Art Tube https://philtattooranch.com/ Mp Studio V3

Compact Pedalboard Patch-bay / Insert Point Features Self-switching return jack allows for multiple configurations Easily patch extra effects into signal chain on cramped boards Enables easy… I’ve played around with lower settings and the changes aren’t all that dramatic with any of my mics. Maybe you gain some bloom, or heft, or weight, or other ill-defined internet words by going lower, but I’d rather retain the top end on most sources. Sounds like these would compliment my Daking channels nicely for about half the price. Jensen input transformers are a pretty big deal in this price range. Had I not already bought my Pre73 DLX’s I would definitely have given the TransX a try.

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I’ve never used a Hardy preamp but have read repeatedly that they have https://philtattooranch.com/ some specific characteristics, most notably a pretty low level of saturation even when hammering the transformers, and a very present top end. I have no experience to know if that’s accurate but it’s definitely how my TransX behaves. I can push it very hard and there isn’t much audible distortion, for better or worse depending on the source. The top end has a hyped quality, but not in a harsh way like you find in cheap LDCs that are trying to pretend they’re expensive. I really like the TransX on horns, drum overheads and vocals that need to be very present. I don’t particularly like it on anything that would benefit from a fatter, darker vibe like you’d get from something like a 1073.

  • This is exactly what we see with the Art Pro VLA II. It is a very respectable vacuum tube compressor that compares favourably to units costing over $1000 dollars.
  • So if you don’t need the orignal gain options there is a possibility to adapt gain setting for cartridge balance corrections between 0.5-2 dB.
  • All of the Revive mods follow a similar path, so while I’m outlining the Pro VLA mod here, most of their other mods are similar.
  • The MPA Pro 2 would be an ideal remedy for that particular disease.
  • The ART PRO VLA II is quite possibly the best piece of low end gear on the market.
  • I enjoy using the VLA II for warming up my digital recordings with its tube gain stage in addition to utilizing the compression settings.

The two tube‑voltage options provide another subtle but useful variation in tonality, and the variable input impedance is invaluable for use with passive ribbon mics or other insensitive dynamic models. ART have a long‑standing reputation for delivering good, affordable audio processors, and their Pro MPA2 seems set to continue that tradition. Essentially, this device is a 2U-high, two‑channel mic preamp with switchable 48V phantom power and continuously variable input impedance.

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To keep the lows under control, there’s a smooth, 6dB/octave low‑cut filter that can be swept from 10Hz to 200Hz. Four illuminated buttons beneath the VU meter are used to select ‘normal’ or +20dB of gain, phantom power, high or normal ‘plate’ voltage, and polarity inversion. The new ART ProMPA II is the next generation in affordable high performance microphone preamp technology. Each microphone input circuit, with selectable 48v phantom power, features variable input… The ART MX624 6-channel stereo mixer with 2 zone outputs is a versatile rackmount mixer that combines 6 independent input channels and routes them to 2 stereo zone outputs. It can be used on stage, in the studio, or for permanent install applications.

Art Pro Audio Pro Mpa Ii By Kell Sound

In use I found the pre to be pretty straight forward to operate. While recording I always had the +20 gain button pushed in. It makes sense though, why else would I choose a tube pre unless I wanted to get some tube sound. The addition of the tube warmth meter made it easy to set my gain control.

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It doesn’t work on everything, because it does have a certain color to it, and a lot of sources simply work better with other options. ART markets the Pro VLA II as a transparent and smooth acting compressor that is ideal whenever you want discrete compression. This is a photo optical type compressor which tends to have slower attack times and non linear behavior when pushed, giving it distinct and desirable character for many applications. It is ideal for vocals, works well with acoustic and electric guitars and excels on bass guitar. The thickness, warmth and body this can add to your bass tracks is reason enough for purchasing it in my opinion. I never switched tubes so i don’t know how it sounds modded, apparently it makes wonders to the sound.

Immediately striking is the spacious soundstage on offer. On the right there’s a three-way toggle for monitor source, a headphone jack and another, smaller dial for output level. Despite its add-ons and connections, there’s really no more for you to do here to extract great performance from this talented ripping phono stage than there is with any rival. Would be difficult to remember all products and reviews.

This is an efficient method to transfer your vinyl collection onto your computer, and the audio quality is surprisingly good for a low-cost gadget. Furthermore, the Pro Audio DJPRE II is ideal for mobile recording, home recording, and project studios. The DJ PRE II is suitable for a wide range of applications and situations. The Phono preamp is self-contained in an extruded enclosure and is intended for sustained professional usage.

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I enjoy using the VLA II for warming up my digital recordings with its tube gain stage in addition to utilizing the compression settings. It is quite effective and transparent at compressing vocals, instruments, and percussion. To get the tube sound we like with the large condenser mics, we keep the output low, impedence set to the mic output, and with the input gain turned up. Finally, it will come as no surprise given the low cost of these units that the components & build quality leave a bit to be desired. On our unit, the VU meter on channel 2 only turns on occasionally & the gain control on channel 1 doesn’t always work with the high-z input.