Summit Audio Model MPC-100A Mic Preamp/ Compressor Operating Manual IMPORTANT!: CAREFULLY READ THE ENTIRE INSTRUCTION MANUAL BEFORE HOOKUP OR OPERATION OF THE MPC-100A. WARNING!: HIGH VOLTAGE. THIS UNIT CONTAINS NO USER SERVICEABLE PARTS. SERVICING SHOULD ONLY BE DONE BY QUALIFIED SERVICE PERSONNEL OR FACTORY. DO NOT OPERATE THE MPC-100A WITH THE COVERS REMOVED. Summit Audio, Inc. 1183 Baltic Suite A Gardnerville. NV 89410 Copyright 1997, 1999 Summit Audio Inc. ALL RIGHTS RESERVED. Printed in the U.S.A.
Product Introduction The Summit Audio MPC-100A Mic Preamp/ Compressor-Limiter is a single channel tube preamp and tube compressor/limiter all in a two-space rackmount unit. It accepts line, microphone, and Hi-Z input signals. The preamplifier provides a warm yet crisp vacuum tube tone. The compressor/limiter section has very fast attack times, making it ideal for optimizing signal prior to entering the digital domain.
THE CONTROLS 1. Line/Mic/48 3 position switch selects the input being used, line or mic, and also engages the phantom power +48 volts for condensor microphones 2. Pad/-20 2 position switch engages 20 dB of input signal attenuation 3. Phase/180 2 position switch engages a 180 degree phase shift of the signal 4. DI Input 1/4" mono jack accepts Hi-Z instruments such as electric guitars and basses; a direct input into the preamp tube, bypassing the input transformer 5.
Output Section Controls: 14. Output variable resistor controls overall output signal level; this is a postpreamp and post-compressor gain control preceding the 990 discrete solid state output note: this feature enables the user to saturate both the preamp tube and the compressor tube while still maintaining a proper signal level sending to other devices - i.e. recording media 15. Level/G.R.
1. 5. 7. 9. 12. 13. 15. 16. 2. 3. 4. 6. 8. 10. 11. 14.
Use Scenarios and set up Recording and compressing a stereo mix: Insert a ¼” 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.
De-essing: (Requires external EQ) 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 the 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.
Further Notes…… Linking: use a 1/4" mono patch cord with tip~signal and sleeve~ground; the MPC100A which is set for more compression will act as the master controller for both units; slope and threshold are the only controls effected [note: an MPC-100A can also be linked to a TLA-100A] Side Chain Insertion: use a 1/4" stereo patch cord with tip~send, ring~return, and sleeve~ground; to execute "ducking" (compression of principle audio signal, triggered by an external audio signal) tie tip and sleeve to grou
A Word About Tubes The tubes that are used in the MPC-100A are selected to give the best possible performance in the position that they are in the circuit. Switching them to different positions might cause performance deterioration of the audio path. Replacing them with “gold” or high end tube types may not be desirable. In cases that we have measured, these tubes have shown higher distortion and noise compared to the tubes we have selected.
Electrical Connections: (This MPC-100A is wired as a pin 2 hot device. Units made before March 1st, 2003 come factory wired with pin 3 hot.
Note on specifications: Summit Audio is uncompromisingly committed to excellence. All of our specifications are made with the latest technology and are UNWEIGHTED measurements. What does this mean? When measurements are “weighted” (e.g. “A” weighted, dB (B), dB C weighted, etc.), the measurement devices are basically EQed or filtered before the measurement is taken. This filtering was developed so that sound pressure level (SPL) measurements can more nearly match human’s non-linear hearing characteristics.
