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CONTROLS
A CLOSER LOOK
While finding the sweet spot and getting the right tone with the MM-1 pre
is more about feel than anything, it is still helpful to know how each part of
the circuit behaves and reacts. This section goes into more detail about what
each control/stage does.
Pentode Stage ('response' disengaged)
The Pentode stage is the first amplification stage and gives you extreme
control over the frequency response of the mic pre as well as gain and beautiful
harmonics. In the graph below you can see that when "response" is disengaged,
the Pentode has a frequency response that "tilts" around a fixed top end
depending on the gain setting. As you increase the gain, you also increase the
low end.
The Pentode can also be pushed into the Triode much the way you can drive
one stage of a guitar amplifier into the next. The result here is of course much
more subtle but it can have a very pleasing effect.
Pentode Stage ('response' engaged)
When the alternate response mode is engaged (by pushing the 'Response'
button), the top end of the Pentode stage is no longer fixed. The Pentode stage
will still tilt but the top end has a gentle roll off to allow for an entirely new set of
frequency responses.
Triode Stage
The Triode stage of the circuit is located after the Pentode stage and can be
thought of as "drive". Rather than the frequency control of the Pentode stage,
the Triode stage is linear so it can be used to amplify the response curve of the
Pentode stage as much as desired.
The triode stage is set up to allow for clean amplification of the signal as well as
the ability to drive the signal into saturation. The Triode stage is set up to output
a voltage swing of no more than 30 volts no matter the input so as you drive into
the tube (both with the Pentode and Triode knobs), you begin to get harmonics,
followed by saturation and eventually hard limiting without the artifacts
associated with the attack and release of a compressor.
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CONTROLS
Output
The output knob is a passive attenuation after the Triode stage and can be used
to set the overall output of the MM-1.
The "Air" circuit is the same beloved circuit from the HG-2. Engaging the circuit
adds a 10k shelf boost, made up mostly of harmonics for a lift that opens up your
material.
Input impedance
Unlike most impedance switches on preamps today, we use real impedance
switching by tapping into the custom made transformer at different points in the
windings.
While the low impedance setting (button in) would usually be used for ribbon
microphones, it sounds amazing on condensers and dynamics alike. In this
mode you get a very mid-forward sound and an increase in gain and punch. The
best way to describe the difference on a vocal track for example is the difference
between an uncompressed vocal and a gently compressed one. It can do
wonders for lead vocals and they often sit in the mix with authority right where
you want them. This setting also allows you to back a singer off the microphone
while still capturing all the detail without any of the excess sibilance, mouth noise
and proximity issues.
The default setting (button out) is a more standard setting and sounds more
"relaxed". It works well for lead vocals as well as backing vocals or stacks that sit
perfectly in the mix and gives a very natural response on any source.
Low Roll-off
This simple roll-off circuit has been designed to give you a gentle roll off that
allows you to filter out unwanted low end without adding large resonance peaks
at the cutoff frequency.
Instrument D.I.
The instrument D.I. of the MM-1 follows the same signal path as the microphone
input with the exception of the input transformer. The controls and gain stages
allows for the same unique control over the signal. The D.I. is automatically
activated when an instrument cable is inserted into it.
Air
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