Art Tube Mp Studio V3

Art Tube Mp Studio V3
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The incredibly affordable ART Tube MP Studio V3, which stands for Variable Valve Voicing, is a mic preamp designed specifically for versatility. With preamp settings calibrated for keys, bass, drums, vocals, acoustic guitar, electric guitar, and more, the Tube MP Studio V3 is really the perfect mic pre for any application, and the included Output Protection Limiter helps you to keep a handle on output peak signals. A wide frequency resposne of 10Hz to 20kHz and a dynamic range of up to 100dB make the Studio V3 an awesome all-around preamp.

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4.4 out of 5 stars

430 ratings

Currently unavailable. We don't know when or if this item will be back in stock.
Dimensions: 5.0"D x 5.5"W x 2.0"H Weight: 1.5 lbs Rugged all-steel construction Designed for years of continuous, reliable performance 1 year warranty

4.4 out of 5 stars

430 ratings

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Top reviews

Most recent

Top reviews

One of the main reasons I choose this later model over the ART Tube MP Studio Original, was for the Output Protection Limiting (or OPL) to protect the hardware I was then connecting this device to, which is an ASUS XONAR Essence STX PCIe card, using it's 1/4" phone Line or Mic Inputs. Using a ten year old standard Radio Shack PA microphone connected via XLR, I can get a crisp microphone sound instead of only getting mostly bass from the cheaper five volt computer electret microphones. RS PA microphone connected via XLR to the ART preamp, and 1/4" balanced phone to the ASUS Xonar STX PCIe card 1/4" Line/Mic combo input. Using no microphone boost, with the microphone input selected within software. For Voice Chat: ART preamp settings: 100% Input Volume, Using +20dB in voice chat, Phase Reverse active, 50% Output Volume with Voice Neutral. Linux or Windows Software settings: Microphone Volume at 100%, with no microphone boost. For Recording: ART preamp settings: 100% Input Volume, +20dB Deactivated, Phase Reverse active, 75% or 100% Output Volume with Voice Neutral. Linux or Windows Software settings: Microphone Volume at 100%, with no microphone boost. NOTE: Above I mentioned I was using the Microphone Input, by selecting the Microphone Input either within the operating system mixer settings or within Audacity. I have since switched from using the Microphone Input, and have now selected the Line Input as the selected recording source, within both the operating system mixer and Audacity. The ASUS Xonar STX PCIe card has combo Line/Microphone inputs, and when the Microphone line is selected, a relay switches/routes the input source through a cheaper electret 5v phantom powered (CMI9780) chip. When switching to Line input, the input source is routed directly through to the Analog to Digital Conversion (or ADC) chip, per RMAA quality reports for SNR benchmarks. Granted, I need to boost both Input and Output volume levels to 100%, including using the +20dB boost for the Line level to be heard. (Perhaps a better mic, which uses phantom +48v might aide here? Shrugs. What does one expect for a Radio Shack generic PA mic? At least it works.) I also purchased an Image Broadcasting Studio Microphone Arm Stand with Shock Mount, alongside my currently owned microphone and desk. Knowing how sensitive computer stuff tends to be, OPL (Output Protection Limiting) is probably worth the extra $40 over the original ART Tube MP Studio Original Mic Preamp. However if you're only performing vocals and no instruments, the Voicing knob will likely always be set at one setting. Pros: 1) Well constructed, with metal casing and rounded edges. 2) My unit included rubber foot pads, for which earlier buyers likely were not given? 3) Reliable analog meter, with a nice vanilla incandescent back light. 4) Good quiet switches and knobs 5) Well labelled, including atop of the unit. No need to lift the device to distinguish rear ports! 6) Conservative blue color. Everything just looks nice. 7) Very quiet. (SNR) 8) Along side my ASUS Xonar Essence STX computer sound card, I can record at a variety of high quality bit rates and sample rates, in comparison of being only limited to the 24-bit/96000Hz of a Focusrite Scarlett 2i2. (I've also seen RMAA benchmarks of the Focusrite Scarlett 2i2 having less quality than the Xonar STX PCIe card, but still might consider the external solution later for recording analog stereo LP's.) 9) Output Protection Limiting, or OPL. 10) Temperature of the unit while powered on for several days is about 94F, while the immediate area of the bulb may register 104F. (Why people exclaim this unit runs hot, can only mean they use the unit somewhere where ambient room temperatures are in excess of 70F.) Cons: 1) No power switch! And the BEST TIP of all, use Audacity and not the Microsoft Windows Sound Recorder! The Microsoft Windows Sound interface tends to mix all incoming and outgoing sound, and the software Sound Recorder tends to make the recordings much more quieter then they really should be. Audacity picks-up where the Microsoft Windows Sound Recorder left-off, and performs a far better job of line/microphone recording! It took me such a long time to figure out why Microsoft's Sound Recorder was performing so poorly, and should only be used for testing or low-quality work. 2013.03.22 - After using this preamp and leaving it on 24/7 for the past week, having some static or line noise issues. Using a XLR plugs from the microphone to the preamp, and XLR to balanced phone to the sound card. I had the preamp near or just underneath a LED display monitor. When I moved the preamp two to three feet away from the computer and about six inches to the right of the LED display monitor, static would significantly decrease. A light static would then increase if I then stood the preamp within a vertical position near the LED display monitor. Chances are, it is very likely I'm seeing RF interference with the LED display from my knowledge of radio frequency interference. I also tried several different cables, disconnecting the microphone, and grounding each piece of equipment with no success. So I'm going on the theory of RF interference and moved the preamp out of the way of the LED display monitor, approximately a foot to the right, and foot and a half down onto a shelf below the desk. Static has further decreased but a slight static does seem to persist, and I'm now also making sure all XLR and phono cabling is running perpendicular across all other computer signal and power cabling. (My gut says it's definitely LED/LCD display RF interference, as this type of interference tends to fade in and fade out, sort of like building-up static. The only sure way of further verifying, moving the microphone and preamp further away from the computer and LED display.) I also just realized I installed a LED light bar a while ago just above my keyboard. Switching this LED light off, the static seems to have ceased, but the static isn't further reproducible after switching this LED light bar back on.

