Summit Audio introduced the MPE-200 as the first product in its Element 78 series of digitally controlled analogue processors. Element 78 refers to platinum on the periodic table, signalling the intended status of the range. The Summit Audio MPE-200 Element 78 was conceived as a stereo, or dual-mono, microphone preamplifier with an integrated four-band parametric equaliser.
Its analogue circuitry was designed by Mr Rupert Neve, who specified the Class A discrete transistor microphone preamp topology, coupling sections, output driver stages, English-made transformers, and the frequency points and performance of the equaliser section. The defining distinction of the Summit Audio MPE-200 Element 78 lies in combining this fully analogue signal path with comprehensive digital control developed by Summit engineers.
The analogue architecture of the Summit Audio MPE-200 Element 78 is transformer coupled and built around discrete Class A transistor stages. The microphone path presents a 10,000 Ohm input impedance to minimise microphone loading and provides a low noise 48 Volt phantom supply for capacitor microphones. Coarse stepped gain is available in 4.0 dB increments across 17 positions from unity to 64 dB, with an additional fine stepped gain offering 1.0 dB increments across a ±4 dB range centred at 0.
Factory output levels are set at +20 dBu for maximum dynamic range and signal to noise performance. Frequency response with filters disengaged is specified at -0.5 dB from 10 Hz to 100 kHz. Equivalent input noise at 60 dB gain is rated at -128 dBu with a 150 Ohm termination. Total harmonic distortion and noise at 8 dB gain and +20 dBu output level is below 0.0025 percent from 20 Hz to 20 kHz.
Digital control governs all front panel parameters on the Summit Audio MPE-200 Element 78. Settings can be stored internally in any of 25 user definable memories or exported via rear panel MIDI ports using SysEx for external librarian support. Presets may be locked to prevent accidental overwriting, with buffer memory behaviour configurable in sleep mode to retain settings when powered down.
Linked stereo operation ensures both channels track identically, while two-channel mode allows completely independent settings per channel. Presets can be compared in real time, enabling A/B evaluation between stored and edited states. Settings may also be copied between units, and the design allows control and duplication of parameters to additional units such as the MPE-200S.
The master output and setup section provides channel selection, preset management, system configuration and an output fader adjustable ±16 dB to compensate for equaliser boost or cut. A dual bargraph VU display monitors output level and provides peak indication at +18 dB or 3 dB below clip. Fader settings are not stored within presets and return to 0 dB when changing presets or powering down. The interface employs backlit LCD switches and rotary shaft encoder knobs, with colour changes indicating operational or setup modes. All parameter values are displayed both on the LCD screens and via illuminated pointer collars around the encoders.
The high pass and low pass filter section provides 17 selectable steps. The high pass filter spans 20 Hz to 320 Hz at 12 dB per octave, and the low pass filter spans 4.0 kHz to 30 kHz at 12 dB per octave. Filters may be stacked to provide a single high pass or low pass function at 24 dB per octave. Input setup functions include phantom power on or off, phase reverse, and routing options that allow the microphone preamp output to feed the equaliser or operate independently for external processing insertion. Rear panel connectivity includes stereo pairs of XLR analogue inputs and outputs for both the preamp and equaliser sections.
The four band parametric equaliser comprises Low, Low Mid, High Mid and High sections. The Low band covers 30 Hz to 290 Hz in 17 steps with ±16 dB gain and switchable peak or shelf response, with fine gain increments available at 0.5 dB. The Low Mid band spans 100 Hz to 1.0 kHz in 17 steps, with ±16 dB gain and Q adjustable from 0.6 to 2.0 across 17 steps.
The High Mid band covers 500 Hz to 5.0 kHz in 17 steps with identical gain and Q ranges. The High band spans 2.0 kHz to 20.0 kHz in 17 steps with ±16 dB gain and switchable peak or shelf response. Output noise at unity gain with EQ engaged and set flat is specified at less than -100 dBu, while total harmonic distortion and noise at unity gain and +20 dBu output level is below 0.003 percent from 20 Hz to 20 kHz.
Performance specifications for the Summit Audio MPE-200 Element 78 include a maximum output capability of +28 dB, dynamic range measured at 133 dB, and output noise at unity gain with filters disengaged of less than -105 dBu. The chassis occupies 2U of rack space, equivalent to 89 mm in height, with a depth of 356 mm behind the front panel. Power consumption is rated at 80 Watts with a selectable 100 to 240 Volt, 50 or 60 Hz supply. The unit has a mass of 12.7 kg.
The Summit Audio MPE-200 Element 78 combined analogue Class A discrete circuitry specified by Mr Rupert Neve with comprehensive digital storage, recall and MIDI control. With stereo linking, independent dual-channel operation, preset comparison, copy functions and transformer balanced outputs, the Summit Audio MPE-200 Element 78 established the Element 78 series as a digitally controlled analogue platform intended for high dynamic range recording and mastering applications.
Features
- Two channels of Class A discrete transistor microphone amplification
- Four band parametric equaliser with peak and shelf options
- High performance dual range high pass and low pass filters
- Coarse and fine stepped gain control
- Instrumentation type input amplifiers
- Twenty five user definable memories
- Preset lock, store, reset and copy functions
- MIDI controllable with SysEx support
- Floating and balanced output transformers
- Traditional analogue style controls with digital readout