The ART Digital MPA-II delivers all of the same great features of the ProMPA with the added versatility of digital output standesamtliche trauung . Like the ProMPA-II, each input circuit has 48v phantom power and features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone. The Digital 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. Product DetailsThe ART Digital MPA delivers all of the same great features of the ProMPA with the added versatility of digital output.

With a little patience I was able to get a nice warm sound with very little hum without changing the tubes. The issues I have with it began in the first year and have persisted ever since. A couple of the knob covers have come loose so they turn without doing anything.

• The downside here is that you cannot edit the mics separately because they are basically mixed into a stereo signal within the preamp.
• We’re staffed with musicians and industry experts, people that live and breathe music gear.
• I miked my kit with 19 microphones on a Soundcraft Signature 22mtk.
• To reduce the risk of fire or electrical shock do not expose the unit to rain, moisture or use in damp or wet conditions.
• Additional gain is available via the Gain switch (+20dB) and the Analog Output control (+10dB) for a maximum of 70dB total.

Might save you some $$$ to not buy new preamps. I am considering a used Joemeek SixQ2 as a mic pre/compressor. This allows for digital out through S/PDIF to S/PDIF in on the UR28M.

Our coverage does not provide compensation for loss of use. As of June 2018 the Performance Warranty is no longer transferable. Plug the Output mic cable into the Audio Interface and now set the sensitivity or gain to record.

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Art Pro Mpa Ii Specifications

I found that after I did that, it worked much better. Now that I had that solved, I tried the digital end of it…ugh. The A/D converter on this thing, first off, takes some time to send a useable sync signal to anything if it sends one at all. Sometimes I have to turn the sync rate knob a few to the left/right of the rate that I’m after for my interface to lock. I’m sure that a master clock would help though, but for now, that little trick will have to work.

Beef up individual tracks, or link the ART Pro VLA II’s two channels in stereo. You can use the Pro-VLA II for both live audio engineering and studio recording applications, but it especially shines as a mastering tool. Your interface may have some microphone XLR inputs as well as some 1/4 inch TRS inputs for line level sources. Plug your preamp’s output into a line level input.

Features

Just wanna bypass the audiobox’s pre when I use the art one. I have heard these units can sound reasonably good if you swap the tubes on them – but if I bought it again, I would have got the MPA2 without the digital. Even when you get the digital working, IMO the converters on the thing sound worse than analog in to an audio interface. Like others have already posted, we use the preamp with the 20db pad “in”, the tube voltage plate engaged and phantom power engaged when needed. More recently, we replaced the stock Chinese tubes with the Mullard equivalent & the difference is pretty satisfying. That said, experimenting with a few different tubes is essential to fully appreciating the sound quality and potential of this unit.

The two tube‑voltage options provide another subtle but useful variation in tonality, and the variable input impedance is invaluable for use with passive ribbon mics or other insensitive dynamic models. ART have a long‑standing reputation for delivering good, affordable audio processors, and their Pro MPA2 seems set to continue that tradition. Essentially, this device is a 2U-high, two‑channel mic preamp with switchable 48V phantom power and continuously variable input impedance. The latter is something that can have a significant effect on the sound of the connected microphone; in particular, many dynamic models, including passive ribbons, prefer to see a higher impedance. The input section of the Digital MPA-II operates at either a low or high plate voltage applied to the two integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance.