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Empirical Labs EL-9 Mike-E Microphone Preamp & Compressor

Channel Strip with Microphone Preamp, DI, and Compressor/Limiter with Sidechain Input
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Empirical Labs EL-9 Mike-E Microphone Preamp & Compressor
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A Versatile High-performance Mic Pre/Compressor For Any Situation!

Empirical Labs’ Mike-E channel strip manages to do many things very well! First and foremost, it’s a modern digitally controlled mic preamp. An extremely low-noise transformer on the input amplifier keeps the signal strong and clean. The input section also features a high-performance DI for direct-input instruments such as guitar and bass. Polarity, highpass filter, and 48V phantom power switches come next, followed by the CompSat section, which is comprised of a Saturator, Compressor, Emphasis, and Mix Control. These four circuits come together in the Empirical Labs Mike-E to enhance your tracks with everything from classic knee compression and limiting to colorful vintage-style saturation. On its rear panel, Mike-E features balanced and unbalanced I/O, as well as sidechain input and stereo link jacks. Empirical Labs’ Mike-E is very well-spec’d and equipped, indeed, and at its quite reasonable price point, an excellent value!

A truly impressive mic pre

Mike-E is above all a fine example of what a great preamp should be, packed with unusual features to warm and soften the source, along with an excellent compressor/limiter to punch it up. Mike-E offers incredible performance via its Lundahl transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise. The super-low-noise input amplifier section features gain that is digitally controlled.

Mike-E’s signal-to-noise spec exceeds any microphone’s — nominally above 130dB with 40dB of gain. Having used many mic preamps over the years, engineers at Sweetwater appreciate Empirical Labs’ implementation of a unique stepped gain control designed to resist the degradation that typically affects older detented switches and potentiometers. A healthy 74dB of gain (including the unit’s 14dB of output gain) is available with the CompSat section bypassed, more than enough to handle any microphone in your collection — even passive ribbons. Of course, 48-volt phantom power is provided for your condenser mics.

Unique compressor section

The one-of-a-kind Mike-E “CompSat” section is an innovative compression and saturation circuit that offers versatile coloration and classic knee compression. The exclusive CompSat section sets the Mike-E apart from all other mic preamplifiers. It is comprised of four sections:

Saturator: This is a multi-stage soft clipping circuit. At lower levels, a triode type saturation affects the signal. As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks. An LED labeled BAD! lights up to warn of harder non-musical clipping.

Compressor: This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy, reliable settings recall. You adjust the amount of compression with the Drive knob, which adjusts the level going into the compressor. In some ways, it is quite Distressor-like, but it has other differing characteristics, including a much longer available attack time and additional circuitry. Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression while tracking or strapped across a mix bus. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter-like) and has a different attack and release shape.

Emphasis: The Emphasis circuit tames high-frequency “pile-ups” and provides frequency-dependent saturation, further enhancing the creamy coloration of the Mike-E. It actually consists of two circuits that surround the CompSat. Pre-emphasis boosts the high frequencies prior to the compressor and saturator, while de-emphasis cuts those frequencies after the CompSat. Emphasis has the added advantage of improving signal-to-noise. (This is the reason analog tape decks used emphasis).

Mix Control: The modern recording engineer often employs the technique of mixing between the compressed and the uncompressed (dry) signal. This “parallel processing” can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has an onboard Mix control to mix in the uncompressed signal with the compressed signal.

Sidechain input for creative ducking

Every dynamics processor has a sidechain circuit that examines the signal and determines how much the VCA will reduce gain — but not every unit provides access to its sidechain. In compressors without a separate sidechain input, your main input signal is, essentially, compressing itself. With compressors that have a separate sidechain input — like the Empirical Labs Mike-E — you can introduce a different signal that determines the compression action on the main signal to achieve everything from “pumping” effects to auto-ducking music under a voiceover, as is common in radio commercials.

Empirical Labs Mike-E Channel Strip Features:

  • Mic preamplifier with super low noise and stepped gain
  • Highest-quality components used throughout
  • High-performance DI for direct-input instruments
  • “Colored” 80Hz highpass filter emulates the warm low-frequency cut of vintage equalizers
  • Polarity switch inverts audio signal 180 degrees
  • CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit
  • Emphasis: high-frequency emphasis system softens high-frequency pile-ups and adds color enhancement
  • Mix Control allows the blending of the Compressed/Saturated signal with the unprocessed dry signal
  • Frequency Response: 3Hz–200kHz on (CompSat out); 3Hz–150kHz (CompSat in)
  • Signal to Noise:130dB (40dB gain)
  • Maximum output: +28dBu
  • Distortion: .0006%–15% (depending on mode and settings
  • Input Impedance: 600 ohms; Output impedance: < 38 ohms

