Overview

The USBDualTubePre is the ultimate compact dual channel tube preamp for any basic recording system. Capable of operating as a standalone unit with USB audio interface, or as an expander for any digital system with s/pdif digital input, each channel in the USBDualTubePre delivers superior tube tone in a fully featured input strip.

Each input of the USBDualTubePre has independent input gain control and output level, phase inversion, low frequency roll-off, true 48v phantom power and a user defeatable opto-compressor circuit capable ensuring superior dynamic control or any input source.

For monitoring, an 1/8-inch TRS mini headphone jack with level and monitor mix controls allow latency free local monitoring of the inputs while recording as well as playback monitoring of audio mix via the USB bus. The monitor mix is also routed to the 1/4-inch TRS balanced outputs with separate level control for control room monitor source.

The USB interface is fully USB compliant. No special drivers are needed.

Key Features

• Two channel Tube based Mic/Instrument preamp computer interface
• Extremely low noise discrete front end with variable input and output controls
• Advanced optical output compressor to simplify recording and prevent overload
• USB connectivity to desktop and laptop computers
• S/PDIF output for expanding inputs on digital workstations and computer interfaces
• Latency free Monitoring Mix and Level controls
• Balanced XLR for lo-Z applications and 1/4″ hi-Z inputs for instrument DI applications
• Separate Gain, Phase Invert, Low Cut Filter and Compressor switches on each input
• Selectable Dual or Stereo operation of output controls
• Switch selectable Inserts on each channel
• Insert jacks provide a preamp direct out for each channel
• Stereo/ Dual operation of Optical Compressor
• Mono switch for single input monitoring
• S/PDIF Sample Rate switch selectable between 44.1K and 48K
• Precision LED metering of both the preamp and A/D sections
• Built-in low noise +48 Volt phantom power supply
• Compact, stackable all aluminum chassis

Overview

The Tube MP/C (PreAmplifier/Compressor) is a multi-purpose tool for audio engineering and recording. Two 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. A R T’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 ¼-inch 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 20dB of gain.

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

Optional ART SM1 stand mount securely attaches the Tube MP/C to any microphone stand for live stage or studio applications is available.

Key Features

• Tube-based mic/line preamplifier with up to 80 dB of gain
• Hand-selected 12AX7a tube
• Optical (VCA-less) compressor circuitry = transparent dynamics control
• 1/4-inch unbalanced inputs and outputs
• XLR balanced inputs and outputs
• Transformer isolated XLR output
• Selectable output range for Line/Instrument interface levels
• LED meters for Tube Warmth, Gain Reduction and Output level
• +48V phantom power
• Phase reversal switch
• Selectable release time settings
• > 90dB dynamic range
• Custom extruded aluminum chassis

Specifications

Overview

Overview
The T8™ (Transformer Eight) a high quality totally passive audio interface that uses 8
transformers to separate input and output signal grounds, thereby isolating two systems and
reducing hum and ground-loop noise. The T8’s audio transformers have flat and wide frequency
response and handle high signal levels while maintaining an isolated balanced output. This gives
the T8 a very clean and neutral sound with a wide variety of signal sources. The transformers are
wound for 1:1 unity gain and are designed to be used with impedances from 600 ohms to 100k
ohms.
Connection versatility sets the T8 apart from other isolation boxes. The T8 provides balanced
XLR, 1/4" phone, and RCA type phono connections on all inputs and outputs simultaneously.
The T8 fits easily into virtually any audio system and is a clean patch point between all types of
systems.
The T8s mounting ears are reversible so you can have either the XLRs on the front or The 1/4"
and RCA phono jacks on the front. This maximizes flexibility in cabling your system. Whether
you need an interface between a computer based audio workstation and your monitor system,
isolation on long cable runs in a fixed installation, isolation of multiple signal sources from your
recording equipment, or in many cases, just a safer connection between two audio systems, the
T8 can accommodate.
Its full feature set, rugged construction, and high-end specifications make the T8 the obvious
choice for Live Sound, Permanent/Fixed Install, D.J., and virtually any PA application.

