TransAudio Group
7320 Smoke Ranch RoadSuite G
Las Vegas, NV. 89128
702-365-5155
fax: 702-365-5145
sales@transaudiogroup.com
Daking Audio Inc.
P.O. Box 8702
Wilmington, DE 19899
(302) 482-4898
geoff@daking.com
dave@daking.com
“If you’re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!”
-Butch Vig
On Jul 10, 2009, at 11:01 PM, Chris wrote:
Geoff
Let me start by saying that i purchased your 4 channel mic pre and i LOVE IT!
I was wondering, do the front DI inputs by-pass the mic transformer?
Thanks
Chris
Chris,
The direct input does not go through the transformer, it goes straight to the preamp.
Guitars have high impedance outputs and would be loaded down by the 1200Ω input of a mic pre. The DI has a very high input impedance, >100kΩ.
Geoff
A number of users of the Mic Pre One and the Mic Pre IV have asked the question:
“If I have the Gain control turned all the way down, how can the mic pre still be peaking? If I engage the Pad button, will this change the sound?”
The Mic Pre One by Daking Audio
Here’s the answer:
Gain Explained
The “Gain” control is not a volume pot. It will not shut off the signal. It controls the amount of gain the mic pre can produce. The minimum gain is about 25 db, (or 5db with the pad in) and the maximum is >70db (about 10 dB more than most pre-amps.)
Microphone Output Explained
All microphones have different output levels. Ribbons generally have the lowest outputs while condensers have the highest. Dynamics are somewhere in the middle.
If you mic a guitar amp with an RCA 44 (the premier ribbon mic), you will probably need to add gain. If you use a Neuman U87, you will need the pad. That’s why condenser microphones usually have pads built in.
How to Use the Pad Control
Some people believe that the pad changes the sound. Not really true. Most good preamps have an input impedance of 1200Ω. This is the “load” or “termination” that the microphone is looking for. The frequency response of a mic is frequently affected by the load so they are optimized for this standard reflected impedance. In many mic pres, the reflected impedance changes when the pad is inserted, so the mic behaves differently when padded. We are very careful to see that this does not happen with our pres, the impedance does not change.
Do Not Fear the Pad.
Sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the Mic Pre One additionally features a unique variable high-pass filter and ships in a freestanding ‘DI-style’ steel enclosure, ensuring both strength and noise immunity.
Essentially a single channel of the Mic Pre IV, the Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4-inch front panel hi-z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain, which is complemented by a full-width, twenty-segment bi-color LED meter.
The rear of the unit offers a Jensen transformer-isolated mic input and fully-balanced XLR output, plus a 1/4-inch line output. A fourth connector introduces DC power from the external power supply to the unit.
Noted Brad Lunde, president of TransAudio Group, “This Mic Pre One is the very definition of value - a Daking-designed high-end mic pre for those who only need one channel. It’s ideal for pros on tour and studios that seek to locate the mic pre in the vocal booth for short cable runs. Small project studios on a limited budget, can now use the same high-end sounding gear as the pros.”
