Studio Microphone Preamps

Notes: The ART Pro MPA II is an affordable high performance microphone preamp.

The ART Pro MPA II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.

Each microphone input circuit, with selectable 48V phantom power, features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone.

The Pro MPA II can operate at either a low or high plate voltage on the 2 integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display output levels while multi-colored LED arrays show tube gain.

Housed in a standard 2U space rack mountable steel chassis, with CNC routed black anodized aluminium face panel, the Pro MPA II is designed to deliver years of reliable operation in the studio, production facility, or on the road for live sound reinforcement.

Notes: You need to add 3 mics to a mixer, which only has one available channel. Just insert 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 plus a level control. The balanced XLR line output can be connected to a mic input on the mixer and headphones or a powered monitor can be connected to the phone/aux output.

And if AC power is not available, the ProMIX runs on batteries as well.

Notes: The ProSplit provides one direct output and one transformer isolated output from a single microphone. Applications include sending the direct output to the main or front of house mixer, with the second isolated output being sent to a monitor or recording mixer. The direct output passes phantom power from the main mixer to the microphone for use with condenser microphones.

The ProSplit includes a ground lift switch on the isolated output to reduce noise due to ground loops between connected equipment. For versatility the ProSplit also features an attenuator pad switch on the input that can be used to alternately connect a preamplified (line level) signal to the 2 microphone level ProSplit outputs.

Notes: Use the SPLITComPro to split or combine balanced low impedance microphone signals.

As a splitter: the SPLITComPro provides one direct-coupled output and one isolated output from a single microphone. Applications include sending the direct output to the main or FOH mixer, and the second isolated output to a monitor or recording mixer. The main mic output passes phantom power from the main mixer to the amin mic input for use with condenser microphones. The Phantom power is blocked from passing to the isolated mic output.

Aa a combiner: The SPLITComPro provides one output from 2 microphone inputs. The phase switch can be used to invert the relative phase of the isolated mic input. Applications include dual micing of percussion instruments, choirs, and instrument amplifiers. The Phantom power passes through each output to their respective input, (main to main, isolated to isolated), however the phantom power is blocked from passing between the main and isolated signal paths. Only the audio passes between the main and isolated signal paths (it is present on all inputs and outputs).

Notes: The TransX two channel microphone preamplifier features a new low noise discrete transformer coupled high performance preamplification circuit. Building upon the quality and success of great sounding products like the Pro MPA II and the Pro VLA II, ART engineers set out to develop the next generation of professional microphone preamplifier to complement our tube-based preamps. The TransX sets a new standard for quality and value. Professional features and spectacular tone are what make the TransX a world-class microphone preamplifier.

Notes: The ART Tube MP Original Microphone Preamp is the world's most popular external tube microphone preamp. Whether you are working with a digital computer or analog recording system, the Tube MP's TEC award nominated design will allow you to obtain professional recording studio results. The hybrid design of the Tube MP allows it to add warmth and fatness to a signal while maintaining exceptionally low noise and high quality.

Its primary application is to be used with a microphone. However it's also an exceptional direct box, impedance matching, amplifying and improving the sound of any instrument plugged into it.

Notes: Whether you're working with a computer, hard disk or digital multi-track recorder, the Tube MP's TEC award nominated design will allow you to obtain professional results at an affordable price.

The ART preamps offer warm tone, useful features and are innovatively designed. ART's line of Tube MP products add presence, clarity and fullness to any signal and is exceptionally low noise. The ART Tube MP Studio V3 features V3 Technology (Variable Valve Voicing), which provides optimized reference points to begin the recording process. The V3 delivers a wide variety of settings designed for various microphones and DI inputs, including guitars, basses, keyboards, synths, electronic drums and much more. Don't settle for a copy cat look alike.

Go with the real thing, the Tube MP by ART.

Notes: The Tube MP/C (PreAmplifier/Compressor) is a multi-purpose tool for audio engineering and recording. 2 independent circuits featuring a tube based analog preamplifier and a VCA-less compressor with optical gain reduction control are housed in one, convenient desk-top chassis. Used as a mic/line preamp or as a DI (direct) box, the Tube MP/C is designed to work seamlessly with any recording, sound-reinforcement, or electronic instrument setup. ART's Tube MP/C circuitry is a hybrid design utilizing the latest, most advanced, solid-state and tube technology.

