Microphone Pre-Amp

ART TPS II - Tube Preamplifier System
 
Designed as the ideal preamp for any application, the tube driven TPS II and DPS II add warmth and texture to any audio source. These two-channel high performance preamps use a hand selected 12AX7A tube in the low noise input circuitry. This, coupled with ART’s proprietary V3™ (Variable Valve Voicing) and variable input impedance allow the TPS II and DPS II to deliver incredible performance from cost effective single space rackmount solutions.
V3™ Technology
V3™ provides optimized reference points to begin the recording process. The V3™ presets were created and fine-tuned by some of the industry’s top studio and live-sound engineers. V3™ technology allows you to select between a multitude of presets designed for guitars (electric and acoustic), keyboards, bass guitars, drums, vocals and more.
Variable Input Impedance
Variable input impedance increases the sonic potential of the TPS II & DPS II even further. It delivers entirely new sonic textures and tone by varying the input impedance of the preamp, which in turn varies the way the microphone reacts to the load of the preamp. This creates a wide range of new sonic possibilities with any modern or vintage condenser, ribbon or dynamic microphone.
The variable impedance control is infinitely variable allowing much finer control and the ability to tune the preamp to the microphone’s ideal sweet spot. A feature usually only available on far more expensive and exclusive microphone preamps.
Extremely Wide Dynamic Range
The DPS II and TPS II can accept up to +20dB peaks while maintaining over 120dB dynamic range with incredibly low distortion. Input LED metering monitors the signal level of the input amplifier so maximum gain can be achieved without clipping the preamp at the input.
OPL™ (Output Protection Limiter)
ART’s OPL™ (Output Protection Limiter), which precisely and accurately controls and maintains the output peak signal. The OPL™ circuitry is crucial in protecting the next link in a signal chain – such as a hard-disk recording system or a sound card – because unlike analog clipping that sounds musical and sometimes pleasing, digital clipping is nasty and often fatal for your monitors’ tweeters. A versatile insert loop on each channel provides access for additional signal processing or direct access to our high quality A/D converter. Separate gain controls on analog and digital outputs allow you to optimise the unit for simultaneous applications.

Key Features

• Variable Input Impedance

• Improved V3™ Variable Valve Voicing Presets

• LED Input Meter with Analog Output Meter

• Enhanced ART Tube Technology Adds Warmth

• Automatically switches between instrument and microphone preamp

• Wide Frequency Response (5hz/50kHz)

• Enhanced OPL™ Output Protection Limiter

ART Tube MP Studio V3 

ART Tube MP 

ART USB Dual Pre Project Series - Two Channel USB Pre
 
The USB Dual Pre is a full-featured high quality dual portable preamplifier and computer interface packed into a compact rugged case.
It is designed to work over a wide variety of applications from remote field recording to desktop/studio tracking. Each of the two low noise input channels has up to 48 dB of clean gain with signal present and clip LED indicators. Inputs can be either XLR balanced or 1/4-inch TRS. Each of the 1/4-inch TRS outputs is buffered low impedance balanced.

The USB Dual Pre is powered via the USB bus. An internal 9 Volt battery, or optional external 12V power supply (or any combination of USB, battery & power supply) can be used depending on application. When running powered by battery alone, you should expect in excess of 50 hours of operation with phantom power off. Battery life will drop to approximately 20 hours (depending on microphone) when phantom powering is engaged (still enough time to get through an average session).

The built-in low noise +48 Volt phantom power supply allows you to power up to 2 microphones as well as the preamplifier when running from any power sources including the USB bus.

For monitoring, an 1/8-inch TRS mini headphone jack with level and monitor mix controls on the rear allow for latency free local monitoring of the inputs while recording as well as playback monitoring of the USB bus. The monitor mix is also routed to the 1/4-inch TRS balanced outputs. This lets you use the 1/4-inch outputs as either preamplifier outputs or as the monitor feed to your powered monitors.

The USB interface is fully compliant with the USB 1.1 specification and uses USB adaptive mode for playback and USB asynchronous mode for record. It will work with the USB audio device drivers built into Windows 98SE/ME/2000/XP/Vista and Apple OS9.1/OSX computers with native USB support. No special drivers are needed.

• USB Connectivity to Desktop and Laptop Computers
• Low Noise Fully Balanced XLR and 1/4-inch TRS Combi Inputs
• Up to 48 dB of Clean Gain n Built-in Low Noise Phantom Power Supply
• Latency Free Monitoring Mix and Level Controls
• Independent Channel Gain Controls
• 1/4-inch TRS Balanced Monitor and 1/8-inch Headphone Monitor Outputs
• Includes Audacity Recording & Production Software
• Flexible 3-way Power from USB, External Supply, or 9 Volt Battery
• Includes USB Cable – Everything Needed To Start Recording Today!