If you are looking to boost your mic input before going into your audio interface this is a good choice. I tested my speaking voice at all the different settings and found a number of them that I liked a great deal. I use it almost every day for video conferencing (workflow is Shure Super 55 -> ART TubeMPSTV3 -> Focusrite i1820 Gen 1 -> 2018 Mac Mini -> Logic/Teams/Zoom/etc). My only problem is that the plastic window covering the VU meter became cloudy after a few hours of operation making it almost completely unreadable. For the money, this is a great product.

So Amazon sent me a recommendation based on my purchasing history for the ART TubeMPSTV3 Variable Valve Voicing Tube Mic Preamp With Limiter. I read it, thought about it, and I bit. I have a MXL Revelation tube mike that I use for vocals primarily, and it does a great job. It has a tube and puts out that tube sound that some of us like on vocals. I also have box full of Shure Beta 58A mikes, some of which I have been using for 40 plus years. You can drive nails with them and they will still perform. I am used to the vocal quality I get from the Shure mikes. So I thought, hmmm ... I wonder what the Shure would sound like if it was a "tube" mike. Well now I know. The ART arrived with a defective UV meter (which apparently is a recurring problem because I read about them arriving with defective meters in other reviews), but I wanted to test it, so I hooked it up to a Shure mike on a desktop stand right by the mixer. And I have to tell you, that the Shure sounded like a tube mike. I ran at least a dozen tests, five of which were made with the MXL. The Art did not change the sound of the MXL much, but it did the Shure, and I really liked what came through. In fact, I may have liked the Shure through the ART more than the MXL. I will probably order it again and hope that I get one with a functioning VU meter. I did hear some faint buzzing. It does have a reverse-polarity button which helped. But it was sitting on the MXL's control box and I'm confident that some of that came from where the Art was located. It requires a power transformer which is included. Another wire. Another plug. But all in all I think I kind of liked it. I can relegate the MXL to a mike stand. Get it away from my desk. (It has a lot of hardware that goes with it) and use it for vocals with multiple singers. MXL has Omni, Bi, and Cardioid polar patterns and is good for a floor mike. The Shure with the ART will make a great desk mike.

