In this limited edition ART has done it for you. They used the lower noise version of a 12AX7 which is the 7025. This tube, besides having lower noise than a conventional 12AX7 due to its design, is also more roadworthy. Not only that but ART custom-matched the pair. They also updated all connections throughout with gold plated jacks allowing for lower noise. Custom metering and knobs further set this upgrade apart from their award-winning ProMPAII model.
- This control optimizes the input signal level before the tube gain is applied.
- As long as we don’t pretend it’s a Neve or and API it’s perfectly usable in a project/demo setting.
- You can use the Pro-VLA II for both live audio engineering and studio recording applications, but it especially shines as a mastering tool.
- When ordered you will be contacted with an expected delivery date.
- Your purchases also help protect forests, including trees traditionally used to make instruments.
- This is the preamp I ended up choosing.
The top end is open but mellow and these are good for taking the edge off and smoothing out harshness. What I can tell you is that since you’re rolling into essentially the same gear I have, if you can find a pair of Westinghouse 12DF7’s, jump all over them. The analog VU output meters presented another issue. standesamtliche trauung When removing protective film, one of the meter needle got a jolt of electrostatic charge and it was hovering near the middle of the readout for a couple of days . A must for any recording studio without spending thousands per channel. It’s solidly built, with – wonder of wonders – stepped controls for the major parameters for easy recall.
Art Pro Mpa Ii Two Channel Mic Preamp
I did this with my unit and the differences were subtle yet noticeable. I basically had 2 different tones from each channel. Came in handy on different voices with different mic selections. 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. The price is right & the sound is a vast improvement on where we were previously. Most importantly, I can live with the downfalls of the unit – which isn’t something I can say about most of the “cheap alternatives” I’ve come across over the years.
It is still working reliably and sounding as good as ever. For the vintage flavor of most of what I record, the ability to drive the input stage (and see how hard you’re hitting it on the LED’s) is wonderful. I’ll never process audio the same again! Beats, bass, pads, and leads all sound so much better warmed up by this amp. If I knew about ‘tube amps’ ten years ago I wouldn’t be so astonished. I’m currently using it to process a Kurzweil K2000 to fatten up it’s overall sound and all I can say is ‘WIN’!
For the price and amount of features this tube preamp offers you’ll be hard pressed to find something for the same price. I had always run my mics through the mic pres on my Behringer Xenyx mixers, but I wanted to step up to something a little more professional. The sound isn’t sterile and everything I threw at it sounded good. I wasn’t blown away, but everything from the instrument inputs on the front to running both channels in stereo, the sound was crisp and clear. If you have a home project studio and want something worth the money this piece of gear will be perfect for you.
Very easy to get a clean stereo spectrum with these tubes. Help other music gear aficionados by sharing your opinions of gear you’ve purchased. You’re currently missing out on our lovely designed product gallery and its useful features . My name is Graham Cochrane and I’m the founder of The Recording Revolution, one of the world’s most loved audio recording and mixing blogs with over 200,000 readers each month. Place a 1kz sine wave sample on the first track and get the meter in your daw for that track to read -18db while it loops. I did this by changing the volume of the clip itself not the tracks fader.
Paired with my Tube Condenser microphone and the results were amazing! I gained even more air, clarity, but with the addition of the tube warmth. I can only imagine if the tubes are changed out with higher quality tubes. This unit has a range from transparent to full tube driven saturation. It sounds great on either end of the spectrum. The impedance control is very useful for recording with ribbon mics on one end and low noise condensers on the other.
The Pro-VLA II combines optical electronics with a 12AT7 vacuum tube gain stage, so you get the best of both worlds. I contacted Behringer and the tech said xlr can also receive line level and he uses xlr to xlr all the time from a mixer to the inputs of the Uphoria interface. After plunging into the external pre amp and compressor world I realized recently that my awesome Behringer Uphoria 404HD may not be set up to work with them.
Art Pro Mpa
When I first got it, I put it through its paces. Hey, you can spend thousands and be real happy, but trust me, this box is no slouch. Sound of Art Pro Mpa II unit is warmer and better then eleven rack preamp although a little noisy, especially at front Hi-Z input. Probably new quality tubes will solve this problem.