Triton Audio BigAmp In-Line Instrument Preamp

BigAmp is a small sized, high quality jfet instrument preamp which performs equally well on stage as it does in a studio environment. It has a 1/4" female jack input which accepts signals ranging from the pickup of an electric bass or (acoustic) guitar to the line level output of a synthesizer. BigAmp's low noise class A amplifier provides high end amplification and converts the instrument output signal from unbalanced to balanced.

Bring your own high quality DI everywhere. No hassle with batteries because BigAmp's circuit is powered with 24v/48v phantom power. The small form factor combined with the ease of use makes that every touring musician should have a BigAmp in their case or gigbag.

Specifications:

• Low noise Class A JFet amplifier 
• 3db amplification 
• Balanced output 
• Lots of headroom 
• 24-48 v phantom power 
• Input impedance: 1MOhm

Triton Audio FetHead Broadcast: Preamp for live and broadcast applications

FetHead Broadcast was developed in conjunction with Dutch Broadcasting and facility service company United4all. It is based on technology used in our product FetHead. General layout consists of a high quality jfet gain stage, followed by a low impedance output buffer to enable output drive to long cables (up to 3000 meters). FetHead Broadcast offers 25dB's of low noise, high quality amplification which can be applied to either dynamic or condenser microphones as phantom power is transferred to the microphone. During live performances microphone signals often travel through long cables. If they travel adjacent to power lines or dimmed light cables, audible signal interference into the microphone cable often occurs usually resulting in a polluted signal. The FetHead Broadcast prevents this from happening by amplifying the signal before the cable. It improves the signal to noise ratio and offers a high quality signal to the mixer. Another advantage is that the FetHead Broadcast does not need main supplies or batteries.

Specifications:

• For all types of microphones 
• 25dB amplification 
• Low noise Class A JFet amplifier 
• Internal supply power filtering 
• Low impedance output buffer 
• High voltage protection 
• Reverse polarity protection 
• Shielded rugged enclosure 
• Requires 48V Phantom Power

Triton Audio FetHead Germanium: In-Line germanium microphone preamp

FetHead Germanium is a high quality, in-line microphone preamplifier. It provides a punchy and direct, ‘larger than life’ germanium sound for ribbon and dynamic microphones, adding classy Germanium harmonics. Sounding full and rich it is reminiscent of much higher priced vintage gear, making FetHead Ge's desirable coloration a really great addition to (Interface) preamps which sound rather neutral.

Germanium flavour
Germanium transistors were widely used in earliest transistor designs by Neve, EMI, Telefunken, and Fairchild, and have developed a reputation for a decidedly vintage mojo that remains sought after today. We created a novel hybrid circuit that consists of low noise JFets and a hand-selected ‘new old stock’ germanium transistor to take full advantage of the "Germanium" sound and at the same time achieve the same sonic quality we are known for.

Protects the microphone
Some ribbon microphone do not tolerate phantom power. FetHead Germanium circuit uses 48v phantom power but shields it from the microphone, your microphone is protected.

Specifications

• For Ribbon & Dynamic microphones 
• Hybrid JFet/Germanium amplifier 
• 29dB amplification 
• Lifetime warranty new old stock Ge transistor 
• Shielded rugged enclosure 
• Requires 48V Phantom Power

Triton Audio Fethead: Boost your microphone

FetHead is a low-noise, high quality, in-line microphone preamplifier. It provides improved sound for Ribbon and Dynamic microphones. The electronics are housed in a robust metal chassis with a balanced 3-pole female XLR input and a balanced 3-pole male XLR output, rugged enough for use at home, in the studio or on tour.

Which microphones benefit

In short, we noticed an improvement on all tested microphones. A Shure SM57 for instance, sounds more responsive over a broader frequency range. When mated with a high-end dynamic microphone like a Sennheiser MD441, or Shure SM7 FetHead really shines. Ribbon microphones benefit greatly too because of a much better impedance match, which lessens the load on the microphone, giving it better transient response characteristics. FetHeads high quality, low noise signal amplification also extends the usable range of a ribbon microphone, making it more suitable for recording softer passages.

Protects the microphone

Some ribbon microphones do not tolerate phantom power. FetHead's circuit uses 48v phantom power but shields it from the microphone, the microphone is protected.

Specifications

• For Ribbon & Dynamic microphones 
• 27dB amplification (@3 KOhm load) 
• Ultra low noise Class A JFet amplifier 
• 4 matched jFets 
• Z-in 22KOhm 
• Your mic performs under "no-load" condition 
• Frequency response 10hz-100khz (+/- 1dB) 
• Shielded rugged enclosure 
• Requires 24-48V Phantom Power 

• For condenser microphones 
• 18dB amplification (@3k Ohm load) 
• Ultra low noise Class A JFet amplifier 
• 4 matched jFets 
• Double Single-Ended Amplifier Topology 
• Balanced Output with High Headroom 
• Shielded rugged enclosure 
• Requires 48V Phantom Power