When first using this, I tried to get the signal as close to 0 as possible in order to get that warm sound that was advertised. Any time the signal passed +3, the limiter audibly kicks in with a pop. I've taken to keeping the gain down, and turning up the output volume to achieve the desired output into my audio interface.

1.0 out of 5 stars

Noisy, Terrible, Junk

I first want to say that alot of the other reviews on here are either fake or really badly informed. Do some research on gearslutz about this preamp before buying it to save you the pain. So the first order came and the plug was broken so had to send it straight back. Replacement came through: So my set up was running from a Rhode NT1-A Mic to the Preamp and then into a Scarlett 2i2 Interface (all XLR). Problems I found: -Constant loud multi-frequency hissing noise. -60 Cycle Hum. -VU Meter doesn't work. No combination of settings/ wiring were able to fix these issues so I returned it immediately. I'm gonna stick to using the in-built phantom power on the scarlett interface until I can afford something better.

5.0 out of 5 stars

Lovely bit of kit

What a great pre amp, before my mic's were dull and quiet, added this and you can make almost anyone sound good, even me! The different settings help you get the right tone for the different venues. Very well made, looks good, performs great. Did I say I liked it?

Absolutely astounding difference in warmth if you are recording vocals. Use this as a DI.

3.0 out of 5 stars

Ok as an inexpensive DI box.

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ART TubeMPSTV3 Variable Valve Voicing Tube Mic Preamp With Limiter

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Overview

Key Features

Specifications

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Key Features

Built-in analog VU metering
Built-in OPL (switch selectable)
Over 60dB of gain
Hand selected 12AX7A dual triode tube
Balanced XLR inputs and outputs
¼” High impedance Instrument input and ¼” line level output
+48V Phantom power (switch selectable)
Phase Reverse Switch
Gain (+20dB) Switch
Input Gain Control
Output Level Control
Multifunction, dual color LED Power/Clip/Limit indicator
Fully shielded all steel chassis
Designed and developed in the USA

The original ART Tube MP put professional-caliber tube preamplification into the hands of thousands of musicians and recordists who wanted great tube tone in a compact and flexible package.
The Tube MP Studio extends the range of applications by adding an output protection limiter (OPL) to precisely control output peaks, and analog VU metering to aid in setting and maintaining proper signal levels.
The Tube MP Studio can be used in a wide variety of applications including recording, project and home studios, where its metering functionality and OPL circuitry really shines. It also functions as a direct box, with impedance matching and preamplification for instrument or line-level sources.
Dimensions 5.0”H x 5.5” W x 2.0”H
Input Connections XLR (balanced), ¼”TS
Output Connections XLR (balanced), ¼”TS
Input Impedance XLR, ¼” 2K ohms, 840k ohms
Output Impedance XLR, ¼” 600 ohms, 300ohms
Frequency Response 10Hz to 30kHz, +/-.5dB
Dynamic Range >100dB (20-20kHz) typical
Total Harmonic Distortion (THD) <0.1% (typical)
Maximum Gain XLR to XLR 60dB (typical) ¼” to ¼” 44dB (typical) XLR to ¼” 54dB (typical) ¼” to XLR 50dB (typical)
Equivalent Input Noise (EIN) XLR to XLR -129dBu (A weighted) ¼” to ¼” -105dBu (A weighted)
Tube Type 12AX7A, Dual Triode, Hand Selected
Power Requirements USA – 9VAC @ .8A (typ.) Export units configured for country of destination

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Art Tube Mp Studio V3

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