I have this compressor and I love using it in my studio. I use it on tracking Vocals, Bass, Drums bus, and my Mix bus. 😁 This is a great low cost Compressor. that is versatile.
Great to hear! The VLA II is a versatile compressor that outperforms its price imo. I've always felt that it isn't sitting in the racks in many high-end pro studios beside far more expensive gear without a reason...and I've found it great to have around the studio too. Cheers!
When certain studio's offer lower hourly rates it's a fact they don't use their high-end equipment. As long as the customer doesn't notice the difference the top shelf gear is saved for their best repeat clientele.@@askdrtk
there is a kind of hidden feature of this box. If you basically set the compressor so there is no gain reduction happening, then ram a ton of signal into it, you get the tube fattening that gives you rounded peaks and tons of loudness. and its surprisingly very transparent! Try it, it works. The thing with these is being affordable is that sometimes your left/right balance is not even. I replaced the tubes and it is still a little off. And strangely the VU meters are way off on one side. Just have to look at the recorded waveform as you are adjusting and you are good.
Sorry, just seeing this now. That's one thing about analog gear, it often adds character by just running signal through it. Great tip on using gain to drive the tubes. You may be able to address the channel balance issue using the output gain pot next to each tube on the PCB. Even with a matched set of tubes, levels can be off a bit. If you haven't already, it may also be worth trying to adjust the VU meter calibration pots as well...worth a try anyways. Cheers!
These are everywhere for a reason...not "glamorous" big-name expensive gear, not a huge marketing budget, but they deliver on sound which is what matters in the end imo... Cheers!
I agree! I was really impressed! Are these the stock tubes being used in this video? If so, that’s a great sound out of the box. Probably going to pick one of these up based off this video alone. Thank you!
Speaking on the vocals- they sound great!! Smooth clean! Question - what other effects were used in this demo? Surely it was not just the Pro VLA II. You did not state what other effects were used?
Very few who have them sell them and there are plenty around. Used units do not come up often on Reverb and other sites which is not everything, but it is a good sign of what users generally think about them. Cheers!
Thanks, in this video applying compression to the mix bus is more about gluing the mix together as opposed to a mastering application where we are trying to achieve an overall perceived loudness among other things such as tone and dynamic range control. This is not to say you wouldn't use full or "single" band compression such as the VLA while mastering, it is just that the end goal in a master is different than in a final mix. I always mix into some hardware compression (sparing amount) and then make necessary changes to the full mix in the end. Some prefer to add mix bus compression after mixing, it just comes down to what work flow everyone prefers.
Excellent video. Thanks for sharing. Always enjoy your content. I just got one of these. Newbie question. If I was doing a vocal and I use an Apollo Twin USB that has 2 inputs for my main interface in pro tools, what would be best way to route this into the Apollo? Also, if I was using this as a mix bus, would I just run both outputs into each channel and then back to the apollo? Sorry for the dumb question. Keep up the great work
This WA Bus Comp is a VCA based compressor with the potential for faster attack and release, this is great for controlling sources with sharp transients. The VLA uses a vactrol optical circuit that has a smoother attack and release which can b more transparent on less dynamic sources. For mix bus use, both can work at low compression levels where excessive transients have already been addressed at the track/bus level in the mix. The VLA does also impart some additional saturation to the source compared to the Warm without the transformer engaged. With the transformer engaged, the Warm imparts its own coloration to the sound that is different from the VLA, but both can be pleasing on the right program material. I hope this helps out!
Being in Canada, a lot of gear tends to be more expensive when purchased here as compared to currency exchange from US, UK, and EU suppliers. ART is one of few exceptions where we get a great deal in Canada…
Do you need a preamp if your audio interface already comes with one? Example an SSL2+ or a UA Apollo Twin MKii? I have a rode NT2A going into a preamp Art studio V3 into a Yamaha steinberg interface. I have been debating into what to get to improve/switch sound. A preamp like this one, switching mic (Neuman 102) or getting a new interface.. What would you recommend doing ? By the way, great video!!!
