value sliders ......................................................................................................................................................................................... 14
3.3.3. Relative Control option .......................................................................................................................................................................................... 14
3.4. MIDI controller configuration..................................................................................................................................... 15
3.5. The lower toolbar ............................................................................................................................................................... 16
3.5.1. VU Calibration .............................................................................................................................................................................................................. 16
3.5.2. Bypass.............................................................................................................................................................................................................................. 16
3.5.3. CPU meter ..................................................................................................................................................................................................................... 16
3.6. The Preset browser............................................................................................................................................................ 17
4. 1973-Pre OVERVIEW................................................................................................................................................. 18
4.1. What is a preamp? ............................................................................................................................................................ 18
4.2. What does a preamp do? ............................................................................................................................................ 19
4.3. What is an EQ?.................................................................................................................................................................. 20
4.4. What does equalization do?..................................................................................................................................... 20
4.5. The 1973-Pre preamp and EQ plug-in ................................................................................................................... 21
4.5.1. Signal Flow ..................................................................................................................................................................................................................... 21
4.5.2. The EQ section ........................................................................................................................................................................................................... 22
4.5.3. The preamp section................................................................................................................................................................................................ 24
4.5.4. Mid/Side mode........................................................................................................................................................................................................... 26
5. 1973-Pre CONTROL PANEL................................................................................................................................... 28
5.1. Single Channel (Mono).................................................................................................................................................... 28
5.1.1. Single Channel EQ Section................................................................................................................................................................................... 28
5.1.2. Single Channel Preamp Section and Output ........................................................................................................................................... 31
5.2. Double Channel .................................................................................................................................................................. 33
5.2.1. Double Channel EQ Section................................................................................................................................................................................ 33
5.2.2. Double Channel Preamp Section and Output ....................................................................................................................................... 35
5.2.3. Some final words..................................................................................................................................................................................................... 36
6. Software License Agreement............................................................................................................................ 37

1. WELCOME
Rupert Neve started building devices for studios in the beginning of the 70s, coming from
a broadcast background and having some experience himself with recording. He grew up
in Argentina, and as a young boy he repaired radios, built radios and sold them to friends,
studied the Radio Amateurs Handbook, and already knew the valve catalogs by heart. At 17,
he enlisted to serve his country during World War II, joining the Royal Signals.
After the war, Rupert Neve used a small legacy from his Grandmother to buy an ex-US Army
Dodge ambulance, where he installed equipment to convert it into a mobile recording and
public address control room. He recorded choirs, amateur operatic societies, music festivals
and public events on 78 RPM lacquer disks (before the days of tape).
Rupert gained audio design and manufacturing experience with Rediffusion, Ferguson
Radio, and as Chief Engineer of a transformer manufacturer. Since his employer was not
interested in manufacturing Neve's designs, he decided to start his own company.
The first mixer designed by Rupert Neve was for Desmond Leslie, a composer of "musique
concrète" (a musical style that worked with pre-recorded real world sounds, assembling,
mixing and manipulating them). Leslie needed a device that would help him mix these
sounds together, specifically because of a contract with EMI to produce the background
music for Shakespeare plays. Neve created a mixer that was a truly unique, custom-
designed piece of equipment, and not saleable to anyone else.
In 1961, a new opportunity presented itself: the advent of the pop music scene in London.
One of Neve’s very early clients was Leo Pollini of Recorded Sound in London, for whom he
designed and built two valve consoles.
By 1964, Rupert Neve had already developed high-performance transistor equipment that
replaced the traditional valve designs. The first client for the new transistor equipment was
Phillips Records Ltd.
Neve was commissioned to design and build a series of equalizers to enable his clients to
change the musical balance of material that had been previously recorded. This was before
the days of multi-track tape machines. The success of the equalizers led to orders from
Phillips and other recording studios for mixing consoles. These attained a reputation for
excellent workmanship and sonic clarity. Demand grew rapidly.
After a few years, Neve Channel Amplifiers comprised a range of high-performance input
amplifiers available for use on Neve sound control consoles, which incorporated alternative
arrangements of filter and frequency response curves. These amplifiers were designed to
accept signals from microphone and line sources and raise them to a level suitable to work
in the main mixer circuit. Important features: low noise & distortion and generous overload
performance. The first one was the 1053 and many more followed, with changes in the
selectable band frequencies and in components.
Designed in 1969, the 1063 was the first Neve channel amp to use the beloved red/grey/blue
knobs that became one of the distinct images of Neve. The 1063's equalizer was a simple
3-band affair consisting of high and low shelves with a bell mid band. The shelves used a
Baxandall type design providing a High Shelf at 10kHz and a Low Shelf selectable between
35, 60, 100, and 220Hz. These Shelf EQ bands provided a boost/cut range of +/- 16dB. The
Mid band was an inductor-based Bell (also called Peak) design allowing choices of 700Hz,
1.2, 2.4, 3.8, and 7kHz with a boost/cut range of +/- 18dB.
Baxandall tone control circuits were named after Peter Baxandall, an English audio engineer
who first came up with this type of circuit in the 1950s. They are characterized by sweet
sweeping curves in the bass and treble shelf EQs (these were even named Baxandall
curves) that give a broad yet musical adjustment. The slope is lower than what was usual,
and that contributes to the curves sweetness, since they sound smoother and more natural.
2 Arturia - Us r Manual 1973-Pr - WELCOME

