The MPC-1OOA is a single channel tube preamplifier and tube compressor/limiter accepting line, microphone, and Hi-Z input signals. Utilizing both tubes and solid state technology working in synch with the Jensen mic transformer the MPC-100A lends a detailed sound with harmonically complex overtones. The ultra-fast compressor is ideal of optimizing signals prior to entering the digital domain. Other features include impedance matching (loading) control on the Hi-Z input so passive guitars and bass pickups have a whole new level of tone control, true VU metering, and multiple outputs. And with three separate gain controls, you have endless tonal variations from clean to saturated for whatever sound you need.
Summit Audio MPC-100A Features :
- "Clean" to "Saturated" valve sounds
- Jensen mic transformer for that "classic iron sound"
- Ultra-fast workhorse tube compressor limiter
- Soft Clipping LED indicators
- HI-Z instrument input with impedance matching control
- Two stages of vacuum tube gain controls
- 3 Position attack and release controls
- High quality VU meter for output and gain reduction metering
- Continuously variable output level control
- +4 dB balanced and -10 dB unbalanced output
- Stereo linkable with a second MPC-100A
- Hand crafted in the USA
- Backed by Summit Audio's 3 Year Warranty
If you are looking for an incredibly rich and lush sounding microphone preamp, do yourself a favor and try out the Summit Audio MPC-100A. The signal path that includes a Jensen mic transformer, two vacuum tube stages and Summit Audio's famous compressor designs is an absolutely magic combination. Within moments of plugging your favorite microphone in to the MPC-100A you'll know that everything you record will come to life like never before.
Going direct? The MPC-100A is a fantastic choice for tracking bass, keyboards, guitars, and other instruments. There is a rich variety of tones available by driving each stage of the signal path differently and using the final output attenuator to get the exact right level on the output. This Hi-Z input also has a 'loading' control which allows you to fine tune the input impedance to match, or deliberately mismatch, the output impedance of your instrument. Increase the loading for a minimum of resistance and the open, airy sound of your pickups working unimpeded. Turn the impedance control down and listen to the high frequencies start to attenuate in a musical way and the low frequencies get tighter and more focused as the pickups are loaded. With the MPC-100A between your axe and your recording or live system you'll be able to craft the tone that is unique to you, a tone that will inspire your music.
Vocals and bass really shine with the MPC-100A, the Jensen mic transformer and tubes working in sync to lend a detailed sound with those harmonically complex overtones. The ultra-fast compressor makes it ideal for drums, especially kick and snare, to tame those transients yet keep the body rich and full. And with three separate gain controls, two driving vacuum tubes with a master output level, you have endless tonal variations for whatever sound you need.
MPC-1OOA Basic Operating Instructions :
Recording and compressing a stereo mix:
Insert a 1/4" patch cord into the stereo link jack on the back of two MPC-100A's (or a TLA-100A). Set both MPC-100A's to Link mode and to line input. Whichever one is set for more compression will act as the master (slope and threshold are the only controls affected). Insert the MPC-100A into the main inserts on the console, with the send from the console to the line level input, and the return from the -10 dB output of the MPC-100A.
Getting tube guitar distortion:
Plug the output of the guitar into the Hi-Z input on the front of the MPC-100A. Set the impedance loading high (try 0.5M ohms). Turn the output low. Turn the preamp gain up to +60 or more and play the guitar. The Tube Drive light should be blinking or steady yellow. Turn the compressor gain up to 6 or more, and the associated Tube Drive light should also be yellow. Set the compressor to your favorite settings (try Threshold -5dB and Slope 5 with a fast attack and release time), then slowly turn up the output until you reach the desired recording/ monitoring level.
Getting a clean microphone signal:
Plug the microphone into the mic input on the back of the MPC-100A and set the input switch to mic (or 48 for condenser mics needing 48 volt phantom power). Make sure both the preamp and compressor gains are turned all the way down. Turn the output gain up very high, then slowly turn up the preamp gain and compressor gain to the desired recording/ monitoring level. Set the compressor to your desired settings (try threshold 0 dB, slope 5.5 with fast attack and medium release times).
Getting a warm bass tone:
Plug the bass directly into the Hi-Z input. Turn the Output knob very low. Set the Loading to about .1M ohm and turn the preamp gain up until the Tube Drive light just starts to flash while the bass is being played (the flashing light indicates soft clipping). Increase the compressor gain until that Tube Drive just starts to flash occasionally, and set the compressor to your desired settings (try -10 dB threshold, a slope of 5, with fast attack and medium release). Turn the output knob until you get the desired recording/ monitoring level. This can also be done if the bass is plugged into a DI box. Just take the XLR out of the DI into the Mic input on the MPC-100A, and set the input switch to Mic.
De-essing:
Plug a TRS insert cable into the side chain jack on the back of the MPC-100A. Plug the send (tip) of the insert cable to the input of an EQ, and the return (ring) of the cable to the EQ output. Boost the frequencies on the EQ that you want to compress (de-ess).
Ducking:
Send the output of the "lead" program material into the side chain input after inserting the MPC-100A on the "background" program material. Example: Send the output of the lead guitar mic into the side chain, with the MPC-100A inserted on the rhythm guitar track. As the lead guitar player plays, the rhythm guitar will decrease in amplitude. This is perfect for broadcast use when the DJ needs to speak over music, live use when the lead singer needs to be heard over the lead guitar, or film sound when an actor's voice has to overcome a noisy background tone.
The History of Summit Audio :
Summit Audio began their foray into the professional audio world in 1979. A few years later, Summit Audio released the original TLA-100 tube leveler that would later evolve into the highly sought after TLA-100A, still manufactured today unchanged after twenty years, and whose signature sound has graced countless songs and albums to date.
Now a real force in the audio world, Summit Audio's foundation of high value, no compromise products with intense testing and unparalleled commitment to its customers needs is the perfect launching pad for a bright future of innovative and interesting products, all with a commitment to excellence and a passion for creating inspirational audio products.
As Summit evolves with the dynamic world of professional audio, they still stick to their basic traditions of solid reliability, precise manufacturing and integrity in everything they do.
Each Summit Audio product is crafted, manufactured and tested exclusively in the United States to the most exacting standards, utilizing human ears in addition to the best available test equipment along with years of combined experience and customer input.
Having built a reputation upon superb and reliable products, professionals worldwide trust Summit Audio for their critical studio applications.
