Microphone Preamp Preamplifier
Microphone Preamp Preamplifier
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Shure Beta 181 Microphone Preamplifier $249 The Shure Beta RPM181/Pre preamp is the base unit for the Shure 181 microphone. This compact preamp attaches to the four interchangeable capsules that are available for the Shure 181 microphone.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between the capsule and RPM181/Pre preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/S). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Capsules sold separately). This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.The base unit for the Shure 181 microphoneAttaches to the four interchangeable capsules (sold separately)An innovative locking ring to provides secure connection to capsules with integrated XLR connectionsExceptional low-frequency reproductionExtremely high SPL handlingHigh output levelNo crossover distortionTransformer output |
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Millennia HV-3C Stereo Microphone Preamplifier $1843.99 The HV-3C Stereo Microphone Preamplifier is an entirely double-balanced, extremely wide dynamic range stereo microphone preamplifier intended for demanding audio recording. In it Millenia combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3C never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3C is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured |
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Slate Pro Audio Fox 2-Channel Microphone Preamplifier $1799.99 Covering the range from classic British Class A-style vintage tone to ultra-clean modern sparkle, the Slate Pro Audio Fox 2-channel microphone preamplifier is one of the most versatile mic pres out there. The way the Fox shapes tone is brilliant. There are two completely independent microphone preamplifier circuits in each of the Foxs channels. The Vintage circuit calls up the sound of the legendary 1073-style preamp warm, fat, and full of lush harmonics. Conversely, the Modern setting gives you a sparkling clean sound thats perfect for capturing acoustic instruments in picture-perfect detail. Whats more, the Fox features two Combo modes, which combine the input and the output sections of both circuits, giving you a pair of completely unique preamp sounds.2-channel microphone preamplifier4 distinct microphone preamplifier sounds in each channel2 independent preamp circuits in each channelClassic circuit provides 1073-style soundModern circuit provides ultra-clear sound2 combo modes combine the input and output sections of each preamp circuitIncludes instrument inputs, phase controls, and phantom power100% made in the USA |
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A Designs 500-Red Microphone Preamplifier $795 In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. The sound of the EM-Red The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Red comes with a 50/50 output transformer. A Designs Audio added a little kick to this one by changing the input transformer as well. The result is more "up front mids"! You'll find this very useful when recording acoustic guitar with a condenser microphone. You can also use the EM-Red for recording toms, both rack and floor. As with all the A Designs Audio modules, the EM-Red is VPR Alliance compliant, and features a 48V phantom power switch, DI input, and phase reversal switch. Solid build quality and functionality The A-Designs EM-Red features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Red is another stellar example of the A Designs Audio mission: pro audio made affordable, and quality without compromise. Requires the A Designs R52 (product # 180038) dual slot external power supply (See accessory box below). The EM-Re |
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A Designs 500-Blue Microphone Preamplifier $795 In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. The sound of the EM-Blue The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Blue is equipped with a nickel custom-wound output transformer. This emphasizes the highs and produces a much more "airy" top end tone. When used with a "dark"-sounding microphone or an alto vocalist, it can produce an absolutely heavenly sound. You will also find this pre useful for recording a snare drum for that crisp "crack" sound. Plus, you just might want to hear what an electric guitar sounds like going thru nickel transformers (trust us, you do!). So, to get down and dirty with an electric guitar you'll want to use the EM-Blue's DI and 20dB pad, and crank the gain for a slight growl. Solid build quality and functionality The A-Designs EM-Blue features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Blue is another stellar example of the A Designs Audio mission: pro audio made affordable, and quality without compromis |
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A Designs 500-Silver Microphone Preamplifier $795 In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. The sound of the EM-Silver The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Silver has a custom wound steel output transformer, which outputs a darker sound than the P-1, EM-Red, and EM-Blue, great for adding body to thin vocals. The EM-Silver is also very good match with ribbon microphones, which makes sense because steel transformers were widely used in the early days of recording and broadcast along with ribbon microphones. The sound/color/flavor you'll receive depends which ribbon mic you have. With today's influx of ribbon microphones there is a wide choice of character range available for you to determine which tone you are looking for or need. Another feature of the EM-Silver is a DI (direct inject) for use with electric instruments. Thanks to the DI and its darker sound, the EM-Silver is a great pre for bass guitar and keyboards. Also, you may like to try the EM-Silver (depending on microphone) for your kick when recording drums! All in all, the Silver is a very versatile tool. Solid build quality and functionality The A-Designs EM-Silver features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and ph |
