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Daking Mic Pre One

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The Daking Mic Pre One is a free-standing single-channel preamplifier that uses the same circuitry found in Daking's 4-channel Mic-Pre IV, a favorite among top producers and engineers such as Butch Vi... Read More

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The Daking Mic Pre One is a free-standing single-channel preamplifier that uses the same circuitry found in Daking's 4-channel Mic-Pre IV, a favorite among top producers and engineers such as Butch Vig (Nirvana, Green Day, Smashing Pumpkins), David Pensado (Mary J Blige, Beyonce, Brian McKnight), and both Chris and Tom Lord-Alge (who haven't they mixed?). Built in the tradition of the great console manufacturers such as Neve and API, Daking preamps feature bulletproof construction and marvelous sound, reminiscent of the coveted classic pres.

While sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the Mic Pre One adds a unique variable high-pass filter and comes in a freestanding 'DI-style' steel enclosure, ensuring both durability and immunity from noise. Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4" front panel Hi-Z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain between 25dB and 70dB.

A 20-segment LED bargraph display provides accurate metering. Another LED signifies when power is supplied to the Mic-Pre One. Rear-panel connections include a transformer-isolated input for a microphone, plus line outputs on 1/4" jack and XLR.

  • Class A amplifier, all-discrete solid state design
  • Jensen transformer-isolated mic input
  • Variable high-pass filter (0-200Hz)
  • 20dB pad
  • Inputs for mic, line, and instrument-level signals
  • Front-panel Hi-Z instrument input
  • Phase reversal switch
  • +48V phantom power
  • Full-width 20-segment, bi-color LED meter
  • Balanced XLR output and 1/4" line output
  • External power supply for noise-free operation and longer component live
  • Rohs Compliant
  • Input: XLR mic in (bal),
  • 1/4" instrument
  • Output: XLR (fully balanced), 1/4" (tip hot).

Pro Coverage gives you added warranty protection for your new gear. Stepping in where the manufacturer's "normal wear and tear" coverage ends, our Pro Coverage program offers you upgraded coverage if your product ever fails Read More.

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  • Expedited repair
  • Free shipping (for returns or repairs)
  • 100% coverage for commercial use
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  • No lemon guarantee
  • Free transfer of coverage to a new owner
  • Repair costs covered for up to three years from date of purchase
  • Repair authorization-toll-free by phone or via the web
  • Customer Reviews


by PowerReviews

(based on 3 reviews)

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Reviewed by 3 customers

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Outstanding sound - Outstanding value


from Garland Texas

I picked up one of these units and quickly ordered another to have stereo recording capability. The controls are ideal for rapid deployment, easy control and configuration. Metering includes a nice feature that blips the peak level of a rapid transient that lets you know that the source may be overloading with a momentary spike. This is especially important recording to digital since the metering capability of the average USB interface won't catch or report the spike and truncation may be occurring at the Interface rather than in your recording program (I've experienced this). The soundscape is big and satisfying. It will make a good mic sound great but might expose the weakness of your lesser mic. It delivers a slightly larger than life sound that accentuates your recordings - perhaps not what you want for a clinical classical recording but for great, classic audio it delivers. The design is based on a Trident A-Range console pre. Support from the company is good - I've spoken to Mr. Daking directly and to the head of VP of Daking Audio while debugging a ground problem with my setup. The Mic Pre One uses correct grounding to the chassis and I experienced a ground loop working with my laptop based USB interface (which does not have real grounding) that required me to use a two-prong adapter in order to eliminate the hum. There are other ways of solving the issue but this was cheap, fast, and fully effective. For your money you get a real pro channel that can really step up your recordings so long as you have the quality in the rest of your signal path and quality conversion. I've read some reviews where the user didn't feel that an upgraded pre did much for his recordings which is certainly possible if your signal path can't take advantage of pro gear. My setup is hardly "all pro" but recording to 24/96 thru my Focusrite 2i4 does glean improvement in my audio. My recording space is treated with Auralex and I do take care to quiet things down which really matters. A great recording of a lousy room will be unsatisfying no matter how much money you throw at mics or pre's. By the way, the HP filter is one of the key reasons I love this pre - recording acoustic guitar without a HP filter is hell. Cheers peeps. -K

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(1 of 1 customers found this review helpful)


Perfect Pre

By David

from Indianapolis, IN

This is a powerful preamp. The construction is sturdy, and the little rubber feet keep it in place on my desk. I've cranked the gain to 60 without ANY noise at all. Some of the cleanest gain you can get. I didn't want a tube amp or anything that would color my sound. This pre does exactly what I wanted it to, boosts my signal with pure, noise free, gain. The variable high pass filter is also really great when recording a variety of sources (acoustics and vocals are mainly my thing). It's easy to use, the buttons on the front panel are very bright so you will know when it is off or on. Overall a very sturdy one channel preamp and for the price I don't think there is a better device.

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(6 of 6 customers found this review helpful)


Daking Mic Pre One

By Rob Tavaglione

from Charlotte NC

Daking is known, amongst other things, for a line of clean and uncolored mic preamps and the Mic Pre One (MP1) is no exception. At first I didn't like the desktop design all that much, but now I have reconsidered, as it has its purposes. The Mic-Pre One has a Jensen input transformer, a higher than typical 70 dB's of gain, a switchable and continuously variable HPF (between off and 200 Hz) and a 20 segment output level meter. With an 1/8th inch steel enclosure and tight, non-stepped rotary pots the MP1 feels sturdy and destined for long service. In a nutshell, the MP1 is very clean, with high headroom, no discernible compression and a flat, natural frequency response. It can distort, but you have to try very hard to do it and that's not really its specialty anyway. To me, it seems like the MP1's distinct advantage is that it can be run very close to your source; minimizing line noise by sending a line level signal down your cable instead of a lower, mic level one. This has advantages for the personal studio ... if you have long cable runs from studio to control room, if you need to put a mic pre close to performer for frequent adjustment, or if you're avoiding a noisy environment. This is especially true for broadcast applications, where all kinds of noise (EMI, RF, fluorescent lights, intercoms etc.) are nearby and anxious to pollute your clean audio. The MP1's high pass filter is also indispensable. Whether removing ground hum on location, filtering out unwanted rumble or fine tuning a mic's response (I aggressively use the HPF to clean up a ribbon mic's boomy bottom end on acoustic guitar, for example). If you're looking for your first premium mic pre, this is an ideal choice. Sure, its not colorful, but neutrality is more important on your first pre. If you've got a full rack, the MP1 still deserves a look ...you might need a portable pre out of the rack, or you might just want those tasty Daking sonics. Either way, considering its reasonable price and sturdy build, you can't go wrong with the MP1.

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