The variable bands of the 1063 featured a dual-concentric control set with an aluminum
outer ring to select the frequency and an inner plastic knob to control the amount of boost
or cut.
Rounding off the features of this channel amp is an inductor-based high-pass filter with a
slope of -18dB per octave and selections of 50, 80, 160, and 300Hz. There are also two
button switches at the base of the front panel, one to engage or bypass the EQ and the other
to invert the signal phase.
The basic functionality of the 1063 module set a precedent for all future class-A Neve
channel amps in that most subsequent models included a mic/line preamp, 3 band EQ and
filter(s).
The 1063 was quickly followed by the 1064, which was similar in functionality, though it
provided separate mic and line inputs, each with their own input transformer (10468 for mic
and 31267 for line). The three-band EQ featured the same Baxandall high/low shelves and
inductor-based peaking midrange design as used on the 1063, though frequency selection
was a bit altered: 10kHz on the High Shelf, 700Hz, 1.2, 2.4, 3.6, and 7kHz in the Midrange
Bell (usually called Presence) and 35, 60, 100, and 220Hz on the Low Shelf. Instead of
pots for the cut/boost controls the 1064 used rotary switches for stepped (and recallable)
functionality.
The HPF of the 1064 was switchable at 45, 70, 160, and 360Hz, instead of the 50, 80, 160,
and 300Hz of the 1063.
The Neve 1066 was another milestone in Neve channel amplifiers. Again, it had the
traditional 3-band EQ, featuring High Shelf with a fixed frequency of 10kHz and boost/cut
of +/- 16dB, Midrange Bell, called Presence as usual in the Neve devices, with selectable
switching frequencies of 700Hz, 1.2, 2.4, 3.6, and 7kHz and a boost/cut of +/- 16dB, and Low
Shelf with switchable fixed frequencies of 60, 100, and 220Hz and again a boost/cut of
+/- 16 dB. According to Neve, the shapes of the curves and the frequencies were carefully
chosen to give the maximum possible flexibility in high quality recording.
In addition, and as it had became customary in Rupert Neve designs, a high-pass filter was
added, with a slope of -18dB per octave and a choice of cutoff frequencies of 20, 45, 70,
160, and 360Hz.
Also, the usual two button button switches to turn On or Off the EQ circuit and to invert the
phase were added.
The Neve 1073 follows this design closely (actually, we can say the 1073 is the 1066 with
different frequencies). With the exception of the switchable frequencies of each of the three
EQ bands, the internal circuitry, in terms of transformers and amplifiers, was identical.
Somehow, the 1073 became the most popular.
So, the EQ section of the Neve 1073 comprised the usual three bands: High Shelf with a fixed
frequency of 12kHz, and a boost/cut of +/- 16dB; a Low Shelf with selectable frequencies
of 35, 60, 110 and 220Hz, again with a boost/cut of +/- 16dB; and a Midrange Bell (Peak)
with fixed bandwidth and selectable center frequencies of 360Hz, 700Hz, 1.6k, 3.2k, 4.8k
and 7.2kHz.
The 1073 also had a High Pass Filter with a slope of -18dB per octave, and frequencies
switchable between 50, 80, 160, and 300Hz, as well as the two button switches for EQ On/
Off and phase inversion.
It is this last famous preamp and EQ that Arturia is now recreating.
1.1. Arturia's secret ingredient: TAE®
TAE® (True Analog Emulation) is Arturia's outstanding technology dedicated to the digital
reproduction of analogue circuits used in vintage synthesizers.
Arturia - Us r Manual 1973-Pr - WELCOME 3

