The Daking Mic-Pre IV offers four channels of high performance, Class A preamplifiers in a single rack space unit with outboard power supply. Configured for four microphone inputs or four line inputs from XLR/TRS Neutrik combo jacks on the back, plus four line inputs (+10 to -50) or 1/4 hi-z instrument inputs on the front, the Mic-Pre IV utilizes all discrete Class A circuitry with transformer-balanced inputs and outputs. The new Mic-Pre IV from Geoffrey Daking & Co. is the latest example of exemplary audio quality and craftsmanship in the tradition of the great British console manufacturers.
The Daking Mic-Pre IV is a highly cost-effective solution for high-end preamps to be used in studio or live applications. Used standalone or in conjunction with a console, each input offers a stepped (5db) gain control using Daking’s signature aluminum knobs, a 20-segment LED level meter with +24db peak indicator, switchable mic/line or hi-z instrument, switchable +48V phantom power, switchable input phase and switchable 20dB pad.
The Daking Mic-Pre IV is housed in a robust all stainless steel enclosure with an outboard DC power supply in a separate housing, offering not only durability but immunity from noise and RF interference. The attention to detail extends to the internal components, which include gold bifurcated contacts on all relay switching. The supplied universal power supply can operate at any voltage for use worldwide.
Mic Pre IV
Four Channel Microphone Preamplifier
Transformer balanced inputs and output
All discrete transistor circuitry
Class "A" amplifiers
Stepped (5dB) Gain Control for quick, accurate recall
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.