I have a Neumann tlm 102 best investment I’ve made so far got a ART MPA II preamp coming in and I’m about to buy this compressor then I’m getting a Apollo twin MkII interface rn I have a VOLT 1
Useful video. I have an ART TPS II 2-channel Tube Microphone Preamp paired up with an analog mixer. Do I need this one for enhancing the vocal audio, especially in a live performance?
I have the vla 2 and the lindel 76 in my cart . I can get them both for $359.00 US . I'm manly tracking vocals any way you could tell me what u think is the best bang for the buck ?
Both sound good on vocals. The 76 has more grab and faster attack whereas the vla 2 is smoother and more transparent. While it can be nice to have the extra channel on the vla, for me it comes down to the genre. For vocals with more aggressive / faster transients (rock, metal...) the 76 is my go to where as for smoother vocals(RnB, HH, jazz...) I like the transparency of opto such as the vla. You will not go wrong with either, but if you mainly track one genre I hope this helps.
Glad you enjoyed it! There is considerable debate around tubes, but I generally use Electro-Harmonix tubes when it comes time for replacement. I find they are consistent and durable without being overly expensive.
I prefer this for mixing (also good for tracking) not because of audio quality but more due to the controls not being stepped for more accurate recall... For me this is more of a consideration for albums vs singles. Hope this helps out!
Just Curious...... 2 -Golden Age 3A's or this ART Pro VLA II.......... Mainly I'm looking for Drums - Vocals - Mix buss etc. Golden Age $1000 and the ART Pro VLA II for 349 US-$
Both are great options (that I use regularly on mixes and for recording) but I would give the edge to the VLA as I find it more flexible for a mixed use case. The VLA has enough adjustment to dial-in smooth sources, reasonably fast staccato transients, and everything in-between. Maybe a VLA and one Comp 3A…might provide some nice flexibility…sorry for the “gear escalation…” Cheers!
It's a shame because this device is beautiful and has a very good proposal, but this valve is not used for anything, it is defective, its ratio control is weak, this circuit was poorly designed, but I believe that in an MK3 version in the devices of Art Pro maybe they will do something else together, as they are beautiful and have a promising future, they just need to deliver more than what they offer to the consumer, I have the voice channel here, the MPA pro II, and I think it's cool, not good enough to say which are incredible
nice compressor!! have you changed tubes?have you changed tubes? I'm thinking of 2 options... Electro Harmonix 12AX7EH Tube or Genalex Gold Lion 12AT7 / ECC81 Do you have something better to offer?
Hey, sorry I'm just seeing this now. I haven't changed the tubes in my VLA yet, but I have been happy with the Electro Harmonix 7025EH I swapped for the stock tube in my VoiceChannel. I haven't tried one, but the Mullard 12AX7 reissue gets good reviews for microphonics, noise, and detail/dynamics.
Unfortunately not on the Pro VLA…the one feature I would have liked to see on this unit. If I find I’m getting too much compression from lows I will sometimes run this in parallel blending with dry signal using Pipeline XT in Studio One. Not the same as side chain, but I do find it can be effective. Cheers!
Both have very different compression characteristics. Being Vactrol/Optical, the VLA won't have as much grab as the 166XL, but the VLA will be smoother for sources like vocals, acoustic guitar... You could do some nice serial compression on vocals with the 166XL to grab extreme transients and then the VLA to smooth things out transparently. I would hang on the 166XL and when the timing makes sense adding an opto like the VLA would give you a lot of options. Hope this helps out!
Small boost at 80Hz, cut at 300Hz, very small boost at 3.5k, and parallel through an Aphex 204 Big Bottom only at about 80Hz blended in about 25%. Cheers!