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Millennia HV-3D-8 8-Channel Microphone Preamplifier $4012.99 The Millennia HV-3D-8 is a microphone preamplifier of superb sonic character, technical specification, and mechanical workmanship. It offers 8 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed, DC-coupled, FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured. |
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Millennia Hv-3C Stereo Microphone Preamplifier $1843.99 The HV-3C Stereo Microphone Preamplifier is an entirely double-balanced, extremely wide dynamic range stereo microphone preamplifier intended for demanding audio recording. In it Millenia combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3C never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3C is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assuredHigh-speed transformerless design23dB input and 32dB output headroom No attenuation pads requiredEntirely balanced audio pathLaser trimmed FET-based outputTHD+N less than 5 PPM (.0005%)Matched discrete transistor octet front endPrecision components throughoutGold audio connectors and switchesStandard 36-step gain control (1.5dB per step)Stereo gain matched to .08dBOFC audio wiring, silver Teflon power wiringUltra-clean torroid power supplyWelded 16-gauge chassisUnsurpassed ambience retrievalEffortless lifelike musical performance at all dynamic levels |
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Millennia Hv-3D-8 8-Channel Microphone Preamplifier $4021.99 The Millennia HV-3D-8 is a microphone preamplifier of superb sonic character, technical specification, and mechanical workmanship. It offers 8 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed, DC-coupled, FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured.High-speed transformerless design23dB input and 32dB output headroomNo pads (attenuators) requiredEntirely balanced audio pathLaser trimmed FET-based outputTHD+N less than 5 PPM (.0005%)Matched discrete transistor octet front endPrecision components throughoutGold audio connectors and switchesStandard 36-step gain control (1.5dB per step)Stereo gain matched to .08dBOFC audio wiring, silver Teflon power wiringUltra-clean toroidal power supplyWelded 16-gauge chassisUnsurpassed ambience retrievalEffortless lifelike musical performance at all dynamic levels |
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Avalon V5 Microphone Preamp $1080 The Avalon V5 follows the tradition of the U5 DI box, which has been in continuous production since 1995 and is used by leading music professionals in both studio and live sound reinforcement applications.The Avalon V5 introduces a new generation of this tried and true idea, loaded with professional features including a low noise, high-gain, Pure Class A, microphone preamplifier, and a 10 mega ohm instrument DI input with zero impedance loading and a +36dB maximum input capability for active preamp-line sources like acoustic and electric guitars, bass, keyboards and synthesizers.A transformer-isolated reamping output offers multiple input-output configurations with all inputs available, including polarity reverse. Sealed silver relays provide transparent signal path routing while custom, ultra-high performance rotary switches deliver smooth gain control in accurate 2dB steps.A unique passive tone selector allows ten contours (six from the U5 tone bank) including two passive high pass filters and two vocal-instrument enhanced passive air-lift low frequency curves.Additional features include a passive low pass hiss & buzz filter, a wide range, professional analog VU meter with expanded scale -30dB to +18dB with twin peak LEDs for fast signal capture.The Avalon V5 has a truly unique feature set utilizing 100% discrete, DC coupled, Pure Class A amplifiers for Deep and Controlled Bass together with a Musical Midrange for enhanced Vocal and Instrument resolution. With reamping options, the passive TONESHAPING network and multiple output choices the Avalon V5 will continues Avalons passion and commitment to sonic excellence.Pure Class A, 100% discrete designSmooth musical detail and sonic excellenceVariable gain preamp to +30dB.Dual microphone and line outputsHi-Z 3,000,000 ohm input impedanceVery low noise -100dBHigh headroom +30dBSix tone bank selections.DC coupled Class A output for superior bassHigh cut switch eliminates noiseLED active signal indicatorHeadphone monitor output jackLow distortion less than 0.5% THD and IMDHigh level 400 watt speaker inputActive to thru selector - ground isolation switch100% discrete power supplies for audio pathInternal toroidal power supply for low noiseLong lasting, stainless steel hardware |
