Empirical Labs EL-9 User Manual
INST.
IN
(Hi-Z)
(Auto Sense)
20
60
Bad!
Clip
10
Line
50
45
40
35
30
25
20
GAIN (dB)
PHASE
55
80Hz
48V!
PHANT
Toasty
Warm
DRIVE
HF Emphasis
Link Comp
COMP MODE
16 13 10 8 5 3 1
2:1 4:1
1:1
BYP Nuke
RATIO ATTACK RELEASE
20
8
8:1
.9mS
mS Se cRatio
4
3
.25
2
.05.1100mS
.5
1
0
Dry
Mic Preamp With Some New Tricks
INDEX
Page Item
1 Features & Specs
2 What Is Mike-E?
2 Using for the First Time –
o Setting Mic Gain! – The “Clip Test”
3-6 Example Settings of the EQ
7-8 Recall Sheet
9 Example Settings (Continued)
9 Mike-E Pet Tricks
10 Wiring & Cable Facts
10 Options & Upgrades
11 Block Diagram
6
OUT
7
8
9
10
Comp
MIX
Empirical
Labs
11 Section Details
12 Section Details (Continued)
12 Mix Control
13 Stereo Operation (Using the Link Comp)
13 Fuse Replacement, and AC Voltage Select
13 Troubleshooting
14 Customer Comments
15 Warranty (Rear Cover)
Empirical Labs - Technology for the Artist
BACK TO TABLE OF CONTENTS
Features
Mic Pre-Amplifier, Empirical Labs style. With its totally unique features, we think its the
“deepest” and most versatile Mic preamplifier in existence. Yet still offers ease of use.
Super high performance Mic Pre-Amplifier section. Transformer Input. The Signal to
noise exceeds 130dB… far, far below the self noise of any microphone.
Super Long Life gain Switching, 5 dB increments in Preamp section, with output pot for
fine resolution gain setting. Sealed relays used throughout.
“CompSat” Section that can not only soft saturate the peaks of waveforms to warm
things up, but also offers a world class compressor with detented parameter selection.
Germanium circuitry in the CompSat section to offer new warming characteristics.
One of a kind Emphasis function, tames high frequency pileups, while offering frequency
dependant saturation. Enhances Mike-E’s popular tape-like tone.
High performance High Pass filter at 80Hz, 18dB per octave.
Built in Instrument Preamp/Direct box – Just plug a guitar or bass etc into the front panel and
the unit auto-senses it. Voila you have a high performance Empirical Labs direct box. The
signal is then passed through the input transformer for some “IRON” in its sound.
Renowned Empirical Labs digitally controlled analog topology.
Huge "DISTRESSOR" knobs with high resolution numbering - For easy readability and
repeatable settings. They also go to 10 1/2 .
A “BAD!” Hard Clip Indicator lights – A “Bad” Clip LED that lets user know he is within .5dB
of hard clipping. It monitors many sections of the Preamp for internal clipping.
Two CompSat LED indicators, one “WARM” and one “TOASTY” LED, indicating internal
saturation circuitry.
Locked, calibrated, output level - Allows speed in setting record and live mix levels.
Extremely useful as a mixdown processor, too. Great for fitting the mixes together.
Single height and light weight
Discrete and integrated combination -The best of speed/linearity with repeatability. Hand
tested & selected components. All metal film and Roederstein resistors in the audio path - top
quality components, most being high temperature military spec parts.
UUppggrraaddeeaabblleeTTrraann
CCllaassssAAttrraannssffoorrmmeerroouuttppuuttttooggiivveeyyoouuaanniissoollaatteeddoouuttppuuttwwiitthhtthheewwoonnddeerrffuullssoofft
ssaattuurraattiioonnaannddbbeeeeffyylloowweennddtthhaat
Switchable 115/230 volt operation - Extra fuse provided inside unit.
XLR and 1/4" phone ins and outs - XLR fully balanced design, pin 2 hot.
No internal connectors, high reliability parts and military grade switches and relays. All contacts
doubled up for maximum reliability.
Linkable Compressor section
Interface and features found nowhere else.
Hand wired, calibrated in USA. Shipping weight 14 Lbs.
sffoorrmmeerroouuttppuuttooppttiioonn..TTwwoooouuttppuuttssaasssshhiippppeedd,,bbuuttaavvaaiillaabblleessoooonniissaa
s
tyyoouuggeettffrroommyyoouurrffaavvoorriitteevviinnttaaggeeggeeaarr..
t
Specs
♦ Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz.
♦ Signal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.
♦ Distortion Ranges between .0006% and 15% depending on mode and settings.
