Tube-Tech MEC 1A Recording Channel
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One-channel combining Tube-Tech's all-tube preamp, EQ, and compressor gives you a polished professional sound effortlessly.
The rackmount Tube-Tech MEC 1A recording channel combines the MP 1A microphone and DI preamplifier, EQ 1A equalizer, and CL 1B optical compressor. It doesn't get any better than that baby! The MEC 1A is designed and hand crafted to deliver the warmth of vintage quality recordings with unrivaled accuracy, purity, and realism. You couldn't ask for a better front end for your DAW!
Tube-Tech MEC 1A Recording Channel, First Take:
The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with two stepped gain switches, one with 10dB/step (coarse) and one 1dB/step (fine) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48 V phantom-power and phase reverse. A highpass filter for the microphone and the DI input is switchable between off, 20 Hz and 40 Hz. For more information, check out the Tube-Tech MP 1A (# 182001)
The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the PAD. With the PAD switched into the circuit, the MEC 1A can be used as a unity gain line amplifier accepting levels up to +26 dBU (15.5V) at 40 Hz. The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled.
You'll love the sound of this EQ. It performs exactly as you would want a high-end EQ to. With minimal tweaking, you can add all of the punch, polish, and air you like to make your recordings stand out. The equalizer features low and high shelving filter with a gain range of +/- 15dB, each with 6 switchable frequencies and a band filter with a gain range of +/- 20dB, 12 switchable frequencies and a bandwidth control. The shelving and the bell filters are designed around a dual tube operational amplifier. The equalizer has a separate in/out switch. For more information, check out the Tube-Tech EQ 1A (# 182019)
The compressor is the same type optocompressor found the the Tube-Tech CL 1B, the vocal compressor of choice for so many top producers and engineers. It has controls for ratio, threshold, attack and release. A switch selects between manual attack and release and fixed attack and release. With the link switch it is possible to link several units together on two independent bi- directional buses. The compressor has a separate in /out switch. In normal operation the equalizer is in front of the compressor, but a switch enables the compressor to be in front of the equalizer.
For more information, check out the Tube-Tech CL 1B (# 182025)
For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on the legendary Pultec EQP 1A. Petersen continued to design and manufacture a number of innovative all-tube outboard processors including preamps, multiband compressors and summing amps. Thanks to John's dedication to high-quality analog sound you'll see Tube-Tech gear in the racks of pro audio legends such as multi Grammy Award winner Al Schmitt, (Frank Sinatra, Steely Dan, Toto, Quincy Jones, Natalie Cole, Diana Krall), Grammy winner Joe Chiccarelli, (Elton John, Beck, U2, Tori Amos, Counting Crows, Offspring), engineer Russ Long (Sixpence None The Richer, Wilco, Dolly Parton, Allison Moorer), producer-engineer Tony Shepperd (Elton John, Madonna, Kenny Loggins, Barbra Streisand, Lionel Richie, and Whitney Houston), and many more.
- Tube based "All-in-one" recording channel
- +20 dB to +70 dB Gain mic preamp
- Phantom Power (+48 V)
- Phase Reverse
- -20 dB pad
- Lowcut filter
- High-impedance DI-input (1 Mohm) for direct connection of guitar, bass or keyboard
- Three band equalizer
- 6 Low shelving frequency choices
- 6 High shelving frequency choices
- Bell type Mid section with 12 switchable frequencies
- Variable Q
- Separate in/out switch
- Compressor with optical gain reduction element
- Linkable for stereo applications
- Variable Attack and Release parameters
- Ratio 1.5:1 to 10:1
- Separate in/out switch
An entire Tube-Tech signal chain—what's not to love? If you're looking for a top-tier vocal channel and you have the means, order it by all means!
MEC 1A Recording Channel Specifications:
- Impedance Input Mic. Preamp: >1.2 kohm Input,
Impedance Input DI: 1 Mohm/82pF
Impedance Output: < 60 ohm
Frequency response @ -3 dB: 15 Hz to 80 kHz
Distortion THD+N @ 40 Hz 0 dBu: < 0.10 % +10 dBu: < 0.10 %
Noise Rg=200 ohm Output Gain @ 20 dB 60 dB 22 Hz-22 kHz: < -82 dBu < -60 dBu CCIR-468-4: < -72 dBu < -50 dBu
CMRR @ 10 kHz: < -60 dB
Max. output @ 1 % THD+N: > +26 dBu
Gain Mic. Preamp: 20 dB to 70 dB DI: 10 dB to 60 dB
Compressor Ratio: 1.5:1 to 10:1 Threshold: off to -20 dBu Attack: 1 ms to 100 ms Release: 60 ms to 2 s
Tubes ECC 81 3 pcs ECC 82 1 pcs ECC 83 3 pcs
Dimensions (H x W x D): 3.5" x 19.0" x 8.1" (2 units), 88 mm x 483 mm x 205 mm
Weight: 12.1 lbs, 5.5 kg
Power requirements @ 115 V/230 V, 50-60 Hz: 30 W