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Tube-Tech Mp 1A Microphone Preamplifier $3465 The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.Tube-Tech MP 1A, First Take:Dual channel all-tube mic preamp and instrument DIDesigned for ultra low-noise operationSwitchable 20dB pad, can be used as a unity gain line amplifier, +70dB mic input gainDI input with switchable high-pass filter and +60 gainDual Channel All-Tube Mic Preamp And Instrument DIThe rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.Designed For Ultra Low-Noise OperationThe amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.Switchable Pad, +70dB Gain |
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Used Tube-Tech Mp 1A Microphone Preamplifier $3153.15 The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.Tube-Tech MP 1A, First Take:Dual channel all-tube mic preamp and instrument DIDesigned for ultra low-noise operationSwitchable 20dB pad, can be used as a unity gain line amplifier, +70dB mic input gainDI input with switchable high-pass filter and +60 gainDual Channel All-Tube Mic Preamp And Instrument DIThe rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.Designed For Ultra Low-Noise OperationThe amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.Switchable Pad, +70dB Gain |
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Millennia HV-3D-4 Four Channel Microphone Preamplifier $2968.99 The Millennia HV-3D is a 4-channel, fully matched microphone preamplifier of uncompromising sonic character, technical specification, and mechanical workmanship. It offers 4 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D-4 never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity is assured. |
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A Designs Pacifica Solid State Stereo Microphone Preamplifier $1995 Consider the A-Designs Pacifica solid state stereo microphone preamplifier if you're ready for your first really good preamp--or the last one you may ever need. How often in life do you encounter someone or something that no one has anything bad to say about? We haven't met that "someone" yet, but the "something" is the A Designs Audio Pacifica solid state, dual-channel preamp. This Tec Award nominated beauty has won more praise from engineers and producers than just about any other preamp to hit the streets in a long, long time. A Designs Audio Pacifica, First Take: 2-channel, solid state preamp with 2 x front-panel Hi-Z inputs Custom-wound input and output transformers Captures the sound quality of the legendary Quad Eight console but with more presence and high end Balanced XLR I/O, phase reversal, -20dB pad, +48V phantom power The Sound of the '70s Reborn The 1970s was a time of great music and great change in pro audio--a golden age if you will. The introduction of "solid state" electronics led to an explosion in development and a very different sound than the tube gear of previous decades. The recording console in a high-end 1970s studio was likely a Neve, API, or Quad Eight. These companies set the standards for audio quality -- with a unique sound firmly imprinted on the popular recordings of the era. Even though the Quad Eight mysteriously faded from view, many engineers firmly believe that the Quad eight Ventura, Coronado, and Pacifica consoles were the very best sounding of the big three. Boston's "More Than a Feeling" and Pink Floyd's The Wall were mixed on a Quad Eight! But rather than just crank out another clone, A Designs Audio's Peter Montessi and audio designer Jon Erickson (who spent years bringing vintage gear back to life for LA studios), added their own touch to bring the preamps of the glory days to serve the present-day needs of the recording world. The result is the Pacifica, a fabulous-sounding preamp the captures the heart and soul of the California and takes the LA sound a step further. Custom Transformers, the Key to a Big Punchy Sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. (Ed Reichenbach was also one of the designers of the Quad Eight console on which the Pacifica is based.) Not only are the transformer hand-made, they're also ear-made" by Jon and Peter, who won't okay a transformer design until they get exactly the sound they're looking for. After extensive listening tests and redesign after redesign, they finally found the sound they were looking for. And herein is the most important distinction of the A Designs Pacifica. While its name, look, and inspiration was taken |
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Millennia Hv-3D-4 Four Channel Microphone Preamplifier $2977.99 The Millennia HV-3D is a 4-channel, fully matched microphone preamplifier of uncompromising sonic character, technical specification, and mechanical workmanship. It offers 4 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D-4 never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity is assured. Unsurpassed ambience retrievalEffortless, lifelike musical performance at all dynamic levels High-speed transformerless design23dB input and 32dB output headroomNo pads (attenuators) required Entirely balanced audio pathLaser trimmed FET-based outputTHD+N less than 5 PPM (.0005%)Matched discrete transistor octet front endPrecision components throughoutGold audio connectors and switchesStandard 36-step gain control (1.5dB per step)Stereo gain matched to .08dBOFC audio wiring, silver teflon power wiringUltra-clean toroidal power supplyWelded 16-gauge chassis |