♦ Transformer coupled Input, Active and Transformer Outputs, available.
♦ Maximum Input Level before clipping is 23dBu.
♦ Input Impedance is 600 Ohms. Output impedance is less than 38 ohms.
♦ Attack/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec.
♦ Power Consumption – 15 Watts Max.
♦ Shipping Wieght – 14lbs
Empirical Labs - Something Old, Something New
1
BACK TO TABLE OF CONTENTS
What is the Mike-E?
The Mike-E is a modern digitally controlled Microphone Preamplifier with many unusual features to
soften and warm the source, along with an excellent compressor/limiter. Mike-E offers an incredible
performance transformer coupled mic preamp, whose noise floor exceeds any microphones noise
floor by many decibels. The Comp/Sat section is a compressor along with a soft clipping circuit, that
offers stepped and recallable ratio, attack, and decay controls
Mike-E's Seven Circuits:
1) Mic Preamplifier with super low noise and detented gain switching.
2) A built in “Direct Box”, called the “Inst In”, which offers unparalleled
distortion, noise, and frequency response when preamping instruments.
3) A “Colored” 80Hz High pass filter that emulates the warm low frequency
cut of our favorite vintage equalizers.
4) A Phase Switch to invert the audio signal 180 degrees.
5) CompSat section that offers both a musical Compressor/Limiter, and a
unique tape-like saturation circuit.
6) Emphasis Circuit. A high frequency emphasis system to soften high
frequency “pile-ups” and further the creamy color of the Mike-E.
Mix Control to allow the blending of the Compressed/Saturated signal,
7)
with the clean un-processed “Dry” signal.
Using the Mike-E for the first time
Hookup is straightforward. Either the XLRs or phone jacks can be used. Only the front INST
Jack is high impedance. TURN OFF PHANTOM POWER BEFORE PLUGGING ANYTHING INTO
THE REAR INPUTS! In relation to the phone jack tips, pin 2 is wired "hot" on the XLRs. But if you're
using the XLRs in and out, it doesn't matter which pin is hot, as long as you're cabling is in phase.
The Input Impedance at 1kHz is 600 Ohms on the Transformer input. This is compatible with
microphones and most modern line level low impedance output devices. (See SECTION DETAILS)
Connecting both the + and - input pins is preferred.
stage, driven by two amplifiers. If you use the Active XLR output in an unbalanced system,
leave unused pin floating (pin 3 usually) If you have one of the transformer output options, both
pins 2 & 3 should be connected for proper termination. See wiring section for greater details (p10).
You can only have one input in use at a time on the Mike-E.
The Mike-E controls are generally organized on the front panel in the same order as the
electronic circuits inside, IE the Input is the first circuit, Highpass and Phase circuits next, etc. See
the block diagram (p11) for more detail.
Setting Mic Gain – The CLIP TEST. THE PREAMP GAIN IS THE MOST CRUCIAL
CONTROL TO SET PROPERLY ON THE MIKE-E! Set initial levels by using the following CLIPTEST. Turn CompSat Drive to 0 and Output to 5 so those sections don’t clip. Have the source
produce a loud “peak” sound repeatedly, and adjust input mic gain till BAD! LED just lights. Then
adjust mic gain down one (sometimes two) 5dB step(s) from this CLIP TEST to allow headroom. The
Mike-E has a huge “sweet” spot. Most mics operate well at 30 to 40dB of gain for voice level
sources. If not using the CompSat, you can set output level to 7 or 8 for initial level.
Using the CompSat circuit is a world unto itself, offering some unique processing for the
otherwise pristine Mic Preamplifier. Enable the CompSat by pressing the Ratio taking it “out” of
Bypass to 1:1 or an actual compression ratio. With so many options, lets make it simple by using the
CompSat as a soft knee compressor only. Set the MIX control to full CW COMPRESS (10 on MIX
knob), and set the compressor to 4:1 attack 8mS, release .1S. Use the DRIVE control to adjust how
much compression you want. Until you are really experienced, its best to be conservative at first
when tracking, keeping the Gain Reduction below 13dB. Because of gain reduction, you may have
to make up the gain on the output control. There is tons of headroom once the compressor is
engaged, and running the output knob higher, or even all the way to 10 is perfectly fine, as long as
no Clip indicator (BAD!) lights. If the CompSat is bypassed, it’s best to keep Drive at 0.
Using the Instrument Input – SIMPLE! Just plug in your instrument (bass, guitar, synth etc)
into the “Inst In” on the front panel, adjust gain, and VOILA… a high performance Direct Box!
