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Click here to learn more about New Valcom Valcom Remote Mic For V-9933A Self-Contained Microphone And Pre-Amp Phantom Powered

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The TubePRE is the highest quality vacuum tube preamp in its class. Loaded with PreSonus award winning dual servo preamplifier, the TubePre affordably delivers low noise tube warmth for vocals, guitars, bass guitars, synths and sound modules. The TubePre noticeably outperforms preamps in low cost mixers and recording interfaces making it an easy choice for anyone desiring to enhance their recordin…

Click here to learn more about PreSonus Tubepre Single-Channel Vacuum Tube Mic Pre

The Studio Projects VTB1 is an outstanding, full-featured tube mic preamp at a knockout price!The Studio Projects VTB-1 is the ultimate in low cost mic preamplifier technology. Incorporating true class A/B switching, the VTB-1 is a totally discrete circuit. Unique to the VTB-1 is the ‘Tube Drive’ – a variable drive to a 12AX7, that lets you blend as little, or as much of the Tube Drive as you want…

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Update your audio equipment with PylePro 16-channel power mixerDJ equipment features 16 mono input channels with gold plated XLR balanced inputsUltra low noise discrete mic preamps with +48 v phantom power

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The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher – Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses 'Burr-Brown'op amps for a silkier sound – and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one's threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel.

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The Solid State Logic X-Rack Microphone Amp Module is an angelically pure and versatile input section with a choice of three separate input amplifiers: Mic amp, front panel instrument input, or line input. Designed for transparency and versatility with a set of high and low-pass filters, phase reverse, and everything you need from a very classy workhorse.Please note: The X-Rack XR621 Mic Amp Module works in conjunction with the XR622 XR Master Module.

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The Daking Mic Pre One is a free-standing single-channel preamplifier that uses the same circuitry found in Daking's 4-channel Mic-Pre IV, a favorite among top producers and engineers such as Butch Vig (Nirvana, Green Day, Smashing Pumpkins), David Pensado (Mary J Blige, Beyonce, Brian McKnight), and both Chris and Tom Lord-Alge (who haven't they mixed?). Built in the tradition of the great console manufacturers such as Neve and API, Daking preamps feature bulletproof construction and marvelous sound, reminiscent of the coveted classic pres. While sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the Mic Pre One adds a unique variable high-pass filter and comes in a freestanding 'DI-style' steel enclosure, ensuring both durability and immunity from noise. Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4" front panel Hi-Z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain between 25dB and 70dB.A 20-segment LED bargraph display provides accurate metering. Another LED signifies when power is supplied to the Mic-Pre One. Rear-panel connections include a transformer-isolated input for a microphone, plus line outputs on 1/4" jack and XLR.

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Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console.The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear.Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the

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The Daking Mic-Pre IV offers four channels of high performance, Class A preamplifiers in a single rack space unit with outboard power supply. Configured for four microphone inputs or four line inputs from XLR/TRS Neutrik combo jacks on the back, plus four line inputs (+10 to -50) or 1/4" hi-z instrument inputs on the front, the Mic-Pre IV utilizes all discrete Class A circuitry with transformer-balanced inputs and outputs. The new Mic-Pre IV from Geoffrey Daking & Co. is the latest example of exemplary audio quality and craftsmanship in the tradition of the great console manufacturers such as Neve, Trident, and API.The latest addition to the company's range of professional recording studio products, the Daking Mic-Pre IV is a highly cost-effective solution for high-end preamps to be used in studio or live applications. Used standalone or in conjunction with a console, each input offers continuously variable gain control using Daking's signature aluminum knobs, a 20-segment LED level meter with +24db peak indicator, switchable mic/line or hi-z instrument, switchable +48V phantom power, switchable input phase and switchable 20dB pad.The Daking Mic-Pre IV is housed in a robust all stainless steel enclosure with an outboard DC power supply in a separate housing, offering not only durability but immunity from noise and RF interference. The attention to detail extends to the internal components, which include gold bifurcated contacts on all relay switching. The preamp is supplied by a universal power supply that can operate at any voltage for use worldwide.Notable users of Daking preamps and compressors: Includes Grammy winners Joe Chicarelli (Tori Amos, Counting Crows, U2) and Ted Perlman (Chicago, Bob Dylan, Elton John), Butch Vig (Nirvana, Smashing Pumpkins, Garbage) Steve Albini (Nirvana, PJ Harvey, Cheap Trick), and master mixers Chris and Tom Lord-Alge (everybody else from James Brown to the Rolling Stones).

