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{"id":1721671352371,"title":"Avedis Audio MD-7 500-Series Mic\/Line Preamp Module - MD7 Microphone Preamplifier","handle":"new-avedis-audio-md7-md-7-500-series-mic-pre-di-input-sends-microphone-preamp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/tdYr4wCwQFU\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAvedis Audio MD7 Mic Pre \u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"drag_area\"\u003e\n\u003cdiv class=\"row-fluid section\" id=\"description-section\"\u003e\n\u003cdiv id=\"description\"\u003e\n\u003cul\u003e\n\u003cli\u003eGain range from 0dB – 64dB in 4dB steps for recall-ability\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eInput Trim control for fine control of gain\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eUtilizes the discrete 1122 op-amp known for depth and resolution\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eAll discrete design with class A buffer amplifier\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eWide bandwidth, high headroom, low noise\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eNO PAD, NO IC’s, and NO Surface Mount Components\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLine Input to interface with DAW’s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003ePhase reverse, and filtered 48V phantom power\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eHigh Pass Filter using a gentle slope for natural bass roll-off\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eNo Pad:  The game we all play trying to use Op Amp based pre’s on drums and sources with high SPL’s  is now over when using the MD7.  Eliminating the pad gives the input transformer the level it wants to see… not a padded,  low signal.    Taking full advantage of the input transformer without taming the input is priceless… mic pads are obsolete after using this.  Many times the pads are used buzz killing your tone,  then the output is attenuated leaving a more harsh midrange on an already brash pre.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eThe DI: it’s amazing and underrated.  Ruler flat and captures lots of harmonics. Most DI’s on mic pre’s out there haven’t been thought through so much. The MD7 DI was.  It from what I remember took longer than anything else in the design.    I find myself barely touching \/ protecting the DAW with a bit of compression or limiting.  Works on everything I throw at it.  I’m convinced that some of the unconventional methods I use have everything to do with the MD7 DI setting up the foundation.  Examples… using plug ins to simulate guitar then end up using it in the final product (byproduct of eliminating bleed from other instruments during live tracking).  Also had great luck with using the DI on the way in,  then getting gain from LA2A’s and other un-common sources.  Not the same when MD7 was removed from the chain.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eSend \/ Return:  Very cool and allows for re-amping and allows for use with guitar effect pedals, unbalanced gear.  Do this from pro tools or in real time on the way in.  Very cool jam session the other night using a 2 drum mic set up with a fuzz pedal on the overhead in real time.   Set the vibe and got some very interesting results.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eStepped gain: In 4dB steps.   Really leaning on this one for quick recall.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eBandwidth:  Wide Bandwidth.  Really noticed this when I compared a room mic on drums through an MD7 to both an  API 512C and the 312s’ found in 1608 console made by API.  The API’s sounded further away due to the fact that the transformers bottlenecked in low and especially higher frequencies.   The MD7 sounded closer to the source.  \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e10 Meg-ohm high impedance DI input great for all instrument pickups\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eSEND feature to run signal through stomp boxes for variety of 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charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/tdYr4wCwQFU\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAvedis Audio MD7 Mic Pre \u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"drag_area\"\u003e\n\u003cdiv class=\"row-fluid section\" id=\"description-section\"\u003e\n\u003cdiv id=\"description\"\u003e\n\u003cul\u003e\n\u003cli\u003eGain range from 0dB – 64dB in 4dB steps for recall-ability\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eInput Trim control for fine control of gain\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eUtilizes the discrete 1122 op-amp known for depth and resolution\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eAll discrete design with class A buffer amplifier\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eWide bandwidth, high headroom, low noise\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eNO PAD, NO IC’s, and NO Surface Mount Components\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLine Input to interface with DAW’s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003ePhase reverse, and filtered 48V phantom power\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eHigh Pass Filter using a gentle slope for natural bass roll-off\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eNo Pad:  The game we all play trying to use Op Amp based pre’s on drums and sources with high SPL’s  is now over when using the MD7.  Eliminating the pad gives the input transformer the level it wants to see… not a padded,  low signal.    Taking full advantage of the input transformer without taming the input is priceless… mic pads are obsolete after using this.  Many times the pads are used buzz killing your tone,  then the output is attenuated leaving a more harsh midrange on an already brash pre.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eThe DI: it’s amazing and underrated.  Ruler flat and captures lots of harmonics. Most DI’s on mic pre’s out there haven’t been thought through so much. The MD7 DI was.  It from what I remember took longer than anything else in the design.    I find myself barely touching \/ protecting the DAW with a bit of compression or limiting.  Works on everything I throw at it.  I’m convinced that some of the unconventional methods I use have everything to do with the MD7 DI setting up the foundation.  Examples… using plug ins to simulate guitar then end up using it in the final product (byproduct of eliminating bleed from other instruments during live tracking).  Also had great luck with using the DI on the way in,  then getting gain from LA2A’s and other un-common sources.  Not the same when MD7 was removed from the chain.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eSend \/ Return:  Very cool and allows for re-amping and allows for use with guitar effect pedals, unbalanced gear.  Do this from pro tools or in real time on the way in.  Very cool jam session the other night using a 2 drum mic set up with a fuzz pedal on the overhead in real time.   Set the vibe and got some very interesting results.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eStepped gain: In 4dB steps.   Really leaning on this one for quick recall.  \u003c\/p\u003e\n\u003cp helvetica=\"\" neue=\"\" arial=\"\" sans-serif=\"\"\u003eBandwidth:  Wide Bandwidth.  Really noticed this when I compared a room mic on drums through an MD7 to both an  API 512C and the 312s’ found in 1608 console made by API.  The API’s sounded further away due to the fact that the transformers bottlenecked in low and especially higher frequencies.   The MD7 sounded closer to the source.  \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e10 Meg-ohm high impedance DI input great for all instrument pickups\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eSEND feature to run signal through stomp boxes for variety of effects\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e"}