Key Features

Features
 High-quality, passive audio interface
 8 high performance transformers
 XLR, 1/4" phone, and RCA type phono connections on all inputs and outputs.
 Reversible rack mount ears
 Separate input and output signal grounds reduce hum
 Audio transformers have an extremely flat and wide frequency response
 Very clean and neutral sound with a wide variety of signal sources
 Can be used for signal taps or as a signal splitter
 Use as a safer connection between two audio systems (ie: Computer workstation or
monitor system)
 19" 1U black all steel case
Specs

Frequency Response 10Hz -50kHz, +/-.5dB @ +4dBu
Phase Shift Phase Error: Less than 5&186;, 20Hz – 20kHz
CMRR 60dB typical
Power Requirement Completely Passive
Dimensions 1.75"H x 19"W x 3.75"D
Weight 3.75 lbs

Specifications

Specs

Frequency Response 10Hz -50kHz, +/-.5dB @ +4dBu
Phase Shift Phase Error: Less than 5&186;, 20Hz – 20kHz
CMRR 60dB typical
Power Requirement Completely Passive
Dimensions 1.75"H x 19"W x 3.75"D
Weight 3.75 lbs

Overview

The ART Sync Gen is a simple to use and inexpensive way to improve the performance of your digital recording equipment while eliminating seemingly random pops and clicks that result from synchronization timing errors in recording systems.

A word-clock generator will centralize all of the timing of various pieces of digital equipment, reducing accumulated timing errors between the individual units that make up a digital recording chain. Designed for maximum versatility, the ART SyncGen will provide stable, sample accurate time based reference and can connect to digital audio equipment with either BNC word-clock or coaxial S/PDIF inputs.

The ART SyncGen also acts as a system tester by confirming status of BNC word-clock cables and terminations and can verify which pieces of gear are internally terminated. The ART SyncGen will also test proper cable connections to ensure total system accuracy.

Key Features

• Stable & Accurate Time-Base Reference
• 44.1 KHz, 48 KHz, 88.2 KHz, 96 KHz, 176 KHz, 192 KHz Sample Rates
• Four High-Current 5 Volt BNC Word-Clock Outputs
• Two “Zero Bit Digital Black” S/PDIF Outputs On Coaxial RCA Connectors
• LED Indicators Monitor Termination And Operating Status of BNC Outputs
• Large, Easy To Read Digital Sample Rate Readout
• Easy Sample Rate Selection with Memory Recall After Power Down Cycle
• Set Of 75 ohm BNC Terminators And BNC “T” Adaptors Included
• Easy To Read User / Application Manual Included

Specifications

Overview

The Tube MP Studio V3 delivers warmth and fatness to any audio source while maintaining an exceptionally low-noise signal path. While its primary function is as a microphone preamp with +48V phantom power, variable gain and phase reverse switching, the Tube MP is also an exceptionally versatile tube driven direct box for any instrument source. The Tube MP Studio V3 uses ART’s proven V3™ (Variable Valve Voicing) Technology to instantly contour the tone to any source.

V3™ presets were created and fine-tuned by some of the industry’s top studio and live-sound engineers and allow instant access to a multitude of preamp settings designed for guitars (electric and acoustic), keyboards, bass guitars, drums, vocals and more. Additionally, the Tube MP Studio V3 employs OPL™ (Output Protection Limiting) technology to protect the next component in your signal path from clipping and overloads.

The Tube MP Studio V3 offers exceptional sound quality and superior performance to that typically found in “on-board” preamps found in today’s low-cost mixers, multi-track recorders and audio cards making it an ideal tone-shaping tool for any application.

Key Features

• Provides Superior Preamplification for: Microphones, Instruments and Line Level Sources
• V3™ – Variable Valve Voicing
• OPL™ – Output Protection Limiting
• Hand Selected 12AX7A Provides 70dB of Gain Smooth, Warm and Fat Sound Quality
• Variable Input and Output Gain Controls
• Excellent as a Tube DI
• XLR and 1/4″ Inputs and Outputs
• +48 Volts of Phantom Power
• Phase Reversal Switch
• Portable, All Steel Construction

Specifications

Overview

The SPLITMix4 is a fully passive hybrid mixer that offers a wide variety of configurations. Mix 4 stereo input channels down to 1 stereo output, split a stereo input signal to distribute 4 stereo output channels, or combine the configurations for a wide range of applications. You can even configure the SPLITMix4 as 4 stereo input channels thru 4 independent level attenuators to 4 stereo output channels.

