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All you have to do is nsert a ProMIX between the mics and the mixer. Each mic channel on the ProMIX has both phantom power and low-frequency cut selectable via DIP switches. Or maybe you’re a live sound guy paying your dues out on the road. No matter what you do, ART has the right products at the right prices to help you succeed. From our sophisticatedly simple and incredible sounding Digital MPA to our cool little ARTcessories boxes, we have you covered.

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  • In this price range you can hardly find any nonstarved tube preamp with that kind of build quality and sound quality.
  • I also ended up sending my dbx 166 and Chameleon Labs 7602 (SSL bus compressor clone #51) to Revive for modding last year.
  • The Pro VLA II isn’t a fast acting or dramatic compressor.
  • In spite of it being marketed as a tube compressor, it has a surprisingly neutral sound.
  • There is a cheap feel about the knobs which doesn’t lend to longevity, because this thing is so finicky to set up, you’re going to do a lot of knob twisting.

< gym exercise p>Built into the PB 4×4 is a Surge and Spike Protection System, designed to protect powered equipment. No matter where musicians record, you’ll find ART pro audio. Innovative and inspiring, their gear has a loyal fan base that trusts what it can do for their sound…/p>

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Like others have already posted, we use the preamp with the 20db pad “in”, the tube voltage plate engaged and phantom power engaged when needed. 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.

I don’t tend to like to push my pres into extreme overdrive so I haven’t tested enough of that yet to comment in any meaningful way. As far as build quality goes, it’s definitely well built. The unit is heavy and substantial, everything has a really nice feel to it. Two channels in a rackmount case with Jensen input transformers and variable impedance it seems like a real bargain at just under $500. They kind of remind me of John Hardy pre amps, which isn’t entirely surprising being that both companies use the same supplier for their input transformers. But the clean, open sound but with the desirable transformer emphasis, punch and roundness is about where they sit.

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The SLA-2 is a studio linear power amplifier capable of delivering 280W per channel (@4 ohms) with an incredible 10Hz to 40kHz frequency response. The ART PB4x4 Power Distribution System has four of the eight rear outputs spaced 1.25 inches apart. This allows the user to plug in wide power cables and multiple wall wart devices, and still have eight total power outlets to choose from.

It is a different part of AP software that uses signal processing to extract the harmonics. The feature was usually figured to be part of the pre-amp that came after it. If you’re on a budget, or even if you’re not, I’d strongly suggest you check out the Revive Audio site. They have a massive list of gear they mod as well as their own line of gear they manufacture. The process of communicating with them, shipping the gear to them, and getting it back was very professional, and the turnaround was fairly quick – just a few weeks for all three pieces. The USB 2 connection caters for 16-bit stereo audio interfacing.

Art Djpre Ii Phono Preamplifier

This would be a good approach except for one thing, it sounds like crap. It does something to sibilants tho, they stand up way more than without compressor. It can be fixed with the de-esser but i dont really like what ART VLA does with them.

They divide the signal into two paths, one side goes through the usual solid state circuitry while the other path goes through a vacuum tube section. The two output signals are compared, the idea being that the differential signal is the “tube sound”. This is then mixed back with the original signal to any degree that the one desires. While being cheap and feature rich are not always the signs of a reliably good product, I think the VLA has a well executed feature set. It’s nice to have the option for 1/4″ and XLR ins and outs on the back as well. The previous version of the VLA II did not have variable attack and release, so this is a wonderful upgrade in this version.

Priced around $550, much lower than you’d expect of the build quality. Don’t think so as regards a balance control but got to say it’d be a good idea if there was an easy ‘domestic’ way of correcting for cartridge errors as well as those in the control on the front.. A bit of loading choice is provided in the back as well . Hearing protection is incredibly important for everyone, but when you make your living producing and mixing you get totally paranoid about it. Given its low cost, the ART Tube Mix is impressive, both in terms of its construction and its performance.

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