Miktek MPA-201

2-channel Microphone/Instrument Preamp with Variable Impedance, Variable Highpass Filter, and Phase Switch
Miktek MPA-201 image 1
Miktek MPA-201 image 1
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Miktek MPA-201
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Vintage Console Preamp Sound for Mics and Instruments!

Plug your mic or instrument into Miktek's astounding MPA-201 preamp and find out what your studio sound has been missing! This discrete 2-channel preamp includes six custom Miktek transformers, so you get absolutely premium-quality performance from the instrument and mic inputs plus the outputs. Variable impedance lets you use any and all of your favorite mics, while a 70dB gain range makes the MPA-201 great for everything from dynamics to condensers to ribbons. You'll also appreciate this preamp's variable highpass filter, phase switch, and classy VU meters. The MPA-201 also includes digital peak meters, for maximum control.

Miktek MPA-201 2-channel Mic/Instrument Preamp Features:
  • Class A discrete vintage-style design
  • Custom-design transformers
  • Linear response 1dB down at 10Hz and 1dB down at 20kHz
  • 48-volt phantom power
  • Variable highpass filter
  • Phase switch
  • Impedance sector allows for 300, 600, or 1,200-ohm load.
  • Direct input with separate input transformer
  • Large meters switchable to display input and output levels
  • +4 XLR balanced outputs plus -10dB 1/4" output allow you to send to direct monitor
  • Heavy-duty metal construction with steel chassis and milled aluminum front panel
Miktek's MPA-201 gives you two channels of premium preamp performance, for mics and instruments!

Additional Media

MPA-201 User Manual
Studio Preamp Buying Guide

Tech Specs

Preamp Type Solid State
Number of Channels 2
Phantom Power Yes
Analog Inputs 2 x XLR (Mic), 2 x 1/4" (instrument)
Analog Outputs 2 x XLR
Rack Spaces 2U
Height 3.5"
Width 19"
Manufacturer Part Number MPA201

Customer Reviews

Based on 1 review
Write your review

This unit is for real

I'm honestly surprised I'm the first person reviewing this preamp. Miktek's microphones have taken off, already (I have used the CV4 and C7 extensively . . . in fact, the C7 almost never leaves my mic stand). The company makes high quality gear, for sure. Anyway, when I got the urge to add a new pre to my arsenal, I had to at least look at the MPA-201. I'm a pretty thorough shopper and try to demo new gear in my own studio for a few days to get a handle on it before deciding if I want to buy it. Price was only a small consideration. I wanted a dual channel pre that sounded as high end as possible, (almost) regardless of price. I already have a few different Universal Audio pre's and so was looking for something in either the Neve or API vein to complement those. I managed to get a whole bunch of different pre's into the studio for some tests. While there were some real close calls, the Miktek emerged as the winner, even over the likes of Great River and other Neve-style pre's. First of all, the MIktek is more versatile than initially meets the eye. I'd say the description on Sweetwater is really lacking. The "Smooth" switch is not even mentioned. It's got a special Mic input transformer and a specially tuned instrument-input transformer so both instrument and mic inputs are treated with equal care. DI bass sounds super fat through the instrument input. The impedance options make it easy to use with ribbon mics or add different shades of color to other mics. The variable high pass filter goes all the way up to 350khz, which is more than enough to handle any source and far more versatile than the usual "on/off" clicks at 60, 80, or 100 or so like many other pre's. The "smooth" switch engages an output transformer modeled after the output transformer on vintage Neve boards. That adds another level of awesome vintage fatness to the sound. However, my favorite part of the preamp is the headroom. Now, this is not the most pristine pre-amp ever. It's got a natural fatness to it, to be sure (although it is not overwhelming with the smooth switch off). However, that signal stays true even when the input gain is really, really pushed. And as it finally does start to break up, it does so slowly, allowing for some really nice control over the saturation. It means you can get a nice hot signal without fear that a particularly loud transient will ruin an otherwise awesome take. To sum it up, this is completely a pro-level piece of gear. Big, fat vocals that sit perfectly in the mix? Check. Great DI? Check. Versatility with the different impedances making the unit compatible with basically every mic ever made? Check. It can do clean with a hint of warmth. It can get pretty mean and dirty but it never loses control. It can go a bit more vintage with the "smooth" switch. It sits right beside Vintech and Great River as an equal in the world of Neve-inspired pres. I happened to favor it, ever so slightly. To make a review complete, I've got to list a few negatives. The thing is big! This means it is well constructed, but at the same time, it takes up two rack spaces for only two channels. This isn't unheard of or anything, and with the six different transformers it's no surprise that they couldn't put into a single rack space. Still, rack space is at a premium in most studios. The other negative is that the unit doesn't have an insert in/out to switch in EQ's or Compressors. You either have to have a patchbay or plug and unplug cables every time you want to patch in a new piece of gear. This makes the unit slightly harder to use for home studio owners who often don't have enough gear to necessitate a patchbay but still want to try out a few external compressors or EQ's. Considering that the unit is two rack spaces, an insert switch would have been a really nice addition, as I would imagine there is probably room in the chassis (though I could be wrong). The final negative is that the unit also has a digital clip indicator that is set at a lower level than the analog meters just in case the converters you're running the pre into can't handle the higher output levels of the MPA-201. The problem is that the clip is too conservative, whether it's set at -10db or +4db. This isn't really an issue as I just ignore it and look at the input meters on my interface or converters (my Apollo and a 4-710d). However, I wish I could switch off the indicator because there's a part of me that can't help but jump every time I see a red level flash out of the corner of my eye, thinking I've clipped something. Finally, I'd like to say how awesome Miktek is as a company. I happen to live in Nashville where Miktek is based. One time I had a minor issue with my C7 (it had to do with the threads failing to line up correctly to screw it onto the hard mount). I called them up and they told me to bring the mic by any time the next day. I brought it by the factory and they dropped everything they were doing to fix it right then and there in front of me, no questions asked and no bill to be paid. Not only that, they tested the mic again (in front of me) and printed off a fresh frequency response chart to show me that the mic was in perfect working order. I'm not famous and I'm not endorsed by MikTek, but they treated me as if I were Joe Chiccarelli getting a microphone repaired for a session at Blackbird Studios. I made my preamp choice based on sound, but I'd be lying if I said that knowing that Miktek stands behind their equipment 100% didn't at least give me extra piece of mind.
Music background: Producer, Songwriter
See also: Miktek, Miktek Preamps