440 User Manual
pg 2
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20dB
7k
4k
80
EFFECTS LOOP
GAIN
SEND
RETURN
/ D.I.
OUTPUT
200
-20
7k
4k
80
EFFECTS LOOP
IN
MIX
OUT
TIME
DELAY
OUT (L) OUT (R)
MIX
IN
DECAY
REVERB
The Meris 440 was designed in every aspect to be the premier solution for recording guitar. The basis of the design
yields classic American console tone heard on countless records. From the legendary Cinemag input and output transformers
to the high performance hybrid-discrete opamps, our engineers carefully made every design decision with the highest sonic
performance in mind. We set our sights on the goal of creating the ultimate preamp for miking an amp or even an acoustic
guitar. You’ll find that the 440 provides the shortest path to great guitar recordings. With it’s specifically tuned filters, and it’s
integrated pedal level post effects loop, the Meris 440 is a complete solution for a finished guitar track. Of course the 440
also performs on varying sources like vocals, strings, and percussion. The effect pedal level loop opens up a world of color and
processing to all of your recordings.
Installation into a 500 Series compatible rack enclosure
1. Power down your 500 series rack before installing (and removing) the 440.
2. Align the 440 with the desired rack slot, and check that the 440 is right side up.
3. Apply pressure to the top and bottom edges of the front panel to seat the 440 into the backplane connector.
4. Secure the 440 with the appropriate mounting screws for your rack.
5. Power up your 500 series rack only after the 440 is securely installed.
Usage
Connect a microphone to the
440’s corresponding rack rear
XLR input
using a balanced
connector.
Start with the Gain
and Output controls
at 12 o’clock, and the
-20dB Pad switch in
the down position (OFF).
Set the filters to the
middle position (bypass)
which will provide a flat
frequency response.
Apply Phantom power
only if you are certain the
microphone requires it.
Phantom power may damage
certain microphones including
ribbon mics.
For unbalanced line or instrument
signals, use the Return / D.I.
input as a high impedance input
and control D.I. gain with the
Output control.