Independent stereo level controls are provided on each channel. All 1/4-inch connections are stereo TRS (Tip, Ring, Sleeve) and all channel connections have intelligent switching to allow for a wide variety of configurations. Plugging into a mix input channel removes it from the splitter bus, and plugging into a splitter output channel removes it from the mix bus. Stereo or mono operation is determined by the type of 1/4-inch plug and cabling that you use.

The fully passive design of the SPLITMix4 has no active circuitry to add noise or distortion, and virtually any signal level can be handled. The Level attenuators cover a wide range and offer over 90dB of attenuation and channel isolation. The SPLITMix4 is designed primarily as a line level device with medium input and output impedances.

Key Features

• Four Stereo Input Channels
• Stereo Output
• Independent stereo level controls are provided on each channel
• Passive Design (No Power Supply Required)
• Over 90dB of Attenuation

Specifications

Overview

The ​S8-3WAY​ eight channel three way microphone splitter is ideal for live sound, recording and broadcast applications where microphone and XLR balanced line level input signals have to go to multiple mix locations.

Each channel provides one XLR input, one XLR direct output with two additional transformer isolated XLR outputs for a total of 3 balanced outputs from each single microphone input signal.

Typical uses would include sending 8 direct signals through the ​S8-3WAY​ to a main Front-of-house mixer, with additional feeds going to a monitor mix station while transformer balanced isolated feeds are sent to remote recording desk or used for a broadcast feed.

The ART ​S8-3WAY​ features the same high-quality musical sounding transformers used in the popular ART ​S8​, and is housed in a standard 1U space rack-mountable steel chassis designed for years of reliable operation.

Key Features

• High quality passive interface
• Eight high performance transformers
• One direct and two transformer isolated output per channel
• Balanced XLR input and 3 balanced XLR per channel
• Extremely wide frequency response
• Extremely low voltage insertion loss
• Reversible rack ears for added system flexibility
• Live Sound, Permanent/Fixed install, Studio applications

Overview

The ART S8 can be used to split eight balanced low impedance microphone signals into sixteen balanced low impedance microphone signals (eight pairs).

Each channel of the S8 provides one direct output and one transformer isolated output from a single microphone. Applications include sending the direct outputs to the main or Front-of-House mixer, and the second isolated outputs being sent to a monitor or recording mixer. The direct outputs pass phantom power from the main mixer to the microphones for use with condenser microphones.

The S8 includes a ground-lift switch on each isolated output to reduce noise due to ground loops between connected equipment. For versatility the S8 also features an attenuator pad switch on each input that can be used to connect preamplified signals to the two microphone-level outputs on each channel. Typical preamplified signals would originate from instrument preamplifiers, mixers, keyboards, et cetera.

Key Features

• Ideal solution for splitting microphone sources to feed multiple mixing consoles
• Fully transformer isolated
• Passes phantom power from main mixer
• Individual ground lift on each channel
• Individual pad switch on each channel

Specifications

Overview

The ART M-Three multi-pattern wide diaphragm condenser microphone is one of the most versatile microphones available for your studio toolkit. Three selectable polar patterns, two position low frequency roll-off and two position pad switch on the body of the microphone ensure the ART M-Three can easily be applied to virtually any recording or live application.

The ART M-Three is the microphone of choice for recording critical tracks including solo vocals, saxophones, flutes, brass or woodwinds, acoustic guitars or acoustic bass. The ART M-Three excels anywhere superior sound quality is required, yet subtlety and clarity is paramount.

Due to its rugged construction and ability to handle high SPL, the ART M-Three is an outstanding choice for live sound reinforcement or live recording applications. It can handle the levels you’d see on an overhead mic for drum kits or in front of guitar or bass cabinets.

