The Mic Pre/EQ is a single channel high end, all discrete Class A transformer balanced (input and output) unit that combines a great mic pre and world class EQ in one single rack unit. Separate mic and line inputs can be selected from the front panel “line” switch without changing wires in back. Both inputs are combo XLR/ 1/4 in TRS. High gain of 70dB handles all types of mics from ribbons to dynamics and condensers. Switched phantom enables secure ribbon mic use and 20dB pad switch prevents overload on high output condensers mics. Front panel Phase switch for inverting input phase and large overall mute button and bypass button help the work flow.
Geoff Daking’s famous Mic Pre EQ has Four (4) individual EQ bands and Five (5) Stepped frequencies per band with frequencies specially chosen for effective results. This is thought to be some of the best EQ available for tracking, mixing or mastering. Continuously variable EQ boost or cut of 15dB. 25Hz High Pass 6 db/octave filter for getting rid of low end rumble that ruins tracks and 12dB per octave Low Pass filter at 15kHz helps get rid of extreme top end edginess. Separate overall output level control makes up gain lost in extensive EQ cuts. All relay switching with gold bi-furcated contacts for long term life. Steel construction for strength and noise immunity. An outboard “in line” universal power supply remotes the power to keep the noise floor low.
We started making audio gear back in 1993 when there were only a few making outboard equipment for small home studios. Since then, hundreds of small and large manufacturers make gear. Just open the Sweetwater catalog. I like to think we are pioneers in this little industry. A lot of this grew from dissatisfaction with modern audio equipment. More and more people commented that new audio equipment did not sound as good as older equipment. Plus, there were almost no first rate manufacturers offering products to the rapidly growing “Prosumer” market.
We looked at the products that engineers and producers chose to use, and the ones that they chose not to use. We found ingredients that were common to equipment that was universally liked, and ingredients that were common to equipment that was not. Almost without exception, the cause for the difference came down to money. The elements that made the great ones great were missing from the newer equipment because they were expensive. If you look at the equipment lists of world class studios, rental companies and vintage dealers, you see equipment that falls on our first list, products like API, Neve, and Trident. Those have the character and performance that’s impossible to achieve when good design is overruled by bookkeeping. Since 1993 we have been building equipment that uses elements which, along with good design, we have found to make all the difference. And because of new production techniques and increased volume, our products are less expensive than 2 decades ago.