MP568C USER MANUAL
If you use the Audio Interface microphone input to connect the output of the MPQ568C, remember to switch OFF the PHANTOM POWER! Phantom power may damage the output of the MPQ568C!
The MP568C is a studio-grade professional microphone preamplifier with 2 Colour Modules slots. The MP568C is fully compatible with the DIYRE Colour Format and DIYRE Colour Modules.
The MP568C Microphone Input should be used for recording low-level signals from dynamic or condenser microphones.
The MP568C principles of operation are different from how the DIYRE Palette works. The MP568C cannot be used as a replacement for the DIYRE Palette.
The behaviour of Colours may vary depending on settings and configuration. Colour Modules from a different manufacturer may behave differently when compared to HRK Colour Modules. All HRK Colour Modules are compatible with DIYRE Colour Module Format.
Improper use of the MP568C may create unwanted results, such as noise or audible distortions. User should learn the basics of acoustic engineering before use of any professional studio equipment.
THE FIRST USE OF MP568C – IMPORTANT!
1. Set the GAIN Knob to a minimum (max left)
2. Set the OUTPUT level knob to maximum (max right)
3. Disengage all Colour Modules – Switch C1 and C2 toggle positioned downwards.
4. Connect the condenser microphone to rear XLR connector
5. Switch the DI/MIC switch to MIC position
6. Switch ON the phantom Power – toggle UP – check the 48V LED – it should be ON.
7. Set the input gain of the audio interface to a minimum
8. Switch OFF any PAD or input attenuator on the interface.
9. DO NOT use the line input with a built-in PAD attenuator – it will worsen the quality of any recording. Increase the gain level with the GAIN knob until the desired level of the signal is achieved. Observe the DAW VU meter.
Do not overdrive the input of the audio interface. Check that the loudest possible transient will not overdrive signal chain! Gain between the +20dB and +30dB is sufficient for most of the standard modern condenser microphones. Make the test recording before proceeding any further.
Adding Colour Modules:
After establishing optimal recording level from the MP568C engage (upwards position) the C1/C2 switch. The GAIN knob will control how hard the colour module will be driven. More gain means more drive. It is recommended to install the drive dependent colours such as British Console or Discrete Saturation in the first colour slot. If more gain is required to drive the colour modules the OUTPUT level knob can be used to reduce the output signal from the MP568C.
Please note: The OUTPUT level knob is not a blend knob. It controls the total level of the output signal from colours sent to the MP568C output. It should be used to trim the output signal from MP568C to desired and safe level, which won’t overdrive the next stage such as the audio interface.
The Microphone Preamplifier Section.
GAIN Knob controls the total gain of the MP568C for Microphone and Line Input. Values shown on the scale are approximately equal to the total gain of the MP568C from input to output. The gain range for the microphone is from +12dB to +65dB. The signal sent to the colour section is always 6dB lower than the total gain set by the GAIN Knob. NOTE: On higher gain setting (+40 – +65dB) the noise flor may be audible. This is normal at higher gain levels. The Phantom Power 48V LED indicates the presence of the +48V on the 500 racks rear panel microphone input. The LED is connected to the +48V main power supply rail. If the LED is not working it may indicate the failure of the rack main power supply. The Phantom Power switch – turns ON and OFF the Phantom +48V supply voltage. The UP switch position enables the Phantom supply – the 48V LED is ON. Phase Inverse switch – INV – inverses the phase of the output signal from the MP568C. The UP switch position inverses the output signal phase.
Gain Control – IMPORTANT!
Mic preamps which don’t use the colour modules have (more or less) equally spread gain range/scale around the gain knob. Because the Gain knob in the colour preamps is used to drive the colour modules the gain range up to +40dB occupies most of the gain range/scale.
While this might be unusual at first glance and sometimes against the “old” habits, it helps a lot to accurately set the saturation of the colour modules, especially when used with condenser microphones which do not require a lot of gains. In such an application, a higher resolution of the scale for the lower values of the gain is much more useful.
The gain range from +40dB up to +65dB will be used most often with the dynamic microphones which require more gain. Since the dynamic microphones are far less sensitive than the condenser microphones, the accumulation of the gain should not cause the problem.
If the dynamic microphone is used with the guitar cabinet or another loud source, it will produce the signal level similar to the condenser microphone.
User should learn how to use the colour mic preamp and the colour modules correctly. The best way is to use the colour mic preamp solo (without any additional studio equipment in series), connected directly to the audio interface. Use different microphones and different sound sources. Make a few test recordings and find the best setup.