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Description
The MartinSound Martech MSS-10 is the quintessential mic preamp that bridges the gap between studio precision and sonic artistry. Revered by audio professionals, this preamp is akin to a mythical straight wire with gain, offering transparency and clarity that elevates any recording. Its dual signal paths and modular design make it a versatile powerhouse, seamlessly integrating into any studio setup.
Engineered with meticulous attention to detail, the MSS-10 boasts a two-stage gain structure, providing a wide bandwidth that captures the full spectrum of sound, from the subtle nuances to the most dynamic peaks. With 65dB of gain, switchable in 5dB increments, and a suite of features including 48V phantom power, 20dB pad, and phase reverse, this preamp offers unmatched control over your audio input. The line driver section, with its balanced input and flexible EQ insertion point, ensures your recordings are as polished as they are precise.
The aesthetic design of the MSS-10 complements its technical prowess. The sophisticated matte finish and nickel-plated faceplate exude elegance, while ergonomic knobs and illuminated push buttons provide intuitive operation. This is not just a preamp—it's a statement piece for your studio.
Key Features:
- Dual signal paths for flexible audio routing
- Two-stage gain structure with 65dB of gain, switchable in 5dB steps
- 48V phantom power, 20dB pad, and phase reverse functionality
- Balanced line input with EQ insertion point
- Ergonomic design with matte finish and nickel-plated faceplate
- Continuous level control from infinity to +10dB
- Professional VU meter with Cal button for precise monitoring
Product specs
| Brand | Martech |
| Model | MSS-10 Single Channel Mic Pre |
| Finish | Silver |
| Year | 2010s |
| Categories | Microphone Preamps |
FAQs
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What type of microphone is the MartinSound Martech MSS-10 best suited for?
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The MartinSound Martech MSS-10 is designed to work exceptionally well with high-quality condenser microphones, providing a transparent and detailed sound that enhances vocal and instrumental recordings.
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Does the MartinSound Martech MSS-10 add coloration to the sound?
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The MSS-10 is known for its clean and transparent sound, offering minimal coloration, which makes it ideal for capturing the natural tone of your source material.
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Is the MartinSound Martech MSS-10 suitable for home studio use?
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Yes, the MSS-10 is suitable for home studios, offering professional-grade preamplification with a user-friendly interface, making it accessible for both amateur and professional recording environments.
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How does the MartinSound Martech MSS-10 handle dynamic range?
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The MSS-10 is designed to handle a wide dynamic range, ensuring that both quiet and loud signals are captured with clarity and precision, making it versatile for various recording scenarios.
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What are the connectivity options for the MartinSound Martech MSS-10?
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The MSS-10 features standard XLR inputs and outputs, allowing seamless integration with most professional audio equipment and studio setups.
Reviews
Owner Insights
We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about MartinSound Martech MSS-10.
Features and functionality
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The Martin Sound Martech MSS-10 is highly praised for its clean gain, making it ideal for ADR and foley applications.
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Described as "crystal clear," the MSS-10 is praised for its ability to maintain purity in recordings, especially beneficial for projects involving different producers and mixers.
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Users appreciate the MSS-10 for its ease of use in dynamic recording scenarios, unlike the Sound Devices 302 mixer with its cumbersome gain controls.
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User experience
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Owners describe the MSS-10 as a beloved choice for ADR and foley work, highlighting its reliability and sound quality.
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Studios often utilize a U67 or M269 paired with MSS-10, GML EQ, and CL1B, highlighting its role in high-end vocal chains for a clean output.
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It's mentioned that the MSS-10 is favored by professionals at major studios for its reliable performance during long sessions, providing stable audio quality.
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Comparisons
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Some users prefer the MSS-10 over other preamps due to its pristine audio quality in professional ADR settings.
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Often likened to preamps like Grace, GML, and Gordon for its "gain on a wire" clarity, ideal for capturing transparent audio without added coloration.
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Considered safer for background vocals in complex projects, the MSS-10's clean output prevents any negative feedback from producers unfamiliar with the final sound direction.
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The MartinSound Martech MSS-10 is compared favorably against the Grace M101 and Millennia preamps, cited for its superior transparent gain.
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The MSS-10 is noted alongside high-end preamps like the Avalon M5 and Amek/Neve Purepath for its ability to handle stepped gain adjustments smoothly.
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Use cases and applications
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Frequently used in vocal chains with vibey tube mics, the MSS-10 ensures a clean recording, making it a preferred choice for projects where final sound is unknown.
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The MSS-10 is praised for its versatility, performing exceptionally well in both ADR and foley production environments, which demand high clean gain.
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Based on 0 Reviews and 0 Ratings
Artist usage
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Nathan Chapman stated, "I recorded Taylor's voice with an Avantone CV12, which I also used on Fearless, going into a Martech MSS10 mic pre, and then a Tube-Tech CL1B compressor." This confirms that the MartinSound Martech MSS-10 was used in the recording of Taylor Swift's vocals for the album "Speak Now," as detailed in the article from Sound On Sound titled "Taylor Swift Speak Now."
This preamp served as vocal microphone preamp for "Take Me To Church", according to Sound on Sound interview with Rob Kirwan.
This Martech MSS-10 VU is owned by Deryck Whibley Of Sum 41
Used as vocal and drum Mic pre on Underclass hero and Heaven & Hell. + Avril Lavigne records, best Damn Thing and Goodbye Lullaby
In an interview about Dula Peep's vocal chain, audio engineer Ivan Meshcheriakov confirms he uses the Martech MSS-10 to add gain to her vocals.
"From there, he’d run the signal through a MartinSound Martech MSS-10 mic preamp, primarily just to stay true to the sound that Hersh was hearing in the room."
Jerry Finn is confirmed to use the MartinSound Martech MSS-10, as he stated, "The first thing that I really noticed as on vocals, sold me on it immediately. It made the vocals sound really present, which required less EQ and less compression to really get them to stand out on the track." This information is supported by a listing on Reverb.com titled "Really rare Martinsound Martech MSS-10 Natural Sound Mic Preamp."
Chino vocal’s chain was a dual affair: the Bock Audio 251 into a Martech MSS-10 preamp into a DBX 160, sans EQ
A couple are featured in this March 13, 2016 Spitfire Audio Creative Cribs interview at 5:53.
Used on A Thousand Kisses Deep, as stated by recording engineer Joe Chicarelli in this December 1, 2003 Electronic Musician interview.
For the trumpet I had my Martech MSS10, which I love. It's very open, and with the Royer it was a perfect combination. The Royer is warm and round, and the Martech is very open on the top.
Album Usage
The MartinSound Martech MSS-10 has been featured on the following albums:
Heaven :x: Hell
Sum 41 (2024)
Speak Now (Taylor's Version)
Taylor Swift (2023)
Take Me to Church EP
Hozier (2013)
Fearless
Taylor Swift (2008)
Underclass Hero
Sum 41 (2007)
A Thousand Kisses Deep
Chris Botti (2003)
blink-182
Blink-182 (2003)
Take Off Your Pants And Jacket
Blink-182 (2001)
Enema Of The State
Blink-182 (1999)
Genre Usage
Based on how artists on Equipboard use this gear, it is most commonly found in the following genres.
Used With
Based on how musicians on Equipboard use MartinSound Martech MSS-10, it is most commonly used with the following gear.
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