ART ProChannel vs. ART ProVLA and ART ProMPA

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BigBluePiece

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I?m leaning toward buying several of ART?s Pro Channel strips. For those who don?t know, its got a tube pre-amp, tube/optical compressor and a parametric EQ. Each of these are considered ?modules?. My understanding is that this allows the user to bypass any of the modules and just use, for example, the preamp and the EQ, not the compressor, or the preamp and the compressor, but not the EQ, etc., etc...

I have a couple of questions before I squeeze the trigger, though.

First off, does anyone have an experiences with these units who would like to advise me about the wisdom of this purchase? Is there something better for the price that I should consider?

I?m also curious about the EQ and it?s making me hesitate a little. I?d be using these channel strips between my Microphones and tracking console. So the chain will be: Microphone > Channel Strip > Console > Recorder.

My console/mixer has an EQ on it, a really good one in fact. This raises two questions:
1. How necessary is it for the channel strip to have an EQ when the signal is going to be EQ?d further down the chain? Perhaps ?necessary? isn?t the best way to phrase it. Maybe I should ask ?Why would the channel strip have EQ on it??

2. In light of that question (if the EQ on the channel strip is unnecessary), would I be better off just getting several of ART?s ProMPA II preamps and their ProVLA II Compressors to remove the EQ and also give me less mess in the chain when I?m recording and don?t need both a Preamp and Compressor?

Am I way out in left field?? :confused:

Thank you!
 
I used to own the MPA and the VLA. The MPA was decent, but I found that it broke up and distorted (not good distortion) pretty easily. Had to keep it at sane levels or it didn't sound good. The VLA on the other hand is a tremendous little compressor. Extremely good value. I've never used an ART eq. I never eq on the way in, except maybe to low pass a female vocal or something like that. But from what you describe, this unit lets you bypass one or two of the units if so desired, so you would still have the eq for mixing. Could bypass the amp and the comp if you want.

I personally like having all my components separate. Get a good patchbay and patch in what you want to use, when you want it.
 
I've had an MPA and VLA...still have the VLA and use it on a lot of things...one of my favorite comps (I have a few different comps), and yes, the MPA has a bit too much grind to a be good overall mic pre...but it could be good for some things.'
The Pro Channel is a mix of the two...so consider that.
I would get a different preamp...but the VLA rocks!

And no...you don't need a "strip".
I only have one pre/EQ/comp strip...and I rarely use it as a strip.
Mostly I have standalone preamps, EQ, comps.
 
I just returned an ART PRO VLA II.

I know its a good, transparent compressor for anything that doesn't require a hard knee.

But it turned out I just needed a hard knee compressor for use on bass DI, and I couldn't justify budgeting more than one compressor right now.
 
Heck...I just edit the bass tracks in the DAW to a "hard knee" vibe. :)

Cut-n-fade.

As a matter a fact, I'm editing a bass track right now, and while it's a little more work than just slapping a comp on it...I can control it better by hand.

But why do you need to buy a hardware comp to stick after the DI, just use a plug in the DAW after the fact..?
I use to use a comp lightly, going in...but just the DI works fine if you control your playing/level.
If you have a real wild player, then it's harder.

Oh, on the ART VLA...I find the two Fast/Auto buttons for the attack and release work pretty good. I really like the Fast setting for things like bass or stuff with a percussive vibe. The optical VLA doesn't chop off the attack dramatically with the Fast setting, but it catches things pretty good. The release most times I leave on Auto.
 
Ok, thanks for the help! Can someone point me to a better overall preamp in the same price range, please?
 
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