An audio interface is built for analog to digital conversion, and though they’re equipped with preamps, there isn’t room in a single interface or mixer to house the components of a well-designed external preamp. Or perhaps you’re wondering why you even need a microphone preamp in the first place? If any of these questions apply to you then you’re at exactly the right place. Pro MPA was one of the first pres I acquired before I was edumacated by these forums. Since then I’ve bought some Adams for monitors and put my Genelec 1031s in the tracking room.
In addition to versatility, it possesses a very airy, with nice depth and a great presence. It may be clear, as if no (GAIN half, and OUTPUT 3 / 4, with High Voltage Plate), but by providing a full and rich. I use it routinely taken for stereo ambience . The most interesting is the choice of impedance that can fit a large variety of microphones, and microphone for the same change a little color . It may seem complicated to work with, but believe me it is not.
Along the bottom row you have a High Z input on each channel followed by a low-cut filter. This is a tame filter by most standards as it’s only a single pole filter (6 dB/octave) so don’t hesitate to use this before you get in the box. Each channel also has four buttons in common a +20dB gain, +48V phantom power, Plate voltage, and a phase inverse button.
The ART PRO MPA II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals. For the novice, buying recording gear can get overwhelming. Factoring in all of the tatoueur versailles influences that microphones, preamps, A/D converters, signal processing, studio monitors and room acoustics will have on a recording is huge undertaking with many nuanced facets. Well, I purchased mine with the A/D and found right away they skimped on the tubes. I changed them out with some Tung-Sols to actually give me some consistancy in performance.
The better your problem and question is described, the easier it is for other ART PRO MPA II owners to provide you with a good answer. It is well above all preamp consoles averages. I’ve never been able to use SSL or API of course, but Onyx or Ghost are a little worse, and certainly less versatile. With the exprience I would put 200 more and I’ll have a compressor that is more. This is my first real preamp so I try to stay constructive … I plugged into my Clarett interface via the digital spdif input.
The compressor is usable on some things but not amazing on many. I used to own one and sometimes I actually miss it. I wouldn’t pay more then $250 for one though. 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. In my opinion, this is NOT pro gear, because pro gear is accurate, easy to set up, fast to work with and offers a dramatic improvement in the sound. That said, it does seem to impart a little more life to digital sources, although you may have to strain your ears to hear it.
Nothing is perfect, so I am giving the ART VLA Pro-II a 4.5 rating–but I am trying to think of anything I don’t like about it…and can’t. It sounds great and it’s design makes it easy, convenient and pleasing to use. Do yourself a favor and save up for this one.
Apart from those the metering is superb and the sound is silent, warm and accurate. I use this unit all the time to warm up my guitar and bass guitar signals, for all my condenser mics, and can’t wait to use it with a ribbon mic to see how well it’ll warm up that sound, too. These controls will allow you to shape your signal, tailoring it to your liking before hitting your DAW and leaving much less work to do in the mix.
As of June 2018 the Performance Warranty is no longer transferable. To understand why adjectives such as “fat” and ‘body” are used to describe the sonic character of a tube preamp, it’s good to understand what’s going on under the hood. Tubes produce a mellow distortion as the signal level increases. This distortion takes place at exactly the same note for several octaves above the fundamental note being played.
Sweetwater’s Sales Engineers are regarded as the most experienced and knowledgeable professionals in the music industry, with extensive music backgrounds and intense training on the latest products and technologies. They are available to offer you personalized product advice any time you need it. Although they were made in China , the sound is also great for this $ preamp . The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.
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