High quality mic pre with FX loop in a compact form factor

A stompbox size audio toolkit for on stage, in studio and everywhere in between. Includes a quiet high gain mic-pre, 48V phantom power and enough I/O and control for applications such as FX Loop for microphone signal processing (vocals, horns, strings, etc) , signal splitting and combining, complete re-amp setup, impedance and gain matching, mixing and more.


  • MixingLink top view



FX loop send and return supports balanced and unbalanced signals - interfaces with consoles or guitar pedals easily

  • Latching or momentary footswitch control of FX loop for performance effects
  • Works with a wide range of microphones including condenser and ribbon mics with up to 65dB of clean gain
  • Aux I/O connection supporting stereo input and send
  • Guitar amp output and headphone monitor output with separate master volume control



A Swiss Army Knife for Every Application

Use the MixingLink as a compact studio mic pre for recording with Pro Tools, Ableton, or any other D.A.W.


Use the MixingLink to connect a microphone to your favorite stompbox(es) to add effects to your vocals.

Use the MixingLink as a hotel practice amp. 


Use the MixingLink as an A/B Box to switch between two instruments.

Use MixingLink to split and bend one instrument between two amplifiers.


Use MixingLink as a mixer to connect multiple sources to an amp or headphones.


Ultimate Versatility

  • International universal power supply included
  • Operates on 9V battery (no phantom power when operating on a battery)
  • 48V phantom power for condenser mics
  • Balanced XLR output which supports DI and line levels
  • Instrument and balanced line level inputs
  • Versatile mix control supports 3 modes
    • 100% Dry w/FX blended in
    • Mic/FX balance control
    • 100% FX (no Dry)

Artists Using MixingLink

Joe Chiccarelli
U2, Elton John
Joel Hamilton
Tom Waits, The Black Keys
John Agnello
Sonic Youth, Dinosaur Jr.
Stewart Lerman
Patti Smith, St. Vincent
Tony Visconti
Bowie, T. Rex
Vance Powell
Jack White, Sputnik Sound
Teddy Kumpel
Loopestra, "Temple Grandin"
Just Alliance
Vocal Looper


Ideal for any creative and adventurous music producer looking for a new sound or technique, MixingLink is superb for interconnecting any pieces of gear together.
Barry Rudolph
Music Connection
MixingLink saved me time and many trips between the control room and live room to position microphones. Read more...
Barry Rudolph
Electronic Musician
"Mic Pre with FX Loop," is so much more than that...The practical applications are endless!
Joseph Lemmer
Clearly, a lot of thought has gone into making the Mixing Link as versatile as possible...'Swiss Army Knife' is thoroughly deserved in this instance!
Paul White
Sound on Sound



Analog Input MAX Input Levels, Input Impedance
INST IN +10dBu, 500kΩ
1/4" Line IN +24dBu, 22kΩ
XLR Mic IN +4dBu, 2kΩ
FROM FX +10dB, 200kΩ
AUX IN +4dBu, 5.0kΩ


Analog Output MAX Output Levels, Output Impedance
TO FX +10dBu, 400Ω
TO AMP +10dBu, 250Ω
PHONES 150mW per channel, min Load = 8 Ohms
DI/LINE OUT (DI) -10dBu, (LINE) +18dBu, 200Ω
AUX OUT 18mV, 200Ω (mobile mic level)


Power Supply 9 VDC, 500 ma, center pin (-)
Min. required current at 9VDC = 200mA
Dimensions English: 3.6” (H) x 2.65” (W) x 1.5” (D)
Metric: 91(H) x 67(W) x 38(D) mm
Weight .96 lb / .43 kg

Documentation & Downloads


Frequently Asked Questions

General Applications

The DRY signal is dependent on the INPUT GAIN knob setting. 

The DI/Line Out level is determined by the source material as well as the INPUT GAIN knob, MIX knob settings, GAIN button (LO/HI), and DI/LINE switch on the bottom of the unit.  Each of these settings will affect the overall output.

If the switch on the bottom is set to DI, the signal will be compatible with the mic input on a mixing console.  If the switch is set to LINE, the signal will be balanced line level which is compatible with the line input of a mixing console or balanced audio interface input. 

The 1/4”portion of the combo jack is only Line Level. All microphones should use a 3-pin XLR cable. The XLR portion of the combo jack is Mic Level.

The 1/4” LINE IN on the Combo XLR Connector has an attenuator circuit before it goes to the preamp. Using this balanced input allows you to put a +24dBu level signal in before clipping occurs.