The preamplifier's active balanced solid-state input provides extremely low noise and excellent common mode rejection. The 14" high impedance input prevents loading of any connected device making the Tube MP/C perfect for DI or line level applications. The preamplifier's second stage 12AX7a tube runs on a regulated DC voltage providing an additional 20 dB of gain.

The compression circuit features a VCA-less design and utilises optical electronics (Vactrol) coupled with a 12AX7a vacuum tube gain stage for superior musical performance

Notes: The USB Dual Pre is a full-featured high quality dual portable preamplifier and computer interface packed into a compact rugged case.

It is designed to work over a wide variety of applications from remote field recording to desktop/studio tracking. Each of the 2 low noise input channels has up to 48dB of clean gain with signal present and clip LED indicators. Inputs can be either XLR balanced or 1/4" TRS. Each of the 1/4" TRS outputs is buffered low impedance balanced.

The USB Dual Pre is powered via the USB bus. An internal 9V battery, or optional external 12V power supply (or any combination of USB, battery & power supply) can be used depending on application. When running powered by battery alone, you should expect in excess of 50 hours of operation with phantom power off. Battery life will drop to approximately 20 hours (depending on microphone) when phantom powering is engaged (still enough time to get through an average session).

The built in low noise +48V phantom power supply allows you to power up to 2 microphones as well as the preamplifier when running from any power sources including the USB bus.

For monitoring, a 1/8" TRS mini headphone jack with level and monitor mix controls on the rear allow for latency free local monitoring of the inputs while recording as well as playback monitoring of the USB bus. The monitor mix is also routed to the 1/4" TRS balanced outputs. This lets you use the 1/4" outputs as either preamplifier outputs or as the monitor feed to your powered monitors.

The USB interface is fully compliant with the USB 1.1 specification and uses USB adaptive mode for playback and USB asynchronous mode for record. It will work with the USB audio device drivers built into Windows 98SE/ME/2000/XP/Vista and Apple OS9.1/OSX computers with native USB support. No special drivers are needed.

Notes: Killer value two-channel mic and line pre-amp with 12AX7 valves to add analogue warmth. Great entry-level option for recording, processing or adding character during a mix.

Supplier's Notes:
Tubes can really warm up a signal fast, giving it increased depth and character. Though transistors have succeeded the technology, many musicians agree that tubes deliver a far superior sound. A true audiophile 2-channel Mic/Line preamplifier, the ULTRA GAIN PRO MIC2200's hand selected 12AX7 vacuum tube gives everything from microphones to acoustic or bass guitars that vintage tube vibe in a dependable and highly-affordable package. The onboard fully parametric EQs provide unparalleled tonal characteristics, allowing you to sculpt instrument and vocal sounds with the ultimate precision and musicality.

The MIC 2200 is perfect for studio and live applications. The balanced 1/4" TRS and gold-plated XLR inputs and outputs give you maximum flexibility in either scenario. It derives its personality from a hand-selected 12AX7 tube for superior tube character and low-noise operation. The MIC 2200 is ideally suited for use with standard digital recorders and sound cards, imbuing signals with the warmth, presence and classic tube-compression that will bring your digital tracks to life.

The incredible MIC2200's controls consist of: switches for +48 V phantom power, Phase Reverse, Lo Cut, EQ Frequency Range and EQ In/Out; plus Mic Gain, Lo Cut Frequency Octave Bandwidth, Level and Output knobs. A 12-segment LED meter provides accurate monitoring of output levels. And when used as a high-end DI (Direct Injection) box in the studio or on the stage, the MIC2200 delivers flawless performance and outstanding signal integrity. For further tone conditioning, the MIC2200 features a fully parametric EQ with adjustable center Frequency, Bandwidth and Level per channel. Both channels also feature independent phase reverse switches for maximum versatility.