TAE®’s software algorithms result in spot-on emulation of analogue hardware. This is why
1973-Pre offers an unparalleled quality of sound, as do all of Arturia’s virtual synthesizers
and plug-ins.
TAE® combines major advances in the domain of synthesis:
Linear Frequency spectrum of a well known software synthesizer
Linear frequency spectrum of an oscillator modeled with TAE®
Temporal representation of the "sawtooth"
waveform of a hardware synthesizer
4 Arturia - Us r Manual 1973-Pr - WELCOME

1.2. Arturia's 1973-Pre
So, what is and what do we get with the 1973-Pre preamp and EQ plug-in?
The goal of Arturia was to model the sound of this famous and well sought-after vintage
preamp and EQ unit, definitely one of the most famous and revered, as well as add some
new features that are helpful in a modern workflow.
Therefore, we have the amplification circuit, and a 3 band EQ with High Shelf, Mid Bell (Peak)
and Low Shelf bands, and High Pass Filter. The EQ in the plug-in version has sweepable
frequencies for the filter, the Low Shelf and the Midrange Bell. Only the High Shelf kept the
fixed frequency of the original. This gives the plug-in much more flexibility in the EQing,
while preserving the great sound that was the main characteristic of the original Neve 1073.
We also have some other changes, like for example two transformer types (the original
Neve 1073 was a Class-A). The first transformer keeps the original sound of the original Neve
amplifier, while the second is a novelty introduced by Arturia to give the users some sound
variation, based on another famous piece of vintage equipment.
The plug-in has Single Channel and Dual Channel versions, or configurations. The Dual
Channel configuration can work in three different modes. The default mode is Stereo, which
means the Stereo Link button is On and the Stereo Mode switch is in the L/R (Left/Right)
position. When we change this switch to the M/S position, the plug-in enters the Mid/Side
mode. This automatically disables (turns Off) the Stereo Link button.
When the Stereo Link switch is Off, and the Stereo Mode button is in the L/R position,
the plug-in is in Dual Mono mode. In this mode each channel works independently, which
means we can have the EQ switched On in one channel and Off in the other, for example,
and the phase switched On in one and Off in the other.
Temporal representation of a "sawtooth"
waveform reproduced by TAE®
Arturia - Us r Manual 1973-Pr - WELCOME 5

2. ACTIVATION AND FIRST START
1973-Pre works on computers equipped with Windows 7 or later and macOS 10.10 or later.
You can use the 1973-Pre as an Audio Unit, AAX, VST2 or VST3 plug-in.
2.1. Activate the 1973-Pre license
Once the software has been installed, the next step should be to activate your license, so
that you can use it without limitations.
This is a simple process that involves a different software program: the Arturia Software
Center.
2.1.1. The Arturia Software Center (ASC)
If you have not already installed the ASC, go to this web page:
https://www.arturia.com/support/updates&manuals
Look for the Arturia Software Center at the top of the page, and then download the version
of the installer that you need for your system (macOS or Windows).
Follow the installation instructions and then:
• Launch the Arturia Software Center (ASC)
• Log into your Arturia account
• Scroll down to the My Products section of the ASC
• Click the Activate button
That's all there is to it!
6 Arturia - Us r Manual 1973-Pr - ACTIVATION AND FIRST START

