For prices (varies based on the issue/topic) and scheduling, luckystriketattoo.ca/contact select “contact us” and she will get back to you. I would describe the sound of the ART Pro VLA II as like a VCA compressor with a slight hint of opto flavor, and it’s really nice. There are surprisingly few settings for this compressor. Depending upon your style of work, this can be an advantage or a disadvantage. If you want things such as the ability to link multiple units together using a side-chain, you may find yourself disappointed. But if you are looking for a good no-frills compressor that sounds great, this is the one for you.
- The PRO VLA II starts to show it’s low endness when used on a mix bus.
- Sure, it’s not going to sound quite as hi-fi as a $2000 to 3000 boutique compressor, but it really does come close.
- I then performed a null test of the TransX channel 1 recording versus the TransX channel 2 recording.
- TL Audio’s mic preamps also perform consistently well, but they tend to be more expensive.
- One of the guys at my store told me that this piece of gear was different then all the other ART products.
- The new ART ProMPA II is the next generation in affordable high performance microphone preamp technology.
All of the Revive mods follow a similar path, so while I’m outlining the Pro VLA mod here, most of their other mods are similar. They have a huge list of gear they have developed mods for, so I strongly suggest you check out their website, because you probably already have some of the gear they work on. For the Pro VLA, their mod addresses several sections of the unit. First, the attack and release times are increased, so you have options for faster times. The input, output, and buffer stages are upgraded with Burr Brown op-amps, which are a big sonic upgrade.
The main source of amplification is an OPAMP, but a very high quality one. 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. My output would vary not only in level, but tone as well until I switched.
I first heard about them at one of the TapeOpCons we used to hold, when Dave Fridmann #17 and Craig Schumacher #10 were both waxing about how they liked these and used them all the time. I bought a Pro VLA, and have used it on quite a few mixes over the years. I’ve seen plenty of “cool guy” engineers poo-poo the Pro VLA because it’s not vintage enough or expensive enough, but if you use your ears, you’ll find plenty of uses for it. Sure, it’s not going to sound quite as hi-fi as a $2000 to 3000 boutique compressor, but it really does come close. The MPA Pro 2 would be an ideal remedy for that particular disease. Send this extracted audio (24-bit, 44.1khz WAV) out of my MOTU 16A’s analog output #10 into my Radial X-Amp reamp box.
Art Pro Audio Pro Vla Ii By Deleted F25ebd2
Best to start with a run-down of what’s on offer here, though. Beginning at the front, there are options for phono or line-level input, and flat or low-cut filter to the left of the USB Phono Plus’s main dial for gain control. The ART Precision Phono Pre gets the basics right at a very attractive price. Flexibility of variable gain is there but you lose some channel matching (mine was set to “0” for above tests). Not much to ask for other than a nicer looking enclosure in a future revision.
Once you understand the VLA II, it is very easy to use. The Pro VLA II isn’t a fast acting or dramatic compressor. It isn’t a unit to consider crushing a room mic or parallel compressing with. That isn’t what it was designed for so it isn’t a good purchase to consider if you need a unit that can excel in these areas. Since the knee is so soft and the attack is relatively slow, it isn’t well suited for any any application requiring punchy attack, like close micing drums. Bass DI – sounds pretty sweet for this as well, I’ve noticed bass DI has a tendency to be VERY dynamic, so this makes it a lot easier to get good tracks, tames those peaks nicely on the way in.
Of course, under Mac OS X, you can establish an Aggregate Device, which allows you to monitor one piece of gear while recording with another. Still, given everything else this tiny gadget can accomplish, it seems like a strange omission. Aside from that, the ART DJPRE II performed just as advertised, giving a great way to transfer vinyl to PC with the least amount of fuss. The compressor is fairly transparent, although it seems to have a subtle phase distortion of whatever you put through it (when it’s not in true bypass). You can get the unit to make noticeable pumping and popping artifacts, but it actually takes some pretty extreme settings to get the compression to be intrusive.
Featuring a studio-quality condenser microphone, a studio mic preamp, a tripod mic stand with fixed boom and all the other essentials, it has everything you need to get started. If you’re searching more for a headphone bundle though, check out the Headamp6 Tascam TH-200X Package. With four pairs of headphones and a 6-channel headphone amp, everyone is able control their own listening experience in the studio, created personalized monitoring levels for each band member. 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.