The ULTRAGAIN PRO MIC2200 gives you the sound quality of a 2-channel vintage tube preamp and high-end DI box all-in-one - at a mere fraction of what a true relic of the 1960s would cost.

Notes: Micropower PS400:
Studio-grade condenser microphones really sound great for capturing vocals, drums and other acoustic instruments, but what if your mixer doesn't provide the phantom power you need to make them work their magic! The ultra-compact MICROPOWER PS400 can solve all of that, and it's small enough to fit in your pocket - with a price tag to match!

Portable Power:
The PS400 features XLR Thru jacks and provides superb noise-free operation. Just connect your condenser mic to the Mic Input and send a line from the Mic Thru to your mixer. You can toggle between +12 V and +48 V power, depending on the operating voltage your mic prefers. This handy, little audio solution comes with its own 12 V DC power supply and an LED, to let you know when it's own on.

Small and Superb:
With its small size and even smaller price tag, the MICROPOWER PS400 is the perfect solution for on-the-go +12 or +48 V phantom power. See how it complements your favorite mic and mixer at your nearest BEHRINGER dealer, or get yours online today!

Notes: Tubes can really warm up a signal fast, giving it depth and character. Though transistors have succeeded the technology, many musicians agree that tubes deliver a far superior sound. The TUBE ULTRAGAIN MIC500USB's hand-selected 12AX7 vacuum tube gives everything from microphones to acoustic or bass guitars that vintage tube vibe - in a dependable and ultra-affordable package.

Put A Little Tube In Your Tone:
The MIC500USB is perfect for studio and live applications. The balanced XLR and 1/4" TRS inputs give you maximum flexibility in either scenario. It derives its personality from a hand-selected 12AX7 tube with UTC technology for superior tube character and low-noise operation. The MIC500USB is ideally suited for use with standard digital recorders and sound cards, imbuing signals with the warmth, presence and classic tube compression that will bring your digital tracks to life.

The incredible MIC500USB's controls consist of: switches for +48 V phantom power, 20 dB pad, Phase Reverse and Limiter; plus vintage-style Gain and Output knobs. An 8-segment LED meter provides accurate monitoring of output levels. And when used as a high-end DI (Direct Injection) box in the studio or on the stage, the MIC500USB delivers flawless performance and outstanding signal integrity.

A Voice All Your Own:
To help you get the most from your new MIC500USB, we've provided 16 unique preamp voicings that cover a wide range of applications - including vocals, acoustic and electric guitars, bass, keyboards and more. Options include: Neutral, for a more natural sound; Warm, for adding the warmth typically associated with analog signals and vacuum tubes; Warm + Limiter, for additional warmth when working with high volume levels, sounds with frequent signal peaks, or directly recording an instrument with a mic (e.g., drums); and Limiter, for adding density and a consistent output level of all notes/sounds below clipping.

Although these voicings have been optimized for specific sound sources, feel free to experiment - you just might find that running vocals through the Warm E-GTR setting is perfect for your project. The amazing MIC500USB opens an entirely new and exciting world of creative possibilities!

Recording Bliss:
There was a time when the recording process called for lots and lots of expensive gear, which meant the average musician had to buy time at a recording studio - and that time was pricey indeed. But modern technology has put personal recording well within the reach of virtually anyone with access to a computer. How do you get all that music flying around your brain into your computer? That's where the MIC500USB comes in. Thanks to the built-in USB audio interface, you can connect directly to your PC or Mac computer via a single USB cable. Now any signal source you connect to the MIC500USB can be recorded directly to your hard drive. Which brings us to software...

Free Would Be Nice!
Because you'll want to take full advantage of your MIC500USB's recording and podcasting potential, all the software you'll need for audio recording, editing and even podcasting is included - all free of charge and downloadable from behringer.com. You'll be ready to go live on your PC or Mac right out of the box! There is also a free download of more than 150 virtual instruments and FX plug-ins - turning your computer into a powerful home-based or mobile recording studio from input to output.

