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Art Pro chelsea fields Mpa A 2

In your situation, you can use the XLR to XLR from the preamp to the interface, just as long as you select line input on that channel in your interface and not mic input. Unity gain means there is theoretically 0 distortion and 0 preamp sound. So if you’re using an external preamp and your audio card as a converter, this is the best option. Here are my two cents after much research. Purchased a Mogami 6′ Female XLR from John Hardy Preamp to TRS 1/4 inch Balanced going to Apollo Twin Duo.

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In addition to the VU meters, the Digital MPA has Tube Warmth LED Metering that measures the left and right audio channel levels. The meters act like a normal histogram for the average signal level and the display holds the highest LED on alone for one second. While the average level function attack and release are measured in milliseconds, the peak function has a 20-microsecond attack time. Sure all new toys are great, but do they last. It performs well when set up right and is warm. The problem is the bulbs and now led lights keep burning out and the low cut filter knobs have stripped.

  • So far, it seems to provide a very usable sound with no eq needed, really.
  • If so you’ll need to engage the 48v phantom power button to power up the microphone.
  • It comes with some Chinese stock tubes, that has almost no bass and really bad highs.
  • We must consider the possible DIFFERENT rglages playing with the gain of input and output.
  • ART preamps offer warm tone, useful features, and are innovatively designed.

As a home studio for ourselves & our friends, I can’t foresee us upgrading anytime soon. A quick peek inside reveals just what one might expect. A clean, well laid out circuit board and two 12AX7 preamp tubes. The tubes are a basic Chinese 12AX7 and are a good place to start when looking at modifying this mic pre.

Great Sounding, Versatile Unit

Currently using Mullards in my ProVLA chelsea fields because I happen to like the soft, midrangey tone in that piece of gear. I will also throw in a EH12AX7 in one of them if I’m going to use the DI for bass or guitar. It doesn’t have the high frequency clarity of the other two, but does seem to have a little more meatier and aggressive sound.

Warm Audio Tb12 Tone Beast Microphone Preamplifier

So I don’t want to change that piece of kit. On the behringer you need to change it from MIC input to LINE input. After the PreSonus preamp it is not longer a MIC level signal, it is now a LINE level signal. I purchased an avalon 737sp and was curious why my input levels on my avalon differ than my DAW. Seems like it goes in to the DAW losing input level for some reason.

The 12AY7 seems to work better for acoustic guitar and mandolin, but not as well for drums or electric guitar, for example. The 12DF7’s are lower gain and low noise and they’re dark and warm. They’re my go to channels for vocals, you really have to be trying hard to make them clip. When I first got them, I rolled a single channel and did an A/B acoustic guitar track to compare against the stock Chinese AX7’s. Couldn’t believe how different they sounded.

Yamaha Hs7 Active Studio Monitor

You get great preamps AND the ability to sculpt the sound on the way in with real time plugins. The tube preamp should be hitting your mixer at line level, not going through the preamp. The Channel Strip isn’t where your monitors connect. They would still run out of your Audiobox interface.

You just might be the guy to be able to help me out on a recent purchase of the Presonus Studio Channel Microphone pre-amp. If your current interface only has SPDIF then you might be out of luck. I’m not to familiar with a possible digital cable adapter or converter. I’ve read that it’s as simple as going from the interface’s S/PDIF output to ADDA input, and vice versa – but what if the outboard converter has no S/PDIF I/O but AES I/O instead? Yes, if using the OctoPre then the Saffire is merely a bridge like you said.

Art Channel Strip Pro Audio Preamps & Channel Strips

Your preamplification needs will vary depending on what you want to do and what you’re recording – but, luckily, ART equipped the Pro MPA-II with the flexibility to meet your changing needs. Best results I’ve got are turning the interface inputs down all the way and then using my external gear volumes while watching the clip led on the interface. I just can’t shake that the xlr is wrong and that the gain structure on the interface knob is wrong.

Gold Coverage goes above and beyond the manufacturer’s warranty to protect your gear from unexpected breakdowns, accidental damage from handling and failures. This plan covers your product for one, two, three or up to five years from your date of purchase, costs just pennies per day and gives you a complete “no-worry” solution for protecting your investment. It doesn’t sound bad by any means, but the stock tubes are a very weak link.