Hello all🖐 I have a novice question to ask. I've acquired both a MPA and a VLA. Any suggestions as to which to use in certain applications. Thanks in advance 🙂👍
You have a number of options since both a two channel units. You could use the MPA for recording with either microphones of instruments. As an option, you could connect the VLA inputs up to the MPA outputs and then record with compression. The VLA works well on vocals, bass, and acoustic guitar to name a few. If your audio interface has a spare pair of inputs and outputs you could also use the VLA on its own as and insert in your DAW for bus compression while mixing mixing. There are many other possibilities, it really depends on what sort of IO you have available on your audio interface and also what you are wanting to do...record, mix, etc. I hope this gives you a few ideas...enjoy your new gear! Cheers!
@@askdrtk thanks. I saw that in your show notes. thanks! I'm surprised that this is royalty free music. that tune and 'you' both sound like country hits. did you produce?
@@askdrtk also...love your channel. I'm an audio nerd and your videos are helping me understand a technical side to audio I never really learned. I was on the talent side and always had production directors dialing in the processing. your explanations are awesome. last question....have you every done anything regarding the symetrix 528e? I have a ton pf processors (wheatsone m1, avalon, dbx 286, etc) but keep coming back to this 30 year old preamp that we used in rock radio back in the 80s and 90s. what are your thoughts?
Glad you're enjoying my channel! As the lines between "talent" and "producer / engineer" are overlapping more all the time, one of my goals for the channel is to make the whole process more accessible regardless of which side everyone is coming from. I love gear and the whole studio / live processes and I hope viewers enjoy checking out gear and talking about recording and production as much as I do! For the channel, even though I would like to feature artists and production teams, I generally stick to royalty free music without attribution (including my own) as TH-cam DRM can be complicated to navigate (I'm not a big channel with staff to handle all the issues that come up...and they do come up, even with artist / label permission and royalty free content.) I haven't used a 528e in years (80s) but it is fantastic...so good to dial in a nice thick broadcast sound. In many ways, just the right amount of flexibility (eq) combined with easy-to-use compression and de-essing. With all the options available, it is easy to start cycling through different preamps and channel strips, but I've always recommended that when you find something that fits your voice there is little need to change. The 528e are getting up in years, but in my opinion are still worth servicing... In the end, it's about the sound not what gear was used...hang on to that 528e...Cheers!
@@askdrtk one more question. I have a new Mackie DLZ creator mixer (similar to Rodecaster Pro) it's a mixer/interface combo. It keeps 'disconnecting' from my computer. It's often a brief disconnect but sometimes requires a reboot. i'm using a high quality anker usb cable and am running the most recent firmware. i've been trouble shooting all week. am about to refer to your video that addresses tweaks to make to Windows for audio but wondered if you had any ideas.
Not really sure why you would demo an already compressed and/or mixed vocal, no way of knowing what it’s actually doing. Respect for uploading however 🤘
@Tav_cr 💯 but also just using your hands in general creates a connection that can't be replaces. But yeah I totally agree with what you mean. Especially from a pure GAS perspective haha
Actually the ART Pro-VLA II Two Channel Vactrol-based Compressor does a far way better job than using any high end or stock plugging, a example would be: would you like a far better organic product , rather than a synthetic non value one that’s not always consistent In this case that’s the equivalent of what am trying to tell you that the ART Pro-VLA II Two Channel Vactrol-based Compressor is way better man
I have this compressor and I love using it in my studio. I use it on tracking Vocals, Bass, Drums bus, and my Mix bus. 😁 This is a great low cost Compressor. that is versatile.
Great to hear! The VLA II is a versatile compressor that outperforms its price imo. I've always felt that it isn't sitting in the racks in many high-end pro studios beside far more expensive gear without a reason...and I've found it great to have around the studio too. Cheers!