Notes: Tubes can really warm up a signal fast, giving it increased depth and character. Though transistors have succeeded the technology, many musicians agree that tubes deliver a far superior sound. A true audiophile 2-channel Mic/Line preamplifier, the ULTRAGAIN PRO MIC2200's hand-selected 12AX7 vacuum tube gives everything from microphones to acoustic or bass guitars that vintage tube vibe in a dependable and highly-affordable package. The onboard fully parametric EQs provide unparalleled tonal characteristics, allowing you to sculpt instrument and vocal sounds with the ultimate precision and musicality.

The MIC2200 is perfect for studio and live applications. The balanced 1/4" TRS and gold-plated XLR inputs and outputs give you maximum flexibility in either scenario. It derives its personality from a hand-selected 12AX7 tube with for superior tube character and low-noise operation. The MIC2200 is ideally-suited for use with standard digital recorders and sound cards, imbuing signals with the warmth, presence and classic tube-compression that will bring your digital tracks to life.

The incredible MIC2200's controls consist of: switches for +48 V phantom power, Phase Reverse, Lo Cut, EQ Frequency range and EQ In/Out; plus Mic Gain, Lo Cut Frequency, Octave Bandwidth, Level and Output knobs. A 12-segment LED meter provides accurate monitoring of output levels. And when used as a high-end DI (Direct Injection) box in the studio or on the stage, the MIC2200 delivers flawless performance and outstanding signal integrity. For further tone conditioning, the MIC2200 features a fully parametric EQ with adjustable centre Frequency, Bandwidth and Level per channel. Both channels also feature independent phase reverse switches for maximum versatility.

Notes: The ultimate studio preamp expander is here. EVO SP8 is designed to be the perfect partner for expanding your existing audio interface. Give your studio the performance and capability boost it needs, providing eight intelligent EVO Preamps that set their own levels with Smartgain, advanced AD/DA converter technology and a versatile range of I/O connectivity. Add to that two JFET instrument inputs, the all new, groundbreaking Motion UI control system and exceptional audio performance across the board. The EVO SP8 might just be the world's smartest Mic Preamp.

The perfect partner for your audio interface

Bigger sessions demand more channels and expanding your existing audio interface via ADAT might be the most cost effective solution to scale up your studio. EVO SP8 provides eight mic/line inputs, eight line outputs and 2 x ADAT connections, giving you enough I/O firepower to easily tackle multi-mic sessions like recording drums, or taking on a full band.

Get studio quality recordings
Say hello to the preamps your studio needs. Eight sonically stunning EVO preamps will effortlessly level up your recordings, delivering professional grade audio performance backed by 25 years of engineering experience. The analogue mic preamp has been designed to deliver the most accurate, clean and true to source version of your audio, no matter what you're recording.

An analogue mic pre but better

Fire your studio into the 21st century with powerful EVO Preamp technology. Combining all the sonic advantages of a studio-grade analogue mic preamp with digitally controlled tactile precision, the EVO Preamp gives you the ability to set your gain with pin-point accuracy, right down to the decibel.

Advanced Converter Technology

Better converters = better audio

In the studio, sound is everything and EVO SP8's high performance AD/DA converters use 32-bit technology to make sure you always hear your audio clearly, whether you're recording music or sending audio to your favourite outboard gear and back when mixing. Better converters mean better audio - helping you make creative decisions confidently, identify issues and improve your overall recording and mixing game.

Smartgain
A total gain-changer
Make recording drums and larger sessions easy with Smartgain. Automatically set the gain for all eight channels at once with a simple touch of a button. Powered by our lightning quick Smartgain algorithm, Smartgain uses advanced peak analysis to automatically analyse, adjust and set your gain to the perfect levels - all in less than 20 seconds! Now it's up to you to figure out what to do with all that time you're saving...

Your own assistant engineer

Working Solo?

Record, adjust levels, repeat. Sound familiar? Save time and make recording on your own a breeze and gain the power to save time with Smartgain. Simply set up your mics, hit Smartgain, start performing and EVO SP8 will take care of the rest.

Compatible with EVO 16

EVO Expanded System

Become more efficient in the studio. Unleash Smartgain's capabilities by pairing two EVO SP8's with an EVO 16 audio interface and get 24 channels of Smartgain enabled mic preamps. Yes, with an EVO Expanded system that's 24 channels at once... light years ahead of the competition.