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The ISA One microphone preamplifier delivers Focusrite's prestigious ISA transformer-based preamp in a rugged and portable chassis, at a groundbreaking price. ISA One features the classic vintage microphone preamplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. (The original 110 pre amp formed the cornerstone of each channel of Focusrite's legendary Forte console.)The pre-amp is complemented by a line input (XLR and TRS Jack) and an independent DI channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear. This flexible independent DI makes the ISA One ideal both for engineers wishing to blend a DI'd guitar signal with a mic'd guitar cabinet, and for demanding performers who require a single classic solution for both guitar and vocals.A variable impedance circuit has been added, allowing the user to switch between four carefully selected input impedance settings. In addition to the original ISA110 impedance, three further impedance settings allow perfect matching, or creative mismatching of the pre amp with any microphone. ISA One also features an insert point, should the need arise to place extra processing between the preamp or DI, and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia.Independent input metering for both channels is provided in the form of a moving-coil VU meter with variable calibration to suit analog and digital recording media, alongside two six-LED peak meters; inputs can be metered either pre- or post-insert. The meter calibrations utilize all the same reference points as Digidesign's Pro Tools HD system, allowing effortless line-up.ISA One's headphone output features a dedicated volume control, which delivers an external stereo cue mix, (a simple click track, or a stereo mix feed from an interface or a live console,) fed to the headphones via two TRS jack inputs on the rear of the unit.An optional state-of-the-art stereo A/D converter is also available (the same card as used with the ISA430 Mk II), embodying cutting-edge conversion technology seated within Focusrite's custom analogue circuitry. This optional card can be retrofitted at any time and provides two channels of 24 bit/192kHz A-D conversion with a dynamic range of 119dB.The ISA microphone preamplifier was first introduced back in 1985. This transformer-based preamplifier formed the first half of the ISA110 mic-pre and EQ module on Focusrite's critically acclaimed Forte console. This console, and the later Studio console were hailed by many as the finest sounding consoles ever built.The ISA microphone preamplifier went on to form the cornerstone of all ISA and RED Focusrite products. The topology has never changed, except for the addition of a variable impedance circuit, a

Click here to learn more about Focusrite ISA One Classic Single Channel Mic Pre w/ DI

The Daking Mic-Pre/4 Band EQ is a single channel high end, all discrete Class A transformer balanced (input and output) unit that combines a great mic pre and world class EQ in one single rack unit. Separate mic and line inputs can be selected from the front panel Line switch without changing cables on the back panel. Both inputs are combo XLR/1/4" TRS. The Mic-Pre/EQ has a gain of 70dB, which allows it to easily handle all types of mics from ribbons to dynamics and condensers. Switched phantom power enables secure ribbon mic use, and a 20dB pad switch prevents overload on high-output condenser mics. It also has a front-panel phase switch for inverting input phase, while a large overall mute button and bypass button e workflow.Geoff Daking's famous "A Range"-inspired EQ has four individual EQ bands and five stepped frequencies per band with frequencies specially chosen for effective results. This is thought to be some of the best EQ available for tracking, mixing or mastering. It features continuously variable EQ boost or cut of 15dB; 25Hz High Pass 6 db/octave filter for getting rid of the low-end rumble that ruins tracks; and a 12dB per octave low-pass filter at 15kHz, which helps get rid of extreme top end edginess. Separate overall output level control makes up gain lost in extensive EQ cuts. Built to last and provide top-notch performance, all relay switching features gold bifurcated contacts for long life and steel construction for strength and noise immunity. An outboard in-line universal power supply provides remote power in order to keep the noise floor low.In use: Truly astounding in its ability to reveal vocal detail and character when used with a large-diaphragm condenser, the Mic-Pre/EQ also provides exceptional clarity while maintaining warmth. It imparts a beautiful high-end sheen with none of the harshness associated with certain modern designs. It has all the character of the classic preamps on which it is based, but without the unreliable behavior, plus more richness, detail, and sparkle.Notable users of Daking preamps and compressors: Includes Grammy winners Joe Chicarelli (Tori Amos, Counting Crows, U2) and Ted Perlman (Chicago, Bob Dylan, Elton John), Butch Vig (Nirvana, Smashing Pumpkins, Garbage) Steve Albini (Nirvana, PJ Harvey, Cheap Trick), Russ Long (Wilco, Dolly Parton, Sixpence None the Richer), and master mixers Chris and Tom Lord-Alge (everybody else from James Brown to the Rolling Stones).

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The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp's sonic flexibility lies in its innovative circuit design. The unit's solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19" rack-kit for mounting one or two units.

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Any professional recording engineer will tell you that quality microphone/instrument preamps are just as important as the microphones themselves. Unfortunately, the preamps found in most affordable mixers don’t do justice to the rest of your gear and most high-quality preamps cost more than your computer. That’s why M-Audio made the affordable new DMP3.

