Art pre-amp

Craig A Davidson · Post by **Craig A Davidson** » 20 Dec 2004 3:40 pm

Just wondering if any of you have an opinion on using one for steel. Would it be like the black box only different?

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1985 Emmons push-pull,Evans SE200,Hilton pedal

Wiz Feinberg · Post by **Wiz Feinberg** » 20 Dec 2004 5:49 pm

This may not be a fair critique, but I bought one with the meter, compressor and tone shaping switch, to use as a frontend when recording into my computer. While it did compress smoothly and had a nice warm tone, the tube noise was so aweful at high compression, that I sent it back for a refund. I then bought a solid state Alesis compressor, which is quiet and works just fine.

It might have been an isolated defective unit, but that was my experience.

Wiz

ajm · Post by **ajm** » 20 Dec 2004 6:00 pm

It may have been defective, or it might have had the same easily fixable design problem mentioned over at Harmony Central in some of the reviews.

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Artie McEwan

Bill Hatcher · Post by **Bill Hatcher** » 20 Dec 2004 7:07 pm

What kind of voltage does the tube in these ART pres run at. If they are running at 2-300voltsDC then you might have enough headroom for a steel. If they are "starved tube" design running at low voltages then I would stay away.
Anyone have a schematic they could look at.

Jack Stoner · Post by **Jack Stoner** » 21 Dec 2004 3:09 am

I've got a couple of Art "MPL" tube preamps that I use for Mic's when recording. They are OK for that but I tried my steel through it, direct from the volume pedal and between a preamp and the recording board and wasn't impressed either way.

It's obvious the MPL is designed for a "voice" rather than an instrument, although their ads say it can be used for either.

I'e got a Tele but didn't try that with the MPL.

In fairness, I'm not a tube "freak" and am prefectly happy with solid state for steel.
I either use a Peavey Nashville 1000, or a rack system that has a Rocktron "Sidewinder" (solid state) preamp.

Tony Prior · Post by **Tony Prior** » 21 Dec 2004 5:15 am

I also use a dual 12AX7 ART with what they term OPL signal shaping ( it can be on of off ) for the front end of the Digital Multi tracker. It is very flexible for this purpose and I use it for everything going into the digital inputs.

I have used it for the front end of the N400 but didn't care for it. My feeling is these little low cost units were( are) intended for a compromise between Analog/Digital inputs for home recording and they are good for that.

On the gig its an old Peavey ProFex for single slap delay only. Works good, looks fine lasts a long long time..

t

I think for live situations in the signal chain you get what you pay for..

D Schubert · Post by **D Schubert** » 21 Dec 2004 6:10 am

I have used a stereo rackmount model (plain jane ART preamp, no compressor, meters, limiter or etc.) with my LTD 400 -- one channel for steel with very little gain, and the other for Tele with much more gain. Best thing is that it is a convenient alternative for the "two amp" problem with steel and guitar. At low levels, I thought it smoothed out the steel just a bit -- more of a vintage sound, whether or not you find that pleasing. Did wonders for the Tele through solid-state amp. More recently, one of my blues player friends has borrowed this unit, using one side for vocals and the other for his harp mic.

Al Moss · Post by **Al Moss** » 21 Dec 2004 7:42 am

I've been running the ART Tube Pac (tube pre and compressor, internal power supply) in the effects loop of my Webb here at home and it seems to smooth out the highs just a bit. The input gain on the ART is set at about 10 oclock as welll as the output level, with the compressor level set at "auto" and at zero on the threshold level. At low volume levels on the amp, and the volume pedal wide open, the LED's are barely activated. I rarely take this setup out for gigs (more cables than I like to deal with) and so can't really say how it would perform onstage. -works nice at home though.

Rick Schmidt · Post by **Rick Schmidt** » 21 Dec 2004 10:11 am

I used an early model "Tube MP" by ART for awhile, I liked it, but I basically just use my Pro Fex 1(not 11) for recording and live gigs now. Most good studios now have far superior tube mic pre's if they want you to use one.