The standard output is a balanced active
2
BACK TO TABLE OF CONTENTS
EXAMPLE SETTINGS
The Mike-E provides an un-compromised Mic Preamp with a new level of coloring ability. Mike-E
should be compatible with all microphones and provide enough gain range to handle any source.
Use the CLIP TEST detailed in USING FOR THE FIRST TIME to set the input gain. Here we provide
some starting settings to get you going on any session.
Vocals - Pick the right mic, the right distance and the right angle for the singer. The most
expensive mic isn’t always the best mic for a person’s voice. Moving a person a couple inches in
and out from the mic can make all the difference in the world. A thing called the Proximty Effect
makes things closer to the mike bassier, and things farther from the mic thinner and with less low
frequencies. Putting the mic up above the person’s mouth around their nose level can warm things
up, avoid pops, and make a singer sound less nasal. When a mic is aimed down a little towards the
singer’s mouth, you will be aiming it at their body also, where lots of low frequency resonance
occurs. Conversely aiming it up can work, having the singer sing over the top of the mic.
Remember that a leading cause of “nasality” is the lack of sound and air coming from a persons
nose, so by aiming up or being level with the nose, an engineer can often improve the basic quality
of a voice. Remember to remind the singer they can move slightly in on soft intimate parts, staying
aware of the sound, working the microphone.
Setting Mic Gain (see page 2) – CLIP TEST - Start with 35 dB of gain, output on 7, CompSat
bypassed (Drive on 0). Then use the CLIP TEST to tweak the mic gain by having the singer sing
loudly or yell “HEY” into the mic. If the clip light (BAD!) comes on, back the gain down one 5dB
notch and try again. Otherwise increase the gain till the BAD! LED does come on. Then set the Mic
Gain 5dB (or even 10dB) down from the gain that clips with the test “yell”. This will give you
excellent dynamic range and headroom.
If there is any rumble or Low Frequency POP problems, the 80 HZ HP can be useful. This cuts
all sub frequencies below all but the very lowest male voices. If there aren’t any rumble problems,
leave the HP off, since it won’t have any possibility of interacting with later Eq-ing or high passing.
Watch out for “P’s” and other plosives as they can produce subs.
CompSat On Vocals – There are a zillion options here. This versatile circuit can provide powerful
level control, soft saturation, and high frequency taming. We will give three example settings just to
show a few of the many options. These are useful on tracking as well as mixdown.
• Soft Clip & Tape Emulation. Put the CompSat on 1:1, and adjust drive so the warm light is on
often, and the Toasty LED lights on peaks. Set the Mix Control to full CW (10) and the user will
gain a dB or two of “heat” and headroom. The Mike-E will be flattening the peaks out gently
with its saturation circuit. Engaging the Emphasis will make the high frequencies clip earlier
and soften peaky and possibly harsh “build-ups”. It has the added benefit of decreasing noise.
Emphasis was used in all modern tape recorders to improve Signal to Noise and dynamic
range. Going to another compressor after this will give you a familiar tape like vocal sound.
Compressors react differently after a signal has been soft clipped, or on tape.
• Classic Knee Compressor. Set Ratio to 8:1 attack on 8mS, release on .1S, mix full CW (10).
Adjust Drive for 6 to 14 dB of compression on peaks, and set output knob for good recording
level into your DAW or Recorder. Don’t be afraid to run the output level above 8, and even to 10
to get proper levels, as long as BAD! LED does not light. The output has tremendous dynamic
range.
• Excitement Generator with Dynamics – Set Ratio to 8:1 attack on .9mS, release .1S, Mix on 5.
Adjust Drive for 20dB of gain reduction on peaks. With the Mix set to blend the overly
compressed AND Dry signal, your dynamics will be maintained while low level words, syllables,
breaths will be brought up in an exciting way. Always solo this kind of treatment and make sure
you aren’t bringing up rumble, air conditioning, street noise, etc since the compressor is
providing lots of gain to low level stuff. If there is some rumble, perhaps engage the 80Hz HP.
Plucked Instruments & Acoustic Guitar – Plucked Acoustic instruments are
especially sensitive to tonal coloring. Mic selection and placement is again your first resource for
getting great sounds during tracking. If attack is needed, aiming a mic at the picking or plucking area
will bring it out. Conversely, too much pluck can be fixed by moving the mic to a position aimed at
the body, away from the area where strings are plucked. Also positioning the mic over where the
neck meets the body on relevant instruments will avoid too much picking noise and boominess.