Introducing

Motion UI, A an audio interface UI created by EVO by Audient

Navigate SP8's hardware features with blazing speed courtesy of the all new Motion User Interface. For the first time, a stunning high resolution, full colour screen intelligently displays information as you need it, transforming EVO SP8 into a fully immersive, easy to use Smart Preamp - the first of its kind.

Specifications

Microphone Preamplifier

Mic Gain Range: 58dB
Line Gain Range: 58dB (-10dB pad)
Phantom Power: 48v +/-4v @ 10mA/Channel
Mic EIN: <-127.5dB
CMRR: >80dB @ 1kHz
Maximum Input Level: +16dBu
Input Impedance (Mic): >3kO Balanced
Input Impedance (Line): >10kO Balanced
Frequency Response: +/-0.5dB 10Hz to 40kHz
Crosstalk: <-105dBu @ 1kHz <-103 @ 10kHz
THD+N @ 0dBu (1kHz): <0.0015%
SNR: 100dB
XLR: Pin 2 (Hot), Pin 3 (Cold) & Pin 1 (Shield)
1/4" Jack: TIP (Hot), RING (Cold) & SLEEVE (Shield)

D.I Inputs
D.I Gain Range: 58 dB
Maximum Input Level: +10dBu
Input Impedance: 500k
Frequency Response: +/-0.5dB 10Hz to 20kHz
THD+N @ 0dBu (1kHz): <0.1%
SNR: 100dB
1/4" Jack: TIP (Hot) & SLEEVE (Shield)

ADC
Digital Reference Level: 0dBFS = +10.5dBu
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: -125dBu @ 1kHz & 10kHz
THD+N @ -1dBFS (1kHz): <0.001%

Line Outputs

Maximum Output Level: 12dBu
Digital Reference Level: 0dBFS = +12dBu
Output Impedance: <50O
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: <-110dBu @ 1kHz
THD+N @ -1dBFS (1kHz): <0.006%
Dynamic Range: >117dB A-weighted
1/4" Jack: TIP (Hot), RING (Cold) & SLEEVE (Shield)

Dimensions

Unit: 355mm (w) x 255mm (d) x 53mm (h)

Notes: What It Is

It's tempting, if not a little lazy, to view these new 500-series offerings as mere repackages of the tried-and-true products like the RNLA. There is really nothing mere about them. It's not that there aren't obvious connections...the RNLA500's lineage is definitely visible and audible: red knobs-albeit slightly more refined-provide a visual clue as to its origins while it's thick & gooey sound tell you the RNLA's algorithm is still beating in its silicon heart! Okay, it's still an RNLA that you can use to add some compression-induced character (and control) to your vocal/bass/drum/mix/guitar/piano/orchestral/banjo tracks. It's also comfortably responsive to its controls, just like the 1/3 rack version. So what about this isn't merely a repackaging?

First, there's the 500-series thing: small, rugged and convenient analogue audio processing modules that fit into just about any recording situation-from pro studios to bedroom venues. Having what you need, when and where you need it is, as "they" say, half the battle. The 500-series format is, well, everywhere. Secondly, although convenience and size are important (this is audio after all), if it doesn't deliver the sonic results, what's the point? Even dyed-in-the-wool RNLA users notice that there's something more here: thick & gooey, meet creamy & smooth! From fully, electronically balanced I/O to higher-resolution arithmetic, the net result is a professional audio compressor that's both responsive, small, rugged and has tone for days! RNLA progeny? Yes. But not merely...

How It Sounds

Okay, thick, gooey, creamy & smooth. Got it. For most of us, this means that it sounds good, but what does that mean? The RNLA500 is, admittedly, much "gentler" and not as apt to grab'n'run with the signal as other, more "modern-sounding" compressors. Like an old-timey photocell, the RNLA500 is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. That slight hesitancy to respond is one of the key performance parameters that causes opto (and opto-like) compressors to be so coveted. Although the RNLA500 is a VCA-based compressor, the algorithm controls it in a manner that puts the essence of opto-compressors in a more modern and controllable compressor.