Avedis Audio MD-7 500-Series Mic/Line Preamp Module - MD7 Microphone Preamplifier

Vendor: Avedis Audio
Title
$850.00 $1,000.00
Maximum quantity available reached.

0% interest for 24 months, 24 equal monthly payments;
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Product Description

Avedis Audio MD7 Mic Pre

  • Gain range from 0dB – 64dB in 4dB steps for recall-ability
  • Input Trim control for fine control of gain
  • Utilizes the discrete 1122 op-amp known for depth and resolution
  • All discrete design with class A buffer amplifier
  • Wide bandwidth, high headroom, low noise
  • NO PAD, NO IC’s, and NO Surface Mount Components
  • Line Input to interface with DAW’s
  • Phase reverse, and filtered 48V phantom power
  • High Pass Filter using a gentle slope for natural bass roll-off

No Pad:  The game we all play trying to use Op Amp based pre’s on drums and sources with high SPL’s  is now over when using the MD7.  Eliminating the pad gives the input transformer the level it wants to see… not a padded,  low signal.    Taking full advantage of the input transformer without taming the input is priceless… mic pads are obsolete after using this.  Many times the pads are used buzz killing your tone,  then the output is attenuated leaving a more harsh midrange on an already brash pre.  

The DI: it’s amazing and underrated.  Ruler flat and captures lots of harmonics. Most DI’s on mic pre’s out there haven’t been thought through so much. The MD7 DI was.  It from what I remember took longer than anything else in the design.    I find myself barely touching / protecting the DAW with a bit of compression or limiting.  Works on everything I throw at it.  I’m convinced that some of the unconventional methods I use have everything to do with the MD7 DI setting up the foundation.  Examples… using plug ins to simulate guitar then end up using it in the final product (byproduct of eliminating bleed from other instruments during live tracking).  Also had great luck with using the DI on the way in,  then getting gain from LA2A’s and other un-common sources.  Not the same when MD7 was removed from the chain.  

Send / Return:  Very cool and allows for re-amping and allows for use with guitar effect pedals, unbalanced gear.  Do this from pro tools or in real time on the way in.  Very cool jam session the other night using a 2 drum mic set up with a fuzz pedal on the overhead in real time.   Set the vibe and got some very interesting results.  

Stepped gain: In 4dB steps.   Really leaning on this one for quick recall.  

Bandwidth:  Wide Bandwidth.  Really noticed this when I compared a room mic on drums through an MD7 to both an  API 512C and the 312s’ found in 1608 console made by API.  The API’s sounded further away due to the fact that the transformers bottlenecked in low and especially higher frequencies.   The MD7 sounded closer to the source.  

  • 10 Meg-ohm high impedance DI input great for all instrument pickups
  • SEND feature to run signal through stomp boxes for variety of effects

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