When certain studio's offer lower hourly rates it's a fact they don't use their high-end equipment. As long as the customer doesn't notice the difference the top shelf gear is saved for their best repeat clientele.@@askdrtk
there is a kind of hidden feature of this box. If you basically set the compressor so there is no gain reduction happening, then ram a ton of signal into it, you get the tube fattening that gives you rounded peaks and tons of loudness. and its surprisingly very transparent! Try it, it works. The thing with these is being affordable is that sometimes your left/right balance is not even. I replaced the tubes and it is still a little off. And strangely the VU meters are way off on one side. Just have to look at the recorded waveform as you are adjusting and you are good.
Sorry, just seeing this now. That's one thing about analog gear, it often adds character by just running signal through it. Great tip on using gain to drive the tubes. You may be able to address the channel balance issue using the output gain pot next to each tube on the PCB. Even with a matched set of tubes, levels can be off a bit. If you haven't already, it may also be worth trying to adjust the VU meter calibration pots as well...worth a try anyways. Cheers!
There's adjustment built in to the unit to even out the levels between channels.... If I remember correctly
Yes, there is a small adjustment screw for each meter inside the box close to the tube so you can fine tune the meters so they are equal. 🙂
@@jamieremus277I was going to say this. Super easy!
Best TH-cam channel around. Thanks for the videos.
I agree.
Why has it doubled the price in less than year?
Great to see you again very good item and good price as you mentión 👍
Damn that thing on the Mixbus is Beautiful!!!
These are everywhere for a reason...not "glamorous" big-name expensive gear, not a huge marketing budget, but they deliver on sound which is what matters in the end imo... Cheers!
I agree! I was really impressed! Are these the stock tubes being used in this video? If so, that’s a great sound out of the box. Probably going to pick one of these up based off this video alone. Thank you!
Speaking on the vocals- they sound great!! Smooth clean!
Question - what other effects were used in this demo? Surely it was not just the Pro VLA II.
You did not state what other effects were used?
great demo. thanks!
Considering getting after a friend recommended it, budget friendly with good sound
Love the song too
Very few who have them sell them and there are plenty around. Used units do not come up often on Reverb and other sites which is not everything, but it is a good sign of what users generally think about them. Cheers!
@@askdrtk really appreciate it, it arrives tomorrow
Excellent video. When you applied it to the mix bus towards the end of the video, is that considered one of the things in a mastering process?
Thanks, in this video applying compression to the mix bus is more about gluing the mix together as opposed to a mastering application where we are trying to achieve an overall perceived loudness among other things such as tone and dynamic range control. This is not to say you wouldn't use full or "single" band compression such as the VLA while mastering, it is just that the end goal in a master is different than in a final mix. I always mix into some hardware compression (sparing amount) and then make necessary changes to the full mix in the end. Some prefer to add mix bus compression after mixing, it just comes down to what work flow everyone prefers.
Excellent video. Thanks for sharing. Always enjoy your content. I just got one of these. Newbie question. If I was doing a vocal and I use an Apollo Twin USB that has 2 inputs for my main interface in pro tools, what would be best way to route this into the Apollo? Also, if I was using this as a mix bus, would I just run both outputs into each channel and then back to the apollo? Sorry for the dumb question. Keep up the great work
How does this compare with the Warm Audio Bus Compressor?
This WA Bus Comp is a VCA based compressor with the potential for faster attack and release, this is great for controlling sources with sharp transients. The VLA uses a vactrol optical circuit that has a smoother attack and release which can b more transparent on less dynamic sources. For mix bus use, both can work at low compression levels where excessive transients have already been addressed at the track/bus level in the mix. The VLA does also impart some additional saturation to the source compared to the Warm without the transformer engaged. With the transformer engaged, the Warm imparts its own coloration to the sound that is different from the VLA, but both can be pleasing on the right program material. I hope this helps out!
The price here in the UK at the moment is between £450 and £500. So certainly not cheap
Being in Canada, a lot of gear tends to be more expensive when purchased here as compared to currency exchange from US, UK, and EU suppliers. ART is one of few exceptions where we get a great deal in Canada…
Do you need a preamp if your audio interface already comes with one? Example an SSL2+ or a UA Apollo Twin MKii?