How It's Done

Like all FMR Audio dynamic audio processing products, the sidechain electronics replaced with chunks of software to accomplish both a bill-of-materials cost reduction while simultaneously improving dynamic performance accuracy and consistency. The beauty of this approach is that the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analogue domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution VCA control, sealed switches & relays, multi-layer printed circuit board (PCB) the RNLA500 will deliver smooth and controllable compression for years to come.

Notes: Renowned for offering quality at reasonable prices, FMR are something of a cult favourite brand. The RNP is a dual mic pre-amp with superb sound plus DI and line inputs. Very hard to beat for the money.

Supplier's Notes:

What It Is

The RNP is a pair of separate micpres providing up to 66dB of gain at vanishing low distortion levels in a compact 1/3 rack format. The RNP possesses all the features you'd expect from a professional preamp: accurate signal metering,1MO input impedance DI inputs, high input level capability (up to +28dBu input), high-capacity phantom power supply, sealed relay switching for invert/phantom functions, gold-plated 12-position gain switch, TRS insert between preamp stage and output driver, +28dBu TRS-balanced outputs, 5kO differential input impedance on mic input, plus features like output muting during phantom engage/disengage and battery or AC mains operation.

How It Sounds

The RNP was designed with sonic neutrality in mind without sounding "clinical" or sterile. There's very little coloration- no unexpected frequency response peaks and valleys- across the very wide frequency response (125kHz) at every gain setting. Particularly, there's no variation in the preamp's low frequency response as a function of gain setting. Basically, what you put into the RNP you get out with very little additional effect.

How It's Done

Modern opamps- little miracles of the semiconductor age- make the design of decent-sounding preamps up to 50dB, or so, an almost trivial exercise. It's the last 10 to 15dB that really uncovers the flaws in amplifier design. The RNP's design uses a unique configuration that permits Class-A operation of a discrete transistor pair that almost completely erases the non-linear effects of Vbe and emitter bulk resistance that dog traditional preamp circuits. Additionally, special circuitry constantly measures and adjusts circuit parameters to eliminate gain-control path capacitors and avoids costly individual-trimming to achieve low-distortion, high-CMRR performance required in commercial audio settings over the life of the preamp!

Notes: The IMG Stage Line SPR-6 pre-amplifier converts the output signal from a standard vinyl turntable record player and allows you to plug it into the AUX input of a hi-fi amplifier or other audio device input.

Turntables that use magnetic cartridges with a stylus or needle produce an output signal called RIAA. The RIAA to line level converter converts the signal so that it matches the input required by almost all modern hi-fi and other audio amplifiers and mixers.

You will be able to plug your turntable into almost any type of amplifier, mixer or audio input including AUX, CD, MP3, iPod or other line level input.

Notes: Providing extensive sound shaping options for acoustic guitars and basses, the Acoustic Pocket Amp is a versatile preamp that's perfect for gigging, recording and practising. It accommodates both piezo and magnetic pickups, and the 3-band EQ with semi-parametric mid control is specifically tuned for acoustic instruments. The Pocket Preamp features an input limiter to prevent transient distortion while a 5-position rotary notch filter eliminates resonant frequency feedback. A mode switch selects between crisp contemporary or warm vintage sound characteristics, and a blend control allows you to mix the direct and processed signals.

The Acoustic Pocket Amp provides an insert for external effects, 3.5 mm stereo line input, headphones output and a footswitch-assignable thru jack to connect a tuner. Enabling DI applications, the balanced XLR output is pre or post signal processing switchable. The Acoustic Pocket Amp requires a 9 volt battery or power adapter and comes in a rugged diecast enclosure with heavy duty long-life footswitch, convenient LED status indicators and ground lift.

Notes: Providing extensive sound shaping options for active and passive bass guitars, the Pocket Bass Amp is a multi-purpose effects pedal and preamp that is perfect for gigging, recording and practising. It features clean, overdrive and fuzz modes with adjustable drive and saturation, a 3-band EQ with semi-parametric mid control that is specifically tuned for bass guitar and vintage or modern cabinet simulation. A blend control allows you to mix the direct and effected signals.

