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This instrument or product has been carefully played/used and returned to us in
virtually new condition, however its packaging may not meet the standards set by
the factory. Also, it no longer carries the manufacturer's warranty. If you're looking
for a virtually new instrument in possibly less-than-perfect packaging, this is
a great value. We feel so strongly you'll like what you see, we're including our
60-Day Satisfaction Guarantee on instruments and 30 days on accessories, to this used product making it a no-risk purchase.
Very Good: This instrument or product has been carefully played/used and shows few,
minor signs of use. In most respects it looks and performs like new and may be considered
equivalent to display units found in retail stores. Its packaging may not meet the
standards set by the factory and it no longer carries the manufacturer's warranty.
Condition 2 products are a terrific value and you can buy with confidence knowing
our 60-Day Satisfaction Guarantee on instruments and 30 days on accessories applies to this used product.
This instrument or product is in good working condition but has one or more cosmetic
flaws beyond those of a Condition 2 product. These flaws are typical of an instrument
or product that's seen normal wear and tear, including incidental scratches, chips,
dings, dents or other imperfections. It performs just as well as a Condition 1 or
Condition 2 instrument/product. Its packaging may not meet the standards set by
the factory and it no longer carries the manufacturer's warranty. Condition 3 is
a great choice if you're looking for performance and value and not as concerned
with cosmetics. You can buy with confidence knowing our 60-Day Satisfaction Guarantee on instruments and 30 days on accessories
applies to this used product.
This instrument or product is not in working condition and needs repair, but can
be brought back to full functionality with replacement of parts or some skilled
repair work. If you are a do-it-yourselfer or know a skilled repair person this
is a terrific value. Condition 4 products are sold AS-IS: they do not come with
a manufacturer's warranty and are not returnable.
This instrument or product has been damaged beyond what we judge is reasonably repairable.
It's best used for spare parts or to practice repairs on, and at this price Condition
5 products are sold AS-IS: they do not come with a manufacturer's warranty and are
Accidental damage, normal wear and power surges are no longer an issue with these comprehensive and affordable plans. We even pay to ship your gear for repairs. More details.
Covers much more than the original manufacturer's warranty:
Limit of Liability: The least of the cost of (1) authorized repairs, (2) replacement with a product of similar features, (3) reimbursement for authorized repairs or replacement or (4) the price that you paid for the product.
*Limitations and exclusions apply. See terms and conditions for program details
Empirical Labs Trak Pak Mike-E and Lil FrEQ comboThe Empirical Labs Trak Pak combines the Mike-E mic preamp and EL-Q Lil FrEQ equalizer to give you a stellar and versatile recording channel combining mic and instrument input, compression, tape-like saturation, and equalization - Empirical Labs style, which means tons sound and color variations with easy to use, dramatically effective controls that take you from subtle to extreme—wherever your creative muse leads you.Mike-E microphone preampEmpirical Lab’s Dave Derr is no stranger to creating game-changing audio processors, and his Mike-E preamp is no exception. Mike-E is a modern, digitally controlled microphone preamplifier chocked with unusual features to warm and soften sound sources, plus, it also has an excellent compressor/limiter. Mike-E, a transformer-coupled mic preamp, offers an incredible performance with a noise floor is far below any microphone’s self-noise. And, the one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile coloring, and classic knee compression.Mic Preamp SectionThe preamp section is a super low-noise transformer-input amplifier section with gain digitally controlled gain. This section comes standard with a shielded Lundahl transformer, but allows for a Jensen transformer also.The signal-to-noise ratio far exceeds any microphone in existence; typically over 130dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, Empirical Labs has implemented a unique stepped-gain control that is impervious to the normal flakiness that age causes to pots and detented switches.Counting the output gain of 14dB, a total 74dB of gain is available to you with the CompSat section bypassed. Phantom power (+48V) is provided for condenser mics.Exclusive CompSat™ SectionThis unique circuitry is what sets Mike-E apart from all other mic preamplifiers. It has four sections:1) Saturator: This is a multi-stage soft clipping circuit. At lower levels, triode-type saturation affects the signal. As the level increases, a second unique clip circuit that includes germanium semiconductors starts to flatten out the peaks more severely. An LED named “BAD!” indicates harder, un-musical clipping.2) Compressor: This is an uncompromising compressor/limiter circuit with detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which determines the level going into the compressor. In ways it is like the Empircal Labs Distressor (see #501579), but has 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, such as while tracking or on the 2-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.3) Emphasis: Emphasis is actually two circuits that surround the compressor and saturator. Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the complementary frequencies after the CompSat. Emphasis has the added perk of improving signal-to-noise, and is the reason analog tape decks used emphasis to begin with.4) Mix Control: The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal. This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has a built-in mix control to submix uncompressed signal along with the compressed signal. As you rotate the MIX control from full right to full left, you go from the full compressed signal to the full dry signal (absent of any compression or saturation).Empirical Labs EL-Q Lil FrEQ equalizerInstead of daisy chaining EQ's and frequency processors, Empirical Labs decided to cram most of what an engineer needs into a 1U box, while offering the highest performance of any design known to EL. The result is the TEC Award-nominated Lil FrEQ.The EQ SectionsHP – The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies. EL calls this particular filter a “colored” filter, since it's very steep and has a special shape that prevents thinning out frequencies just above the cutoff frequency. The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. As with all the EQ sections in the Lil FrEQ, there is a dedicated bypass switch.High and Low Shelving – These are very similar to your standard tone controls, but extremely high-performance, providing exceptionally smooth boost and cut on the bass and treble frequencies.Parametric EQ Sections – There are four sections of fully parametric EQ . . . possibly the cleanest parametric EQ section ever produced; operating below .0007% THD (Total Harmonic Distortion) at extremely high audio levels. Try finding those specs anywhere else!Dynamic EQ Section – The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content. There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1.5dB, -8dB, -14dB, -24dB. The DS section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft knee High Frequency Limiter. You will love it!
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* Price guarantee valid on all new in-stock merchandise sold by an authorized U.S. Dealer. Guarantee does not apply to discontinued, blemished, damaged, closeout, open box, refurbished or auction items. You will be contacted via email shortly after submission of request.