I have a rode NT2A going into a preamp Art studio V3 into a Yamaha steinberg interface. I have been debating into what to get to improve/switch sound. A preamp like this one, switching mic (Neuman 102) or getting a new interface..
What would you recommend doing ?
By the way, great video!!!
I have a Neumann tlm 102 best investment I’ve made so far got a ART MPA II preamp coming in and I’m about to buy this compressor then I’m getting a Apollo twin MkII interface rn I have a VOLT 1
Useful video. I have an ART TPS II 2-channel Tube Microphone Preamp paired up with an analog mixer. Do I need this one for enhancing the vocal audio, especially in a live performance?
I have the vla 2 and the lindel 76 in my cart . I can get them both for $359.00 US . I'm manly tracking vocals any way you could tell me what u think is the best bang for the buck ?
Both sound good on vocals. The 76 has more grab and faster attack whereas the vla 2 is smoother and more transparent. While it can be nice to have the extra channel on the vla, for me it comes down to the genre. For vocals with more aggressive / faster transients (rock, metal...) the 76 is my go to where as for smoother vocals(RnB, HH, jazz...) I like the transparency of opto such as the vla. You will not go wrong with either, but if you mainly track one genre I hope this helps.
This was uploaded 9 months ago but was it for then? Was it really _that_ cheap then cuz it's $430 now.
😮💨
If someone can guide me, Art VLA 2 vs Art pro channel 2 which is the best for mixbuss ?
Both are good choices and get 2 bus duty, but the VLA sounds smoother and more transparent on sharp transients to my ears..
What are the best tubes for upgrade the pro vla ii? (Great Video)
Glad you enjoyed it! There is considerable debate around tubes, but I generally use Electro-Harmonix tubes when it comes time for replacement. I find they are consistent and durable without being overly expensive.
@@askdrtk thaks for the support BIG OG !
That's what I paid for mine at Long and McQuade's music.
Fantastic! I haven't seen a deal like that in some time..
So you would recommend this for mastering? Or would you keep it as a stereo mix bus for instruments or bus groups?
I prefer this for mixing (also good for tracking) not because of audio quality but more due to the controls not being stepped for more accurate recall... For me this is more of a consideration for albums vs singles. Hope this helps out!
It used to be much cheaper until this unit was all over TH-cam and got the exposure
Just Curious...... 2 -Golden Age 3A's or this ART Pro VLA II.......... Mainly I'm looking for Drums - Vocals - Mix buss etc. Golden Age $1000 and the ART Pro VLA II for 349 US-$
Both are great options (that I use regularly on mixes and for recording) but I would give the edge to the VLA as I find it more flexible for a mixed use case. The VLA has enough adjustment to dial-in smooth sources, reasonably fast staccato transients, and everything in-between. Maybe a VLA and one Comp 3A…might provide some nice flexibility…sorry for the “gear escalation…” Cheers!
It's a shame because this device is beautiful and has a very good proposal, but this valve is not used for anything, it is defective, its ratio control is weak, this circuit was poorly designed, but I believe that in an MK3 version in the devices of Art Pro maybe they will do something else together, as they are beautiful and have a promising future, they just need to deliver more than what they offer to the consumer, I have the voice channel here, the MPA pro II, and I think it's cool, not good enough to say which are incredible
would like a review on the ART TransY FET compressor.
Review is on the way...I use it on well over half of the mixes I do, particularly background vocals and guitar. Cheers!
@@askdrtk I'm getting ready to pull the trigger on thie TransY comp. Still trying to find REAL reviews on it and its purpose in the studio.
Recorded, edited, and going live the week of August 7th... Cheers!
@@askdrtk AWESOME! Thank for ALL you do!!!
nice compressor!! have you changed tubes?have you changed tubes? I'm thinking of 2 options... Electro Harmonix 12AX7EH Tube or Genalex Gold Lion 12AT7 / ECC81
Do you have something better to offer?