Controls on the microphone itself include a -6 & -12dB pad switch, allowing distortion-free reproduction of extremely loud at-source signals, and a two position -12dB/octave low frequency roll off at 100Hz & 200Hz that reduces unnecessary low end ‘boominess’ and low frequency interference.

The included heavy-duty shock-mount suspension virtually eliminates vibration and handling noise, while at the same time safely securing the microphone in any position needed during the recording process.

Multiple Polar Patterns:
A Cardioid polar pattern is the standard setting for almost all applications. It will give you the best results on most voice and a wide range of instruments. It offers full frequency response off of the front of the microphone. The advantage of proximity effect (increased low frequency response when microphone is placed close to sound source*) and excellent noise rejection from the sides and back, or 180′ position of the microphone.

The cardioid pattern is ideal for single instrument or vocal use. The pattern picks up only sound directly in front of the mic. Sound from the other direction is rejected. In live sound applications and remote recording ART M-Three’s cardioid pattern offers excellent feedback rejection and better isolation and will give you the best results on most vocal applications and a wide range of solo instruments including background brass and woodwinds, acoustic stringed instruments (violin, viola and cello), drums and percussion. Note: The cardioid symbol on the microphone housing denotes the ‘live side’, or front face of the microphone that in all cases should face the performer.

The Omnidirectional polar pattern picks up sound equally from all around the microphone. This is mostly used for recording ambient sounds, or when recording in an exceptionally good sounding live room where the character, ambiance and tone of the studio needs to be recorded, as well as the source voice or instrument. It would also be the ideal choice for picking up audience interaction in a live recording situation.

The Bi-directional or Figure-8 polar pattern will hear sound from both front and back. This is ideal for recording a solo vocal or instrument with limited proximity effect, better off-axis rejection (limited interference from the sides of the microphone) while still picking up room ambience or natural reverberation from behind the microphone. It also can be used for or duet vocals or for recording harmony vocals with two vocalists.

*Vocalists can use the proximity effect to their advantage, adding fullness and more ‘bottom end’ to the voice. Experienced vocalists can easily incorporate it as part of their overall microphone technique. Again, experimentation with mic placement during the recording process is the key. The omnidirectional polar pattern does not exhibit this effect.

As a condenser microphone, the ART M-Three requires phantom power to operate. A subtle recessed LED under the gold capsule behind the microphone windscreen will illuminate when phantom power is present, and the microphone is operational.

The microphone’s chassis is precision-tooled zinc/aluminum alloy with a dent resistant stainless-steel wire-mesh windscreen. The included heavy-duty shock-mount suspension virtually eliminates vibration and handling noise, while at the same time safely securing the microphone in any position needed during the recording process.

Key Features

• Selectable Polar Patterns (Omni-Directional, Cardioid & Figure-8)
• Dual Position -6dB & -12dB Pad Switches
• Dual Position -12dB/Octave 100Hz & 200Hz Low Frequency Roll-Off Switch
• Extremely Warm, Smooth-Sounding Low Noise Circuit Design
• Extremely Wide Dynamic Range
• Dual 32mm Low Mass Gold Sputtered Diaphragm Capsule
• Aluminum Carrying Case & Deluxe Cradle Shockmount Included

Specifications

Overview

The ​HeadAmp4​ offers 1/8th-inch as well as 1/4-inch inputs and outputs as well as lower noise, lower distortion and more output in a new custom extruded stackable metal case.

Ideal for virtually any home or project studio, the ARTcessories ​HeadAmp4​ easily adds additional headphone outputs to any mixer, computer audio interface, workstation, iPod, media player or laptop without creating any additional load on the existing headphone source.

Individual level controls for the four headphone outs, 1/4-inch and now 1/8th-inch connections allow the HeadAmp4 to connect to virtually any source, and drive any headphone configuration including studio phones, in-ear monitors or custom ear pieces or any combination of the above.

Key Features

• 4 Output Channels Each with Individual Volume Control
• Stereo 1/4-inch & 1/8-inch Inputs (Wired Parallel)
• Can be Connected to Any Line-Level Source or Headphone Output
• Four Stereo 1/4-inch & Four 1/8-inch Headphone Outputs
• Power “On” LED

Specifications