The Pocket Bass Amp provides an insert for external effects, 3.5 mm stereo line input and headphones output for quiet play-along practice and a footswitch-assignable thru jack for silent tuning. Enabling DI applications, the balanced XLR output is pre or post effect switchable. The Pocket Bass Amp requires a 9 volt battery or power adapter and comes in a rugged diecast enclosure with heavy duty long-life footswitch, convenient LED status indicators and ground lift.

Notes: In its new incarnation, the Palmer Pocket Amp MK 2 delivers an extended range of authentic tube amplifier tones from high headroom ultra clean to maxed out high gain distortion. With 3-position selector switches for amplifier design, gain structure and loudspeaker miking simulation the MK 2's hot rodded circuitry lets you easily configure vintage and modern sounds as well as your own while high performance op amps provide superior S/N ratio. For even more flexibility, the Pocket Amp MK 2 sports master controls for drive and output level plus a 2-band EQ that has been carefully tailored for guitar applications.

Featuring a durable die cast aluminium enclosure with balanced XLR and unbalanced 6.35 mm outputs in addition to 3.5 mm AUX input and headphones jacks the Palmer Pocket Amp MK 2 is more than just the go-to tool for direct recording. It doubles as a practice amp, overdrive and distortion pedal, standard guitar DI box when bypassed and replaces your stage amp when used with a sound and monitor system. The Pocket Amp MK 2 works on a 9V battery or optional power adapter, e.g. Palmer PW9V.

Notes: PreSonus' popular Class A XMAX preamps are widely lauded for their clarity and transparency. The tube preamps are beloved for their warm, smooth sound. With the Blue Tube DP V2 dual-path mic/instrument preamp, you get both types of high quality sound in one unit.

Now PreSonus have improved on the classic unit with the BlueTube DP V2. The solid-state path now feeds PreSonus' top-of-the-line Class A XMAX mic preamplifier with 80dB of variable gainian upgrade from the original BlueTube DP's solid-state stage.

The tube path features a 12AX7 tube that operates on voltages double that of other preamplifiers in its class, producing lots of headroom and big tone. PreSonus have done an assortment of other tweaks as well. The result: the BlueTube DP V2 offers lower noise, more high-end clarity, and an even smoother tube sound than its predecessor.

You still get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80 Hz high-pass filter, -20 dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels. A Tube Drive control provides a wide range of sounds: when it's clicked off, you're using the solid-state preamp for quiet, transparent amplification; when it's engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.

With 2 combo mic/instrument inputs, the half rackspace BlueTube DP V2 is a great choice for guitars and basses as well as for vocals. Singer-songwriters can run their vocal through one channel and their guitar through the other, feeding both to the PA ino guitar amp needed. It also serves as a DI box, thanks to balanced XLR and unbalanced 1/4" outputs, and is housed in a new, rugged, 1/2U case.

Try the BlueTube DP V2 as a front end for a DAW, too; sure, your recording interface might already include preamps, but few of them give you both tube and solid-state operation.

PreSonus have also updated the preamp's compact, rugged enclosure; it has more rounded edges and looks modern and sleek. It can be used as a desktop unit or it can be screw-mounted to a standard rack tray. And despite the improvements, PreSonus deliver the BlueTube DP V2 for essentially the same price as the original BlueTube DP.

So get the new and improved version of the most versatile, best-sounding mic/instrument preamplifier in its price range: the BlueTube DP V2.

Notes: PreSonus have been designing preamps for a long time, and they always focus on audio quality first. So when PreSonus decided to upgrade their popular TubePre V2, PreSonus focused on improving an already high-quality soundiwithout jacking up the price. Like the original TubePre, the new version is a fully professional tube preamp, with a dual-servo (no capacitors) gain stage that lets you boost the program signal to smoking hot levels without significantly increasing the background noise. Discrete components and high-voltage operation offer dynamic range and detail not found in other single-channel tube preamps in its class.

