Tube Mp C

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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
30 Hz – 60 kHz +/- 1 dB balanced output, 20 Hz – 60 kHz +/- 1dB 1/4″ output
-128dBu typical (“A” wtd., Shorted XLR balanced input, gain @ max)
Input: XLR balanced or 1/4″ balanced. Output: 1/4″ unbalanced XLR balanced, transformer isolated.
+80 dB (balanced in-out, +64dB (unbalanced input, balanced output)
unbalanced (Inst): +15 dBu, balancd (mic): +10 dBu
Switch selectable, +48Volts DC, filtered, current limited
All aluminum black anodized with integral rubber sides
150ms (fast), 20ms – 3s Program dependant (Auto)
1.75″H x 5.9″ W x 6.5″ D (44.5mm x 150mm x 165mm)
0dBu = 0.775V rms
Weight includes power supply and packaging

ART's Tube MP/C combines a hybrid 12AX7 (ECC83) valve preamp section with the company's 'Vactrol' optical compressor, and the whole thing is all about tonal character.
Optical compressors are renowned for their tonal flattery, but an output transformer is also employed specifically to add coloration (although this is rather subtle: the amount of distortion added before you pile on the tube drive is actually only around 0.1%!).
The mic/instrument preamp section offers up to 80dB of gain in total, with 40dB gain via the input gain control, a gain button to add a further 20dB, and yet another 20dB available courtesy of an output level control. (For unbalanced operation the maximum gain is reduced to 64dB, which is plenty for most applications.) Both unbalanced quarter-inch jacks and balanced XLR inputs and outputs are available, as are 48V phantom power, a switchable first-order 70Hz low-cut filter and a polarity-inversion facility. There is LED metering of both gain and any 'tube warmth' you decide to add. The output signal can be switched from line to instrument level, allowing you to feed line-level gear or guitar/bass amps alike.
The compressor has far fewer controls than is typical, and is set to a fixed 2:1 ratio, but it's not as limited in operation as this might suggest. It has a switchable release time, which is fixed at 150ms in the fast setting, and automatically variable between 20ms and 3s when set to slow. It can also be switched to function either as a compressor or a limiter, with attack times fixed at 20ms and 1ms respectively. The amount of compression is set using the threshold control, and a row of four LEDs shows the amount of gain reduction up to 15dB. Further LED metering follows the overall output level from -20dB right up to clipping. Sensibly, there's also a bypass switch for the whole compressor/limiter section.
The preamp has an EIN (Equivalent Input Noise) of -128dBu A-weighted, and the frequency response is a surprisingly wide 30Hz to 60kHz ±1dB balanced, with the non-transformer jack output going down to 20Hz. A maximum line output level of +19dBu is quoted. Although this is below what you'd expect from a top-of-the-line preamp, it should be enough to keep you out of trouble, even when feeding a digital interface that expects to see levels of +16dBu or so to reach digital full scale.
I have to admit that I wasn't expecting anything particularly subtle or refined from what, at the end of the day, is a very affordable mic preamp. However, having conducted a series of subjective tests with voice and acoustic guitar, the results were rather more classy than I'd anticipated. Used as a straight mic preamp in its clean range, with no added compression, I obtained clean, clear signals from both capacitor and dynamic microphones. But even with the gain pushing those amber LEDs into the 'warm' range, the added coloration was still nicely subtle, bringing a pleasant weight and thickness but not at the expense of clarity.
Bringing in the compressor evens out the sound level, just as you'd expect, and at lower gain-reduction settings the compression is reasonably transparent and natural-sounding. Add more and you start getting into 'compression as an effect' territory, but even then the result remains musical, with an endearingly springy 'opto' character. Using the fast release setting on acoustic guitar can create a very 'produced' kind of sound, combining thickening and levelling in a way that adds a sense of excitement and power. Meanwhile, although you can hear the compressor doing its thing in a more obvious way in the fast mode, it never seems to get offensive. The fast compression mode also works well to add sustain to bass guitar, and is particularly good for enhancing that fretless whine, while the slower mode keeps the gain under control in a far less obvious way.
As ever, you must keep background noise to a minimum when using heavy compression (such noise is raised in level between notes or phrases), but for typical close-miked applications the noise of the mic preamp was never an issue for me, and both room sounds and computer-fan noise will typically be of far greater concern for home-studio recordists.
The only thing this preamp doesn't do is overload gracefully; clipping the input produces a harsh and spitty sound, so this isn't a preamp you can use to create musical 'dirt' once you've passed the 'warm' stage. As long as you keep an eye on that input clip LED, though, you'll find the ART Tube MP/C makes a versatile and musical-sounding front end. 
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