Any experience with the Daking Mic Pre One?

Yea, you can use anything with gain and EQ for just about anything.

I use a Klark Teknic EQP-KT (Pultec clone) as my main channel strip for guitars!

Eleven Rack is part of my studio rack still, yes. I use it for some tracking, but I have a flow-chart requiring signal chain and patchbay and frequently record 8-12 tracks split off a main performance at a time (different amps, feeds off hardware reverb, etc).

The EQP-KT is typically first in the rack part of the chain.

Effectively it's "Master board" that has pedals that juice everything - then it hits the rack. EQP-KT, split to individual amps/modellers and they spider out from there. EQP-KT has its own dedicated track as well, I like blending a bit in with no amp for the 'straight to board" sound. If I want that in spades, I split the EQP-KT DI to three options: straight EQP-KT, and a pair of Boss GL-100 rackmount pres with analog speaker sims that were the core of my rig for ages and I LOVE the EQ on as well as the 'get any Boss analog 80s dirt pedal" in a 1U package and then some.

"Typical" is (separate "amp" taps/channels) Hot Rod Deluxe tap off the attenuator (which isn't set to much, just useful for that DI tap, a Weber Mini Mass that sounds pretty decent with the Blues Deluxe Two-Notes IR, a thing I started using when I was still in a no cranking apartment), mic on the HRD as well, mic on the Marshall DSL-1 with 1x12 cab, mic on the Boss Katana, mic on the Jazz Chorus (with real Space Echo running into it typically as well), DI out of Eleven Rack (with Lexicon Vortex sonic destroyer in the loop fulltime, switchable per-patch of course), DI out of the GT-100.

Can and will swap the JC with the Mustang V sometimes, or throw out the Marshall on Bass VI duty unless I WANT Lemmy.

Any of the above will get routed into the Lexicon MPX-500s - have a pair. Same with the DigitecH RDS LFO delays - that do things that are almost indescribable. Lo-fi digital delay with a non-destructive LFO modulation section that's usable even on the highest delay settings - imagine a flange from hell but on a 3.6 or 8 second envelope. VERY rubber band weird - and a sample and hold, which can be run through the LFO and back again and backed off, it's applied after the sample buffer.

I am the epitome of Gilmour and Waters muttering about equipment and challenging other people to get sounds out of it in "Pompeii."

The Eleven Rack is vital if I want simple "here's a fake tweed" without going out to the live room in the shop and cranking things to ungodly volumes (which I do quite often).

Re-amping isn't part of my process except in RARE instances, I print live with as it sounded in the monitors and amps and effects units - the reason I split to so many tracks is so I don't have to have a 'perfect mix' while perfect performance occurs as a one-man show, allowing me to tweak levels and pan and EQ in real time afterwards.

One of three racks now, this is from the old apartment a couple years or so back: