The Mico Dual PreampWhen a brand as serious as Audient comes out with a dual mic preamp with tube simulation circuitry, variable phase adjustment and digital outputs for around $1100, one thinks that this type of product may interest more than one home-studio owner. So, disappointment or revelation?
Audient MICO tech. sheet
Added in our database on: 10/19/2007
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The Audient MICO is a 2 channel mic preamp that is compact and has some really solid features for the price. This would be one of my first options to go with if I was starting my career all over again and wanted a smaller desktop style interface. The sound you can get when recording with the MICO is great, mainly because of the preamps. The preamps are very warm and clean; they are also quiet and will give you about as good of a quality you can get from home (as long as you have a good condenser).
There is phantom power on the MICO but it is switchable, meaning you can turn it on or off depending on if your microphone needs it or not. It also has a -20 dB pad switch and switchable filters for high pass. This interface is built pretty well and seems to be very solid. The knobs and buttons on the front are very well made and it seems to be made out of solid steel.
Getting started with this interface is pretty simple, but if you are a beginner it could be difficult to understand just looking at it for the first time because of all of the buttons for phantom power and filter cuts. But if you glance at the manual you will understand how to use this interface easily and you will start working with both channels quickly (channel 1 and channel 2).
This interface is better than a lot of M Audio desktop interfaces because of the preamps and the overall build of the interface. It is made very well and it is compact. The recording quality is amazing for a interface that is this small. This is the first Audient interface that I have ever used, I am very impressed and I am looking forward to seeing more products from them.
Double transistor preamp, iil has a Hi-Z input on channel 1 and entry combo XLR / Jack.
Two line outputs, digital outputs 24-bit AES, S / PDIF coaxial and optical, the sampling frequency can be chosen at the rear 44.1 / 48 or 96kHz, it can also be set via an external clock 'wordclock input and in this case the frequency 88.2 kHz is available.
On each tract there is a low-cut positions 3, 40, 80 or 120Hz, phantom power, phase reversal and a pad, the gain ranges from 6 to 66dB.
On the way HMX is a focntion simulate the microphone input of a series of product is Hearer can adjust the amount of color via the dedicated button. On channel 2 Variphase function allows the signal exactly out of phase which is very convenient for taking with two microphones.
The only downside I find to say is the lack of food and switch with external power.
The manual is brief but adequate controls are few and fairly common for most of the standard equipment of this kind.
The buttons light up when he is engaged, the front is easy to read a very good point.
A damper on even the food that is cut, mine whistles terribly extreme high, after contacting the seller it seems that it is a faulty because it assured me that I was the first to m complain and that he had already sold some. I ended up wrapping it with foam and the problem is solved.
This preamp is quite transparent without surgery, it is precise but not with his "tough." HMX function is not a toy because it really brings a touch darker with a less sharp "bright".
I use it for a year and a half now, at work I use a Focusrite ISA828, a OctoPre LE, a Symetrix 528E I and I worked with consoles Allen & Heath GL series and WZ3, TAC and scorpio the yamaha digital 01v/02r/03d, LS9, M7CL. I also owned a Presonus card FIREPOD and ECHO.
For me it is clearly a superior clean preamp with a soft but still accurate enough while remaining broadly neutral, it is much less typical than the ISA preamp or ACT and much less dry than the yamaha preamp.
For me it is a good choice despite a quality / price ratio remains through nine because the quality is to go. On occasion this is a bargain.
everything should be for me apart from the insert that is not necessarily a concern for a share sessions with beginners who do not take up
hard to make as simple and intuitive look we all understood
is a true own case that price especially if you are more followers of the lamp or tape and want to keep the color of your microphone even if the option of HMX simulates a pseudo color which can be time time interresting
-How long have you use it?
for three months
-What is so special that you love the most, least?
most - sound quality
I repeated the least but no insert
-How would you rate the quality / price?
With experience, you do again this choice?
great value for money I was looking for a pre-amp pro neutral I was part of the Euro 1500 but pre-amp and convinced me I do not regret this choice
yes I would do I know that this choice will always be a place over time
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sonoratateur's review (This content has been automatically translated from French)
The MICO is not a mirror but a pramplificateur mic / line Two-channel transistor APRS operator of the manufacturer's handbook, the same circuits pramplification
A class that ASP008 ASP8024 and the brand (for those who connatraient dja!).