2.2. Initial Setup
2.2.1. 1973-Pre as a plug-in
1973-Pre comes in VST2, VST3, AU and AAX plug-in formats for use in all major DAW
software such as Live, Cubase, Logic, Pro Tools and so on. You can load as many instances
as you find useful, and you will also find some other useful features:
• You can automate numerous parameters using your DAW’s automation system;
• Your settings and current plug-in state will become recorded in your project, and
you can pick up exactly where you left off the next time you open it.
Arturia - Us r Manual 1973-Pr - ACTIVATION AND FIRST START 7

2.3. Quick Start: A basic patch
The patch below is an ideal starting point for getting to know the 1973-Pre plugin. We will use
the sequencer to modulate the saturation (drive) and the EQ amount of one or two bands.
It illustrates how you can use 1973-Pre to process sound. The example below was tested in
Cubase Pro, but it will work in a similar way in other DAWs.
Please load the default factory preset. This ensures that you have all knobs in the correct
starting position.
Let's give it try:
• Load a four-beat clip into an audio track in your DAW (a drum track is ideal for
testing the EQ and the saturation of the preamp).
• Load an instance of 1973-Pre as an insert on that same track.
• Make the interface of the 1973-Pre visible by clicking its name in the Mixer.
• Now start your DAW and play the loop. It will sound the way it was recorded.
By default, all parameters are in a neutral position. There is still some minor
harmonic distortion, but that's OK with our demonstration.
• Set the lnput Level to -50 and observe what happens on the VU meters; if a dot
signal appears on the right, the Input Level may be too much. Although harmonic
distortion can be used as a sound design tool, you may want to reduce that level.
By raising the Input Level, you just added some saturation to your signal.
• Now increment the High Shelf. Remember that this band is set to a relatively high
frequency (12kHz). So, just give it a little boost (maybe 1dB). This will give your
mix a little more "air".
1973-Pre configured to add some "presence" to the sound
8 Arturia - Us r Manual 1973-Pr - ACTIVATION AND FIRST START

• You may also want to give it a little more presence. This may be achieved
by boosting the mid frequencies. Try using the Midrange Bell band for this
(remember that we said it was even called "Presence" in the original). For better
results, you first have to change the base frequency to a higher value (maybe
around 1.6k). Since this is a sweeping control, you can adjust it later to find your
"sweet spot".
• Now give this band a boost of 3dB, for example. Always pay attention to the VU
meters and the volume in your DAW, to be sure you are not overloading it (and
listen to the results too, of course).
• You can now experiment with the Bass Drum, using the High Pass Filter and the
Bass Shelf band. As soon as you switch on the High Pass filter, you will probably
notice that the Bass Drum sounds weaker than before.
• Now choose a frequency in the Low Shelf EQ (maybe between 60 and 110Hz)
to boost frequencies around that point. The Bass Drum will now appear more
prominently, but with a different timbre.
• When you conclude that the the parameter settings have achieved the desired
sound, it's time to define some MIDI modulation. For that, you need to click the
MIDI icon in the right side of the upper toolbar.
• Now, many of the controls in the 1973-Pre become purple, which means they are
ready to "learn" MIDI automation controls.
• Click the Boost/Cut knob of the Mid Bell band. A pop-up window like the one in
the picture above will appear.
• Now move the controller knob/fader you want to use to control that parameter. If
the connections are well established, you should see the parameter assigned to
the Input Level. If your controller is able to, and the control you selected is of the
right type, you should select "Is Relative", to make sure that when you touch that
parameter the control will not jump suddenly. For more information about this
feature, refer to the section Relative Control option [p.14] in the USER INTERFACE
chapter.
• Now select the Input Gain of one channel. Repeat the operation above, for the
knob to "learn" which MIDI control it should respond to.
• Remember that, since we are working in Stereo Mode (the Stereo Link button is
On) any changes made on one channel will be reflected on the other as well.
1973-Pre ready for MIDI learning. Notice the MIDI control
setup window over the selected control, which is already
assigned (when assigned, the color changes to red).
Arturia - Us r Manual 1973-Pr - ACTIVATION AND FIRST START 9