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Tech Specs

  • Preamp Type: Solid State Channel Strip
  • Number of Channels: 1
  • Phantom Power: Yes
  • Polarity Switch: Yes
  • EQ: 80Hz Highpass Filter
  • Compressor: Yes
  • Other Processing: Compressor, Saturation
  • Frequency Response: 3Hz-200kHz
  • Analog Inputs: 1 x XLR. 1 x 1/4", 1 x 1/4" (Hi-Z)
  • Analog Outputs: 1 x XLR, 1 x 1/4"
  • Other I/O: 1 x 1/4" (link)
  • Rack Spaces: 1U
  • Power Source: Standard IEC AC cable
  • Height: 1.75"
  • Depth: 10"
  • Width: 19"
  • Weight: 14 lbs.
  • Manufacturer Part Number: EL9 Mike-E

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Customer Reviews

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Rated 5/5

Amazing

After a ton of research, I pulled the trigger on this. Not at all disappointed. It just makes vocals sound incredible. The HF Emphasis is great and musical. Can't believe how affordable this is too! I've used a lot of high end preamps/channel strips and I'm not sure I've used one that sounds better than this.
Rated 5/5

Beautiful Saturation!

My first experience with this unit was to engage the high emphasis and to dial in some 1:1 compression. The saturation it gave vocals was godly. Super clean, but beautiful harmonics that gave a perfect bit of grit. I have yet to play around a bit more with the compression section, but my initial use on 3 different vocalists was a great experience. This will be my go to for vocals now. I wish I had the EQ to go with it! If only Empirical Labs would be willing to send one to do a review on ;) . There aren't many reviews regarding vocals with this unit, most just cover guitar and bass. But I have been an engineer of hip-hop, R&B, and pop for 20yrs now, and I highly, HIGHLY recommend the Mike-E EL9 for your vocal needs. I choose this over the Avalon and API channelstrips I have previously used. If yoi are thinking of buying...do yourself a favor and go for it!
Music background: Audio Engineer -20yrs
Rated 5/5

if you're considering it JUST DO IT

This was my first purchase of outboard gear and it has by far and away blown past my expectations. The best part about this thing is just how easy it is it set up and get going. I thought I had to be missing a step when first setting it up because of how quickly I was able to get great sound out of it. I LOVE using it on vocals. This is the primary way I will be using it and it is like a blanket has been taken off of my vocal recordings. I thought I was getting full and clear sounding vocals before but now its not even in the same ballpark. Its like I flipped the lights on with my vocal tracks and this thing will pay for itself 10 times over. If you're even on this page and seriously looking for an all around workhorse magic box- look no further. Shout out to Ashton Vaudt for the help with this.
Music background: music producer/artist
Rated 5/5

Huge sound

This preamp compressor channel strip really sounds amazing and is so easy to use. I absolutely love it for electric guitar and bass. It also sounds great on voice but there's something about the gain staging within this box that just makes electric guitars sound gigantic. I love what the saturation in the compressor does to the bass guitar! This is a must have in a top of class preamp line up. Thank you to my sound engineer Paul Allen for helping me find yet another incredible sounding preamp for our studio! I'll be buying another one soon!
Rated 5/5

Best Secret Weapon

While UA and Avalon seem to get the most notice and praise, this guy is proving himself time and time again as a Beast of a machine!
It may not look as sexy as other brands. But that's because the quality is inside, not in the looks.
I've compared it to ART, UA, SPL and others, and it always wins.
The controls are laid out beautifully, easy to navigate.
The Pre-Amp is powerful and dependable. And the stepped control make the settings repeatable.
The compressor is the best I've found in any channel strip. It just always works, smoothly, without any harsh pumping or breathing. It really is transparent.
The only thing I wish it had is a noise gate.
Otherwise, it's the perfect channel strip.
Music background: 35+ years producing

Hear from a Sales Engineer

What Do Our In-house Gear Experts Think?

Nate Edwards

The Empirical Labs EL-9 Mike-E is a hidden gem. Everybody knows about the Distressor and the Fatso, but this piece is a secret weapon, and every studio needs at least one secret weapon. Its beauty lies in its simplicity and quality. The pristine preamp has tons of gain, and the CompSat section has tons of mojo - and the ability to give a warm gentle squeeze to those sounds that need a little love before hitting your DAW. Great for gently hugging vocals and crushing synths and drums. It has quickly become the busiest workhorse in my studio.
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