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Grace Design M201 Microphone Preamp $2375 The Grace Design m201 Microphone Preamp delivers unmatched audio performance, with massive headroom, ultra-wide bandwidth and a very open, musical character. The signal path has been hot-rodded to be fully balanced from start to finish, resulting in a wider dynamic range, while high-current output drivers enable even longer cable runs without signal loss. The rackmountable m201 mic preamp translates a sonic picture of astonishing clarity and detail, which serves to capture the essential character of the music being recorded.A ribbon mic mode is now included, which shifts the gain range up 10dB while deactivating 48V phantom power, bypassing the decoupling capacitors and optimizing the input impedance. Each channel has an 'input mode' rotary switch which selects between a standard 48V phantom input, ribbon mic mode, a front panel DI input or optional DPA high voltage inputs (130V or 190V). Included is a M + S (mid side) decoder circuitry with a built-in width control. The front panel width control is wired with a precision 12 position rotary switch which provides a range from 100% mid (mono) to 30% mid / 70% side. The ultra-precision summing and difference amplifiers feed a set of dedicated outputs, which allows simultaneous recording of discrete mid and side signals as well as the stereo matrix.The front panel mounted HI-Z inputs are designed to accommodate a wide variety of high impedance input sources, making the m201 preamplifier an excellent choice as a DI box which will flawlessly preserve the sound of any plugged-in instrument. Imagine the same resolution and detail as Grace Design microphone preamplifiers available for DI recording situations. Additionally, Grace Design will be offering the m201 with a state-of-the-art 24-bit/192kHz A/D converter option (retrofitable), rounding the m201 off as the ultimate transparent input solution for any recording facility.(Sold separately)Redesigned, fully balanced, transformerless designDual parallel XLR outputs for each channelRibbon mic modeFront panel DI / instrument inputsDPA microphones 130V (190V) phantom power optionBuilt in M+S decoder with dedicated outputs and front panel width controlOptional reference quality 24-bit/192 kHz A/D converter section available late 2007Precision 24 position gold contact rotary switch gain controlsHigher current outputs drive even longer cable runsNo electrolytic capacitors in the signal pathSealed gold contact relays for all signal switchingLarge two color, bi-phase LED peak indicatorRegulated linear power supply with custom wound toroidal transformerHighest quality components used throughoutFive year warranty on parts and labor |
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Chameleon Labs 7602 Mkii Microphone Preamplifier/Equalizer $719 The Model 7602 MKII from Chameleon Labs is the sequel to the 7602 Microphone Preamplifier / Equalizer. New features in the MKII model include selectable mic impedance, LED input metering, upgraded knob styles, and two different power optionsall of this for the same price as the original unit. The signal processor ships with an inline power transformer (all regulation is done inside the unit). The rackmountable CPS-1 can also still be used, but is no longer required. The 7602 MKII Microphone Preamplifier/Equalizer is based on a classic and revered design utilizing pure Class 'A' circuitry. This unit is made with 100% discrete components, hand wound transformers and was fabricated to precisely match vintage counterparts manufactured in the early to mid 70's. Equalizer Section (Selectable 3 band design with a flexible filter section): Filter This is a high pass filter with 3db loss at 300Hz, 160Hz, 80Hz, and 50Hz with an 18db cut per octave slope. Low Equalization This section has a shelving slope with four frequency selections: 220Hz, 110Hz, 60Hz, and 35Hz. This equalizer affects the selected frequency and all others below it. The gain control provides 20db of boost or cut. Mid Equalization This section has a peaking characteristic with six frequency selections: 360Hz, 700Hz, 1.6k, 3.2k, 4.8k, and 7.2k. The gain control provides 20db of boost or cut. High Equalization This section has a shelving characteristic with five frequency selections: 16k, 12k, 7k, 4.9k and 3.4k. This section adjusts the selected frequency and all others above it. The gain control provides 20db of boost or cut. Electronics By employing classic circuit design, polystyrene capacitors, a gold contact ELMA gain selector and custom wound transformers, Chameleon Labs ensures that the Model 7602 MKII will exhibit classic audio sound. The Model 7602 MKII has a transformer balanced input with a range between 20dB and 80 dB of gain. The separate line input is transformer balanced and accepts input levels from -20 to +10dB. Power Options The Model 7602 MKII features two different power options: 24VAC Adapter: Each Model 7602 MKII ships with a mid-line power supply, type-dependent on country of operation. This is not a traditional "wall-wart" but simply an outboard AC transformer. DC filtering and regulation is accomplished inside the 7602 MKII itself. CPS-1 Dual Power Supply (sold separately): For users who prefer a rack-mounted power option, the 7602 MKII preamp / EQ may instead be powered by the CPS-1 Dual Power Supply. The CPS-1 is offered as an optional accessory and can provide power to two 7602 MKII units. Users will need to contact their preferred dealer to acquire the DC Cable needed to connect the CPS-1 and 7602 MKII. What Makes Chameleon Labs Different? Chameleon Labs is a new type of company, focused on delivering performance and value at a price previously thought impossible. How do they do it? By reinventing how global manufacturing is approached. Chameleon Labs engineers |