3. USER INTERFACE
The 1973-Pre is packed with great features, and in this chapter we’ll take a tour and show
you what it can do. We think you’ll be amazed by the range of audio processing options this
plug-in is capable of.
This plug-in is more flexible than you probably would expect at first sight, due to the relative
simplicity of its User Interface. That will always be the main focus of every Arturia product:
to unleash your creativity while remaining easy to use.
3.1. The Control Panel
We will have a detailed look at the Control Panel in the Control Panel chapter [p.28].
10 Arturia - Us r Manual 1973-Pr - USER INTERFACE

3.2. The Toolbar
The plug-in GUI (Graphical User Interface) has the usual Arturia toolbar that runs across
the top edge, with the Arturia logo / plug-in name on the left (the colored part), followed by
the Library button, the Library selection filter button, the Preset name on the center, and the
MIDI button on the right. This toolbar is common to all current Arturia plug-ins, and gives
access to many important functions. Let’s look at them in detail.
The first seven of these options can be found by clicking on the Arturia 1973-Pre button at
the top left-hand corner of the plug-in window. Since these options are also common to all
current Arturia current plug-ins, they may be already familiar to you.
3.2.1. Save
This option will overwrite the active preset with any changes you have made, so if you
want to keep the source preset also, use the Save As option instead. See the next section for
information about this.
3.2.2. Save As…
If you select this option, you are presented with a window where you can enter information
about the preset. In addition to naming it, you can enter the Author name, and select a Type.
You can even create your own Type, by entering custom names in the respective place. This
information can be read by the preset browser and is useful for searching the preset later.
3.2.3. Import Preset
This command lets you import a preset file, which can be either a single preset or an entire
bank of presets. Both types are stored in .1prx format.
After selecting this option the default path to these files will appear in the window, but you
can navigate to whichever folder you are using to store presets.
Arturia - Us r Manual 1973-Pr - USER INTERFACE 11

3.2.4. Export Menu
You can export presets in two ways: as a single preset, and as a bank.
•Export Single Preset: Exporting a single preset is handy when you want to share
a preset with someone else. The default path to these files will appear in the
"save" window, but you can create a folder at another location if you like. The
saved preset can be reloaded with the import preset menu option.
•Export Bank: This option can be used to export an entire bank of sounds from the
instrument, which is useful for backing up or sharing presets.
3.2.5. Resize Window options
The 1973-Pre window can be resized from 60% to 200% of its original size without any
visual artifacts. On a smaller screen such as a laptop, you might want to reduce the interface
size, so it doesn't dominate the display. On a larger screen or a second monitor, you can
increase the size to get a better view of the controls. The controls work the same at any
zoom level, but they can be harder to see at the smaller magnification values, or when using
high resolution monitors (like HD monitors or higher). The higher the resolution, the bigger
the size that should be used.
3.2.6. Preset Selection
The Preset browser [p.17] can be opened by clicking the library symbol on the toolbar. The
filter, name field and left / right arrows in the toolbar all assist with preset selection.
12 Arturia - Us r Manual 1973-Pr - USER INTERFACE

3.3. MIDI Learn assignment
The MIDI plug icon at the far-right side of the toolbar places the instrument in MIDI learn
mode. MIDI-assignable parameters will be shown in purple, which means you can map
physical controls to those destinations inside the instrument. A typical example might be
to map a real expression pedal to the Output Trim control, or knobs and faders on your
controller to the different virtual knobs and switches of the plug-in.
In the image above one of the parameter control knobs is red. That means it has already
been assigned to an external MIDI control. It can be reassigned, though.
♪: Remember that you can also assign the Preset Forward and Backward arrows to an external
control.
3.3.1. Assign / Unassign controls
If you click on a purple area, you’ll put that control into learning mode. Move a physical
dial, fader, or button and the target goes red, indicating that a link has been made between
the hardware control and the software parameter. There’s a pop-up window that displays
which two things are being linked and an Unassign button that will disconnect the two.
MIDI Learn assignment mode in the 1973-Pre
Arturia - Us r Manual 1973-Pr - USER INTERFACE 13