3
playing, letting the Toasty light come on frequently
BACK TO TABLE OF CONTENTS
EXAMPLE SETTINGS PT 2
With a soft instrument like an acoustic guitar, start with Mic Gain set at 50dB, and do the CLIP
TEST by having the player hit a really hard chord. If the mic doesn’t have a nice HP filter, you can
engage the 80Hz HP on the Mike-E to cut sub-frequencies.
Smoothing out the dynamic range of plucked instruments with a fast compressor is extremely
common., using a LN1176 or our own Distressor is sometimes all you will need when tracking or
mixing. BUT… The Mike-E has an amazing compressor, as good as any, in our highly respected
opinions… so lets use it!
Start setting up the compressor by turning the mix to 10 (full CW or 100%). If you want a
smooth glassy sound, we should keep the attack really fast (LN1176 speed) and set it to .9mS. The
release too can be fast which smoothes out the pumping. Lets start with Release on .1, and ratio
4:1. This can keep the compressor working most of the time with peak Gain Reduction around 10
dB. This should sound natural even while tracking. If the instrument or part is overly dynamic, even
more compression can be applied by turning up the DRIVE control. If the instrument starts to sound
squashed, you can back off the compression or use the MIX control to add back in some
uncompressed signal. This will bring up the low level stuff while keeping the loud emotional
passages more intact. If there are shrill or brittle parts, engaging the Emphasis can saturate the
higher frequencies sooner and soften them.
Saturation Only - If you are recording a solo instrument and wish to keep all the dynamic range,
but fatten up and soften the brittle edges ala analog tape, you can put the CompSat on 1:1 and
simply round out the pointy peaks and make them easier on the ear, and with the Emphasis
engaged, get a very warm tape like sound. Again, turn the Mix to 100%, and adjust Drive so the
WARM LED is on most of the time the musician is
on peaks. The unique dual clip Germanium circuits will softly and subtly clip the peaks of the
waveforms, rounding them out. If desired, the MIX control can be used to mitigate over -saturation in
a wonderfully musical way. This saturation with emphasis may be worth the price of the Mike-E
alone, bringing back a familiar smooth sound to those familiar with analog tape.
Elec. guitar – Digital recorders do not enhance Electric guitar sounds in any way. Mike-E’s
CompSat is a wonderful tool to bring back some smoother, monstrous electric guitar sounds, while
tracking, or while mixing. The CompSat section is incredibly deep, and offers many options to color
the sound. Don’t forget the high quality HP filter, which will not affect any useful guitar frequencies.
Using Saturation - After adjusting the Mic Gain using the CLIP TEST, engage the CompSat and
start with 1:1, simply soft clipping the grittiness, and subs. The Emphasis will again further soften
the high frequencies by clipping them earlier. Very analog tape-like.
Using the Compression – If compression is to be used, one should be careful on heavy,
distorted guitars, since they are already “compressed” from the Distortion, and the main outcome will
be just bringing up hiss and noise, especially during pauses. A low ratio would probably be a first
choice on heavy guitars, using only 1 – 4 dB of compression. On clean electrics, one can use liberal
amounts of compression usually. 6 – 20dB or more may not be unusual, but unless you’re a master,
prudence is called for when tracking since it cannot be undone. Use the fastest attack to get sustain
and smooth attacks, probably with a very fast release also. Try 8:1 attack .9, release .1S. Usually
you would keep the mix 100% (10). On the other hand, if you want to get a nice “Poppy” attack and
front edge to each note, but still have lots of “hang time” sustain, try 20 or 100mS attack, release
.1S. OR, try over compressing and then blending in the DRY Signal with the Mix Control.
Also, for clean guitar, you must try “INSTRUMENT IN” DI input. Great with CompSat.
Keyboards – In this sampled age, this covers a lot of sounds. Acoustic Pianos are a whole
subject unto themselves, so let’s start there. Their sound begins with a great, well tuned piano and
good mics. Treatment also depends on the final setting, I.E. Solo piano, or as part of a larger
ensemble. Getting a big full sound is usually the goal of solo pianos pieces, whereas with a piano
that is part of an ensemble or rock mix is often brightened and compressed somewhat, and high
passed, especially if there are potential conflicts in the low end between the piano and bass parts.
So one can use the CompSat with just subtle Saturation, or for pop recordings, lots of compression.
Engineers use all kinds of approaches, fast attacks or slow, fast to medium release. Often however,
when a piano is part of an ensemble, you may want to use a fast attack to keep the attacks low in
relation to the main decay of the piano. One can also employ the MIX control to keep the attack and
dynamics, while bringing up the sustain as the compressed signal appears under the fading dry
unprocessed signal, eventually dominating the blend.
4
Loading...