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Grace Design M101 Microphone Preamp $685 In 2000, the Grace Design model 101 microphone preamp helped fuel a revolution. When people took professional recording into their own hands, it was there with all of the quality and performance of a high-end mic preamplifier, but with a price that made it available to the masses. Eight years later, and the cause moves forward with the newly redesigned m101 preamp.Maintaining Grace Design pedigree throughout, the m101 employs balanced, transformerless, transimpedance circuit topology. With incredible bandwidth and headroom, the m101 is natural, musical and detailed, allowing engineers and musicians to consistently record vibrant, amazing tracks.The m101 is equipped with a redesigned universal switching power supply that's dead quiet and accepts input voltages from 100 to 240V AC. The front panel is a tough black anodized/laser etched black, which ensures legibility and usability in varying light conditions. And all preamp functions have a dedicated indicator LED, including the 48V phantom power and HPF switch.Built in as standard is Grace's unique Ribbon Mic Mode, which bypasses the input decoupling capacitors, raises the input impedance from 8.1k to 20k, and defeats the 48V phantom power, preventing damage to delicate ribbon mic elements. Ribbon mics, you're welcome.The gain range is 10-75dB, including the additional +10dB of gain available with the output trim control. This provides ample gain for use of any type of microphone in any recording situation. The gain control is a precision gold-plated, 12-position switch, and the circuit path is built with 0.5% metal film resistors.Included is a HI-Z input on the front panel. Rear panel I/O options include both balanced TRS and unbalanced TS 1/4" outputs, along with the standard XLR balanced out and XLR microphone in.Equally at home amplifying a vintage condenser mic or a plugged-in acoustic guitar, the m101 delivers the kind of high fidelity performance previously available only to big budget recording studios and Grammy winning musicians. Add it all up while considering that the price is unmatched and the picture becomes pretty clear the m101 is one little hot rod piece of pro audio gear for everyone from home recording enthusiast to top professional.Note: For a truly outstanding sound and value, we suggest using the Grace m1011 with the CAD e300 condenser mic (see (#271261) for amazingly clear and detailed, yet warm-sounding vocals.Fast and musical transimpedance architectureUpdated audio path with 0.5% precision metal film resistorsNew 12 position gold-plated rotary gain switchHigh performance output line driver amplifier and HPF amplifierRibbon mic mode (also great for dynamic mics)- Relay bypass of phantom power decoupling capacitors, increased input impedance, and 48V lockoutWider 10-75dB gain rangeEnhanced RFI interference suppressionThree output connectors: XLR balanced, TRS balanced and 1/4" unbalancedBombproof laser-etched black anodized front panelSealed gold contact relay for Hi-Z i |
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The Tube MP Studio V3 features ART's V3 (variable Valve Voicing) technology - found only in ART microphone preamplification systems. Provides superior preamplification for microphones, instruments, and line level sources... |
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Excellent stereo imaging, ultra low noise, distortion-free soundRugged lightweight all-metal enclosure Powered by 9V alkaline or NiMH batteryPower On and dual peak LED indicatorsIncludes XLR I/O jacks, phantom power 3-way switch, selectable integrated limiter and dual gain controls. |
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The new BLUETUBE DP two channel microphone/instrument preamplifier with Dual Path technology delivers the best of both worlds offering a solid state preamplifier stage and a tube preamplifier stage in each channel... |
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The original Tube MP made pro-caliber tube preamping available to ordinary musicians and home studios. The MP Studio goes a step further by adding a VU meter for better level control and ART's OPL (Output Protection Limiter), which controls and maintains the output peak signal to protect hard-disk recording systems and soundcards... |
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The DJ PRE II is a high quality Phono preamp designed for your home and studio. It acts as an interface between your turntable and your audio recording system. The analog input capacitance can be switched between 100pf and 200pf to optimize your phono cartridge response... |
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Preamplifier/Volume Booster |
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Power On/Off Switch With LED Indicator Microphone Input Jack Microphone Level Control Bass/Midrange/Treble/Loudness/Balance Controls Master Volume Control High/Low Frequency Filter Stereo/Mono Switch Muting Switch Input Source Selector Tuner/CD/Aux/Phone Input Rca Jacks Tape Monitor Switch 110V/220V Switchable Rack-Mount Design Dim: 2... |
What Microphone Preamplifier works best with the Rode NT2-A?
I need to know what mic preamp works best with the Rode NT2-A.
Answer please lol.
The PreSonus ADL600 works best. You didn't say anything about price, so I assume you want the best. The NT2-A requires a minimum of 44 volts of phantom power, many preamps do not meet that.