Overview:
Unleash your creative genius with the MXL MPAC-01 - a state-of-the-art microphone preamp/compressor designed for today's recording equipment.
- The MPAC-01 utilizes THAT Corporation 1512 Opamps which are known for their exceptional low noise performance and extremely low THD+N through the full audio bandwidth
- This no-compromises preamp has a clean and transparent tonality so it won't color your sound
- In just one rack space, you also get a fully controllable VCA Compressor to manipulate your dynamics with precision.
What Does A Mic Preamp Do?
- A preamp is a critical component in the signal chain of any recording system. In a typical recording set up, your preamp/compressor will connect to a mixer, an A/D converter, computer audio interface, or a recording device. Microphones output a low-level signal that is not strong enough to record without some kind of amplification. This is where your preamp comes in by adding gain (or volume) to the low-level signal (called a “mic-level” signal). Once the preamplifier (or “pre”) boosts the mic-level signal, it can be sent to your recording device.
What Does A Compressor Do?
- Also an important tool in audio engineering, a compressor is an audio circuit that automatically adjusts or “compresses” the audio signal level for a more consistent dynamic range. A compressor accomplishes this by decreasing the volume when the source is louder than a set threshold.
Features:
- Analog meter displays Output and Gain Reduction
- Balanced input/output and an unbalanced insert jack
- Low noise operation
- Variable Frequency High Pass Filter (50-175Hz)
- Built-in VCA Compressor
- 20 dB pad/180° phase invert
- Supplies +48V Phantom Power
A. On/Off Switch: When the power is turned on, the power indicator LED will illuminate.
B. On/Off 48V: The MXL MPAC-01 supplies +48V DC phantom power for condenser and active dynamic/ribbon mics. Consult your microphone’s user manual to see if phantom power is needed to power it. It’s best to have phantom power turned off when connecting microphones to the MXL MPAC-01. Be sure to turn down or mute the output when engaging or disengaging phantom power.
C. Gain Control Knob: Use the Gain control knob to set volume. The gain range is infinity to 60dB. Full counterclockwise is the minimum gain position; full clockwise is maximum gain
D. HPF Knob: A High Pass Filter is designed to let high frequencies pass while attenuating lower frequencies. Use this control knob to minimize unwanted low frequency sounds. The cut-off frequency is variable from 50Hz to 175Hz with a set slope of 12dB/octave.
E. High Pass Filter On/Off: Engage or disengage the high pass filter.
F. Phase Switch: In (0°) – Out (180°): The Phase switch allows you to invert the polarity of the microphone input signal 180°.
G. Pad Switch: Use this switch to attenuate or reduce the microphone’s input signal by 20dB.
H. Output Level/Gain Reduction Switch: The meter on the front of the Preamp/Compressor can display either the output level or the amount of gain reduction when the compressor is engaged.
I. dBu Meter: This meter shows the output level from -5 to 22dBu and the amount of gain reduction from 0-24dBu.
J. Threshold Control Knob: The threshold control sets the point at which the compressor circuit will act on the input signal. When the input goes above the threshold, the signal will be reduced. Turning this control counterclockwise lowers the threshold. Turning this control clockwise raises the threshold.
K. Attack Control Knob: This knob controls the length of time it takes for the compres¬sor to reduce the volume to the level set by the compression ratio. Turning the knob counterclockwise will make the compressor react faster and turning the knob clockwise will slow down the reaction time.
L. Ratio Control Knob: Determines the input/output ratio for signals above the threshold.
M. Release Control Knob: Determines how long it takes for the sound to return to the normal output level after the input signal has returned below the threshold.
N. Make-up Control Knob: This knob sets the output volume of the compressed signal. Since compressing a signal makes it quieter, use the Make-up Control Knob to restore the signal to its original volume.
O. Knee - Hard/Soft: This switch will control whether the bend in the response curve is a sharp angle or has a rounded edge
P. Compressor On/Off: Bypasses the compressor
Rear Panel Features:
A. Mic Input: Balanced 3-pin XLR cable (sold separately) plugs directly to your microphone
B. Insert: This ¼” jack is intended for auxiliary devices like reverb, delay, voice boxes, etc. The insert jack comes before the compressor circuit so you can send a dry signal for processing or input a line level signal to the preamp for compression. T=Send R=Return S=Ground
C. Mic Output: Balanced 3-pin XLR cable (sold separately). Plug the output signal (Balanced line level) into your recording device.
[Note: The microphone cable can have a profound effect on the sound quality. Even the finest microphones will sound poor if the interconnect cable allows noise to enter, or causes distortion and loss of information. Use only the best microphone cable your budget will allow. We recommend Mogami cable for the best results.]
Specifications:
- Input impedance:............... 15K ohms
- Max output:........................20 dB
- HPF Switch:.......................Variable from 50Hz to 175Hz
- Frequency Response:...........20Hz-20kHz
- Phantom Power:...................48V
- Max gain:.............................60 dB
- Adjustable Threshold:............-20 dB to +20 dB
- Adjustable Makeup Gain:.......-10 dB to +10 dB
- Adjustable Ratio:....................1:1, 2:1, 3:1, 4:1, 5:1, 9:1, ∞:1
- Knee:...................................Hard/Soft
- Phase:.................................0°/ 180°
- PAD:....................................0 dB/-20 dB
- Illuminated VU Meter:...........Output/Gain Reduction
- Insert Jack:.............................T=Send, R=Return, S=Ground