3.3.2. Min / Max value sliders
There are also minimum and maximum value sliders that you can use to restrict the
parameter change range to something other than 0%-100%. For example, you might want
the Output Volume knobs to be controllable via hardware from 30% to 90%. If you make this
setting (Min set to 0.30 and Max set to 0.90) your physical dial will be unable to alter the
volume lower than 30% or higher than 90%, no matter how far you turn it. This is very useful
to prevent you from accidentally making the sound too quiet or too loud when controlling it
in real time.
In the case of switches which only have two positions (On or Off – like the LOW PASS and
HIGH PASS switches), those would normally be assigned to buttons on your controller. But
it is possible to toggle those with a fader or other control if you like.
3.3.3. Relative Control option
The final option in this window is a button labeled “Is Relative”. It is optimized for use with
a specific type of control: one which sends only a few values to indicate the direction and
speed at which a dial is turning, as opposed to sending a full range of values in a linear
fashion (0-127, for example).
To be specific, a “relative” dial will send values 61-63 when turned in a negative direction and
values 65-67 when turned in a positive direction. The turn speed determines the parameter
response. Refer to the documentation of your hardware controller to see if it has this
capability. If so, be sure to switch this parameter on when setting up its MIDI assignments.
When configured this way, movements of the physical control (usually a dial) will change
the software parameter by starting at its current setting, rather than being an “absolute”
control and snapping it to some other value as soon as you start to move it.
This can be a great feature when controlling things like volume, filter, or effect controls since
you won’t usually want them to jump noticeably from their current setting when they are
modified.
♪: Pitch Bend, Mod Wheel and Aftertouch are reserved MIDI controllers that cannot be assigned to
other controls.
14 Arturia - Us r Manual 1973-Pr - USER INTERFACE

3.4. MIDI controller configuration
There’s a small arrow at the far right-hand side of the toolbar (after the MIDI icon) that
deals with MIDI controller configurations. This allows you to manage the different sets
of MIDI maps you may have set up for controlling the instrument’s parameters from
MIDI hardware. You can copy the current MIDI assignment setup or delete it, import a
configuration file or export the currently active one.
This is a quick way to set up different hardware MIDI keyboards or controllers with 1973-Pre
without having to build all the assignments from scratch each time you swap hardware.
Note the check mark on the bottom of the menu: that indicates that the configuration with
that name is the one currently active. Empty means that there's no configuration loaded.
Arturia - Us r Manual 1973-Pr - USER INTERFACE 15

3.5. The lower toolbar
When you are changing a parameter, you will see a readout showing the value or state
of whatever control you are modifying at the left-hand side of the lower toolbar. It will
also display the current value of a parameter when you place the mouse pointer over that
parameter control in the control panel. This is handy, because you don’t need to touch the
parameter control to read the current value.
At the right-hand side of the lower toolbar are several small windows and buttons. These
are very important features, so let’s take a closer look at them.
3.5.1. VU Calibration
The 1973-Pre has two VU meters (one when in Single Channel mode) at the top-right of the
control panel. By clicking this button, we can access a menu where we can calibrate their
response. By default, they are calibrated for -18dBFs but we can change this to -14dBFs or
-8dBFs.
3.5.2. Bypass
This one is obvious. Activating the bypass option will disable 1973-Pre processing.
3.5.3. CPU meter
The CPU meter is used to monitor how much of your computer’s CPU is being used by the
plug-in. If you stress your computer too much, the global performance of your system and
the audio may suffer.
16 Arturia - Us r Manual 1973-Pr - USER INTERFACE