The INST IN is unbalanced (2M ohm) and can accommodate most types of instruments including keyboards and Piezo pickups. Alternatively, you could also use the FROM FX input which accepts both Balanced and Unbalanced signals (500k Ohms).

The red PK LED lights a couple of dB before a soft saturation circuit turns on. If this (PK) LED comes on occasionally (and briefly during the loudest passages) it is at the optimal signal level. Just make sure it is not on all the time. Remember, the MixingLink is an analog piece of equipment. Occasional peaking in the analog world does not have the same destructive results as when dealing with digital audio.

When set to LATCH, the FX Loop status changes state upon pressing it and remains until you press it again. For example, if you are miking a saxophone and want an entire passage to go through a tremolo pedal, when you click the FX LOOP footswitch on (status LED above switch lights) you can concentrate on playing while your signal goes through the effect.

Conversely, when set to HOLD, it becomes a momentary switch, only activating the FX loop when pressed (and held down). This could be cool if you are a singer that wants the last word of each phrase to have delay. Right before you sing the word, hold down the pedal. Then release the pedal after saying the word and hear it repeat. In this instance, it might also sound good to have the TAILS set to on (the TAILS switch is found inside the unit when you remove the bottom cover).

Reverb Tails On vs Off is a matter of personal taste which may change depending on your application.  Having the Tails switch in the On position will make reverb and delays decay more naturally. Other effects such as distortion may be preferred if they stop abruptly. There really are no rules other than to trust your ears. If you are using the MixingLink as a switching device (like one guitar with two amplifiers), make sure Reverb Tails is set to “off”.

The HI GAIN setting is designed to support Piezo, Ribbon and other low output microphones or instruments. The LO/HI GAIN button affects both the INST IN and MIC/LINE IN at the same time.

This is done on purpose so that PHONES & AMP LEVEL can control a monitor on stage without affecting the signal sent to the mixing console/FOH (from the DI/LINE OUT).

DRY+FX is primarily for bass players or using a bass synth, etc. Typically when running bass through distortion and other types of pedals it can remove some low end going through the pedal. Having the DRY present keeps the original low end and then blends in the amount of desired FX.

Another use is to allow the DRY path signal to be at a constant level and then put a volume pedal in front of the FROM FX and use that to blend in the FX.

The MIX control should be used on any FX that don’t have their own MIX control so that you can blend wet vs dry for that effect.

FX ONLY is useful if your FX have their own mix built in (such as a TimeFactor) or if you want to use the FX return as a separate mixer input, this becomes the mix level for that signal. 

A/B Switch Box

Make sure the LO/HI GAIN button is depressed into the LO position. For the guitar that’s plugged into the INST IN, volume is set with the INPUT GAIN KNOB.  The For the guitar that’s plugged into FROM FX, make sure the MIX switch is in the FX ONLY position and adjust the level with the MIX knob.

Ensure that Reverb Tails is set to the “off”position. The Reverb Tails switch can be found on the bottom of the unit once you remove the cover.

Typically the input would be at the MIC/LINE IN or INST IN and the “A”output would be TO FX and the “B”output would be TO AMP or DI/LINE OUT. The MIX Toggle Switch should be set to FX ONLY, and the MIX knob should be set to the desired level.

Direct Box

Yes, the MixingLink will turn your unbalanced signals (such as a guitar) into balanced. Due to the preamp, it is considered an active direct box. Having a balanced signal will allow for long cable runs without interference. This is always preferred, especially in a live setting.

DAW Applications

When recording, it is always recommended to use a balanced signal. You can use the DI/LINE OUT with an XLR cable or the FROM FX output (as this is also balanced) using a 1/4” TRS (Tip/Ring/Sleeve) cable.

If using an XLR cable, make sure to properly set the switch on the bottom of the unit to LINE if connecting to a line input or DI if connecting to a mic input. If using a TRS cable and the FROM FX, the signal is always Line level.

Mixing Applications

Place the MIX Toggle Switch in the FX ONLY position and then use the MIX knob to control the desired level.

Master Switch

  1. Connect an instrument to the INST IN.
  2. Connect the TO FX to your series of pedals (such as in a pedal board).
  3. Connect your last pedal in the chain to the FROM FX jack.
  4. The FX LOOP switch can now act to engage or bypass all pedals at once.
  5. Set the level with the INPUT GAIN knob.
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