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The Joemeek SixQ is a mic channel strip that packs a wealth of features into a single rack space studio channel. Now the SixQ mic pre includes a perfectly-matched free JM37DP Large Diaphragm microphone!Joemeek SixQ This single channel mic pre is based on a high-quality Burr-Brown IC, and has 3 bands of highly musical EQ, Joemeek's signature optical compressor, and a front-panel instrument DI making it a highly capable recording instrument. And, along with an analog output, the SixQ microphone preamp also lets you output digitally—direct to your sound card or DAW. Digital Interface: The Joemeek Digital Audio Interface provides high quality digital audio outputs. The digital audio outputs are compatible with most digital recorders, as well as Digital Audio Workstations and mixers. S/PDIF format is available from the optical and RCA phono connectors. The Joemeek Digital Interface has highly stable onboard master clocks for low-jitter, hi-fi results. Internal sample rates of 44.1kHz, 48kHz, 88.2kHz or 96kHz are selected by means of rear panel switches. JM37-DP The JM37-DP is a high quality, large diaphragm condenser microphone with Cardioid and Omni patterns. By utilizing FET devices for both preamplifier and output stages, we created a microphone that's destined to be your "go-to" mic for a variety of recording purposes.The JM37-DP's capsule features classic "center-electrode" design, which provides a very smooth, extended frequency response. The design also employs dynamic feedback at the capacitor element, which further enhances the audio quality by eliminating distortion that may occur at high SPL.The large 1.035" dual diaphragms are manufactured from micro-fine Mylar with gold sputtering. The body is machined from solid brass, with connection to the outside world via a 3 Pin XLR connector. Power is supplied via Phantom Power from either your console or microphone preamplifier. An excellent choice for male and female lead vocals, the JM37-DP also excels at recording choir, orchestral and other acoustic instruments.

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The OneQ is the most full-featured, technologically advanced studio channel Joemeek has ever made! The Joemeek OneQ is a single channel combining Mic Pre (with Burr-Brown IC), four band EQ, the most flexible yet, Joemeek's "signature" optical compressor, a De-Esser, and an Enhancer. It's a master channel like no other. Housed in a 2u chassis, the elegantly sculpted faceplate is intelligently laid out, with clear, easy to read legends and a large analog VU meter. The OneQ also features 24-bit/96kHz A/D converters with word clock input and output.

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The PRE-73 is the first one-channel low-cost preamp on the market that is using a fully discrete signal path with three separate transformers for the balanced mic input, the line input and the output. The PRE-73 is perfect for almost any signal source, no matter if it's a microphone with a high or low sensitivity (like a passive ribbon mic), a synthesizer or sound module or an electric guitar or bass.The circuit is very similar to the classical preamp section of the Neve 1073 pre/EQ module with a corresponding sound character that is warm, punchy, sweet and musical. This classical sound has been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres.The PRE-73 has a maximum gain of 80 dB on the mic input and the gain range on the Line input is -20 to + 10 dB. There is also a high-impedance instrument input. The input impedance of the microphone input can be switched between 300 and 1200 ohms, which makes it possible to affect the tone of most microphones. There is also phase switch and a simple 4-step LED signal level meter. The output level control makes it possible to make fine gain adjustments and also to overload the main gain stage for more character and then lower the signal to a suitable level before the output stage.

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The ART VoiceChannel is the answer to your recording and computer audio interface needs. Built to provide the ideal all-in-one input solution for analog or digital recording, the ART VoiceChannel is a true second-generation discrete Class-A microphone preamp capable of providing clean quiet gain while maintaining incredible transparency. An integrated fully variable powerful dynamics processor subtly controls transients and noise of the most demanding sources while the VoiceChannel's semi-parametric EQ offers wide tunability. For added versatility the EQ can be patched before or after the dynamics processor while separate insertion jacks allow you quick quiet in-line connectivity to external signal processing gear immediately after the mic pre-amp, before the EQ and dynamics processor in the signal path. Another insert patch point exists just before the A/D converters. Choose between a wide range of outputs including balanced analog output, 44.1 KHz to 192 KHz AES/EBU, S/PDIF, ADAT and USB. Both analog and digital meters provide a detailed indication of audio levels.

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The On-Stage RS7500 Tilt-Back Amp Stand provides a tilt-back rest that supports up to 100 lbs., supported by robust folding A-frame. Plus an added threaded end for mic clip/boom attachment.

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The Aphex 230 Master Voice Channel Tube Mic Pre is an indispensable broadcast station tool. Youll find them in the production room, or installed as a permanent on-air feed-through for pumping up voices. The Aphex 230 also makes a powerful and easy-to-use channel for home and project studios with its reflected-plate amplifier tube mic preamp design plus compression, gating, de-esser, parametric EQ, aural exciter, and a bottom booster.

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