It intgre home of a CAN 3 frquences Sampling selectable, ie 44.1 / 48/96khz matre when operating in digital audio sync. It can also be controlled, as a slave, any frquence Sampling of incoming via the word clock input frequency drives in the range 32 192 kHz. In both modes (digital audio matre or slave), the converter always operates a resolution of 24 bits.
Level connections, facing rear, there are two analog inputs symtriques combo XLR / Jack 6.35 and 2 outputs corresponding analog XLR.
We regret may be just the absence of insert-type connectors to handle the incoming signal by a compressor / limiter for example before attacking the converter, especially since the available Reserved dynamic output level is not good Pharaonic be: the maximum output level is +18 dBu fixed effect, which REPRESENTATIVES so the top of the scale conversion numrique 0 dBFS. For signals of high level or at least occasionally levs, we must choose, before taking either of Modra pramplification level to maintain a sufficient margin, or to use the -10 db pad switch Submitted on the front of each channel.
Numrique for the connection, there is always an opposite rear output AES / EBU XLR and S / PDIF coaxial and versions available in ADAT optical, which is rare in this type of device. Between a BNC word clock on the table complte, ts a slecteur 4 entries such as "dip" to select the frquence of Sampling, (the select ncessaire is that the device operates in matre or slave), the indication of references sync digital audio internal or external 75 ohm termination or no termination for between the word clock which eliminates the need to connect a BNC T and a cap of 75 ohms impdance between the WC to the case where this device would be the last slave in the chain word clock .
This device 1/2U format and can be rack APRS manual in combination with a second MODEL via an optional kit which I do not know the price.
I put 8 / 10 because of the absence of insert jack trs but I'm really demanding.
The manual is clear trs with photos illustrating each part and function Describes. It is well organized with a logical progression in the A review of these.
In front of the two channels, one finds from left to right, a power supply fantme slecteur of overcoming a 48 V -10 db pad switch, gain the knob pramplification trs race agr Able flexible and prcis, a peak-nitre 4 diodes -36, -12, -6 and 0dBFS (= saturation) that works remarkably well. Just below a low-cut filter 12 dB / octave cutoff frquences three selectable via a combination of two buttons (ingnieux!) 40, 80 or 120 HHZ. And finally switch "rev" for reverse that is phase inversion, for example if you take even one instrument with two microphones placed more or less out of phase.
This is to get what is between the other spcificit of this device: the prsence supplmentaire a function on each channel diffrent trait in nature and that an int prsentent rt mainly in the case of a power strophonique. Namely the left channel function of harmonic frequency drives corrles addition to the input signal that can be used better pramplifi diffrencier the left channel of the right, increasing the impression of spatial and the right channel with a knob race varies the phase of right channel continumment of 0180 for combined or not with the classical phase reverse to correct prcisment dphasages = increasing to between left and right channels. Exploitation of this feature requires a subtle and therefore impractical COST cabin spare technique of local registration and trs fontion also good. I could test it with two microphones KM184 on acoustic piano baby grand. With rglage MODR rsultat gives a really INTERESTED in some placements of microphones.
In terms of the quality of the processed signal either at Tage pramplification or at the converter, the sound is really a transparency and DEFINITIONS exceptional in absolute terms and throughout the band original frequency drives, and more so in this price (750 euros). For some microphones have adquate you rcuprez assurment signal quality trs qrande prservant completely characters of the instrument. For me the main strength of this unit.
I bought one month ago and I am satisfied with TRS.
What I like most in the first place is its transparency, then the performance of its rglages trs ct and finally its intuitive and Aesthetics.
What I like least is its dynamic Reserved just a little bit sometimes and then insert the failure to take even if due to the absence of distortion or background noise moidre can a record level a bit more and increase MODR APRS once the signal level recorded without problem to the mix made for critical management level.
The report qualitprix is unbeatable for acoustic instruments including the stamp must be respected including the voice.
I referrer that choice without hsiter because it corresponds completely to my needs.