But the TubePre V2 provides an even wider palette of sound options, and a much more focused tube saturation, than the original TubePre. It has been upgraded to employ PreSonus' popular XMAX Class A solid-state preamp, which is followed in the signal path by a 12AX7 vacuum-tube stage. Twist the TubePre V2 Drive saturation control to add the "color" that only a hand-selected 12AX7 vacuum tube can deliver i from gentle warmth to total fuzz.

Housed in a rugged case, the TubePre V2 rear panel sports separate unbalanced, 1/4" instrument and balanced, XLR mic inputs and unbalanced 1/4" and balanced XLR line outputs. PreSonus have included all of the extras you need for professional operation including a high-pass filter, phantom power for condenser mics, polarity reverse switch, and a backlit VU meter.

The TubePre V2 is more than a mic preamp, though. Thanks to its separate instrument and mic inputs, it also serves as a dynamite direct box (DI) for guitars and basses. And it's small enough to carry almost anywhere, although you also can screw-mount it to a standard rack tray.

So if you are a fan of PreSonus' original TubePre, you're going to love the improved TubePre V2. And if you are checking out the TubePre for the first time, your ears are in for a real treat. Then check out the amazing low priceibut sit down first because you're in for a shock. Because with PreSonus, big sound does not have to cost big bucks.

Notes: With superb audio specifications and connectivity and featuring an outstanding microphone preamp, the TASCAM SERIES 8p Dyna is a great choice for both studio and stage. Housed in a rugged 1U rack-mount casing, its dual S/MUX optical ports make it a perfect expansion unit for a TASCAM SERIES 102i or SERIES 208i or other S/MUX-equipped audio interfaces including ADAT, or use it as a stand-alone front end.

Each SERIES 8p Dyna channel also features individually switched +48V phantom power for use with condenser mics, and an easy-to-use, single-control analog compressor with true bypass.

A Superior Front End for Studio and Stage:

TASCAM has long been known for transparent, natural, ultra-low-noise preamps, and the eight TASCAM no-compromise HDIA (High Definition Instrumentation Architecture) preamps in the SERIES 8p Dyna are its best preamps yet; the noise level (EIN) is at -127dBu, the THD is 0.0007%, the dynamic range is 116dB, and the crosstalk is 119dB. Each SERIES 8p Dyna channel also features an easy-to-use, single-control analog compressor with true bypass for handling hot input signals and creating smooth audio input.

Versatile Inputs:

With two instrument/microphone combo inputs on the front panel, you can quickly plug in mics, guitars, bass and more. Six balanced mic/line inputs grace the rear. Every microphone input has individually switched +48V phantom power for using different types of microphones such as Dynamic, Condenser, Ribbon and vintage for proper operation and safety. It adds up to a multi-purpose front end for recording and live sound.

Expand Your Interface or Other Device:

Dual S/MUX optical outputs on the rear of the SERIES 8p Dyna enable you to use the unit as a front end expander for S/MUX-equipped audio interfaces, such as TASCAM's SERIES 102i and SERIES 208i, and Celesonic US-20x20. ADAT compatibility is also available. With two S/MUX outputs, you can send all eight SERIES 8p Dyna channels at up to 96 kHz (four channels at 176.4 or 192 kHz), dramatically expanding your system's capabilities.

Send to Anything:

The SERIES 8p Dyna's eight line-level analog channel outputs are provided on both 1/4-inch balanced TRS connectors and balanced 25-pin D-Sub connectors. Route signals to interfaces, recording mixers, front-of-house consoles, and pretty much anything else. Connect its D-Sub outputs to a TASCAM ML-16D or ML-32D Analog Dante converter, and it becomes a pristine front end for an audio-over-IP network.

The Features Professionals Need:

From its high-end preamps to its versatile outputs, the SERIES 8p Dyna is a thoroughly professional product, right down to its rugged metal 1U rack-mount enclosure. Word clock in and out BNC connectors with an In/Out/Thru switch enable proper synchronization of digital signals. Front-panel analog overload indicators, compression indicators, and digital peak and level meter bars let you monitor the unit's performance. Yet the SERIES 8p Dyna is simple to operate so you can stay focused on the task at hand.