Connect a microphone cable to your microphone, and connect the other end to the preamp's input.
Connect a microphone cable to the preamp's output, and connect the other end to the input on your recording interface.
Plug the preamp into a power outlet, and power it on.
The knob labeled 'Input' controls the volume of the microphone's signal as it enters the preamp, before it is processed by the preamp.
The knob labeled 'Output' or 'Gain' controls the volume of the signal after it is processed by the preamp.
When the phantom power switch is on, your microphone is recieving 48 volts of power through the microphone cable. Some microphones do not need phantom power, and some microphones can be damaged by it. Check the specifications on your microphone before using it.
The 'Threshold' knob controls at what input volume the compression will begin to attenuate the signal.
The knob labeled 'Attack' controls how fast the compressor reacts to rises in the signal's volume. The smaller the value, the faster the attack.
The 'Release' knob controls how fast the compressor reacts as the signal falls back below the threshold. The larger the number, the longer the signal is attenuated.
The 'Ratio' control on your preamp regulates the amount of compression applied to the signal. If the ratio is 3:1, it means that when the signal reaches three decibels above the threshold, the signal is reduced to only one decibel above the threshold.
The 'Knee' controls how the compression is applied to the signal as it reaches and passes the threshold. A 'Soft Knee' gradually will apply compression to the signal before it reaches the threshold, applying the full ratio only after it reaches the threshold. A 'Hard Knee' applies the full ratio of compression all at once and only after the signal has passed the threshold.
Most compressors have a VU meter that allows you to monitor the amount of attenuation that is applied to the signal. Some VU meters show the level of the signal instead, and some will allow you to toggle between the two.
The 'Gain' controls for the equalizer allow you to reduce or raise the volume of all the frequencies within the range defined by the corresponding 'Frequency' controls.
Each 'Frequency' control allows you to select the range of frequencies that will be effected by the corresponding 'Gain' control. If the 'Low' frequency is set to 120, all frequencies under 120 hertz will be effected by the low gain control. Conversely, if the 'High' frequency is set to five, all frequencies above five kilohertz will be affected by the high gain control. If the 'Mid' frequency is set to 400, a range of frequencies defined by the 'Q' control, and centered at 400 hertz, will be effected by the mid-gain control.
The 'Q' control allows you to adjust how broad of a bandwidth will be effected by the equalizer's gain controls. The smaller the Q's value, the wider the bandwidth. The selected bandwidth is centered at the selected frequency, as previously mentioned.
Many preamps have a switch that is labeled with the Greek symbol Phi. When switched on, the audio signal's phase is inverted.
If your preamp has a knob labeled 'Tube', it controls the amount of warmth that is added to the signal as it is compressed by your preamp's built in tube amplifier. At 100 percent, the signal sounds distorted, much like an electric guitar. The typical setting for warm, clear sounding vocals is around 20 to 30 percent.
Mic preamps often have a low-cut switch. The low-cut switch removes the portion of the signal below the indicated frequency, which is usually 80 hertz. Some preamps have a low-cut at 40 hertz, and some allow you to set the frequency.
The normal signal chain for a preamp is compression first, then equalization. Many preamps have a switch that allows you to reverse the signal chain, that is, to run the signal through equalization first then compression. The switch is usually marked EQ>COMP.
Some preamps' equalizers allow you to toggle the high or low frequency to behave as a bandwidth filter like the mid-frequency. The switch is usually labeled 'Band' or 'Notch'.