Hey, sorry I'm just seeing this now. I haven't changed the tubes in my VLA yet, but I have been happy with the Electro Harmonix 7025EH I swapped for the stock tube in my VoiceChannel. I haven't tried one, but the Mullard 12AX7 reissue gets good reviews for microphonics, noise, and detail/dynamics.
@@askdrtk me too mullard ordered and am waiting for them to arrive..!!yes i think they have good reviews..!thanks!!
Fantastic!! Let me know what you think once you try them out!
@@askdrtk Of course I will send it to you!
yeah you convinced me thanks 😂
Lol…once you have one of these in the studio they have a sneaky way of finding a place in mixes more often than not… Cheers!
Is there away to sidechain lows so there not effected using this compressor?
Unfortunately not on the Pro VLA…the one feature I would have liked to see on this unit. If I find I’m getting too much compression from lows I will sometimes run this in parallel blending with dry signal using Pipeline XT in Studio One. Not the same as side chain, but I do find it can be effective. Cheers!
i have DBX 166XL which works fantastic, what would you advice , sell and buy art tube ?
Both have very different compression characteristics. Being Vactrol/Optical, the VLA won't have as much grab as the 166XL, but the VLA will be smoother for sources like vocals, acoustic guitar... You could do some nice serial compression on vocals with the 166XL to grab extreme transients and then the VLA to smooth things out transparently. I would hang on the 166XL and when the timing makes sense adding an opto like the VLA would give you a lot of options. Hope this helps out!
@@askdrtk thanks a lot.
Would have been nice to hear the vocals without boatloads of reverb and delay.
damn how the hell did you get such a fat kick sound for that demo?
Small boost at 80Hz, cut at 300Hz, very small boost at 3.5k, and parallel through an Aphex 204 Big Bottom only at about 80Hz blended in about 25%. Cheers!
Hello all🖐 I have a novice question to ask. I've acquired both a MPA and a VLA. Any suggestions as to which to use in certain applications. Thanks in advance 🙂👍
You have a number of options since both a two channel units. You could use the MPA for recording with either microphones of instruments. As an option, you could connect the VLA inputs up to the MPA outputs and then record with compression. The VLA works well on vocals, bass, and acoustic guitar to name a few. If your audio interface has a spare pair of inputs and outputs you could also use the VLA on its own as and insert in your DAW for bus compression while mixing mixing. There are many other possibilities, it really depends on what sort of IO you have available on your audio interface and also what you are wanting to do...record, mix, etc. I hope this gives you a few ideas...enjoy your new gear! Cheers!
Who is the female artist? Love the tune!
The song is Waiting Here for You by Velvethead featuring Cara Dee.
@@askdrtk thanks. I saw that in your show notes. thanks! I'm surprised that this is royalty free music. that tune and 'you' both sound like country hits. did you produce?
@@askdrtk also...love your channel. I'm an audio nerd and your videos are helping me understand a technical side to audio I never really learned. I was on the talent side and always had production directors dialing in the processing. your explanations are awesome. last question....have you every done anything regarding the symetrix 528e? I have a ton pf processors (wheatsone m1, avalon, dbx 286, etc) but keep coming back to this 30 year old preamp that we used in rock radio back in the 80s and 90s. what are your thoughts?
Glad you're enjoying my channel! As the lines between "talent" and "producer / engineer" are overlapping more all the time, one of my goals for the channel is to make the whole process more accessible regardless of which side everyone is coming from. I love gear and the whole studio / live processes and I hope viewers enjoy checking out gear and talking about recording and production as much as I do!
For the channel, even though I would like to feature artists and production teams, I generally stick to royalty free music without attribution (including my own) as TH-cam DRM can be complicated to navigate (I'm not a big channel with staff to handle all the issues that come up...and they do come up, even with artist / label permission and royalty free content.)
I haven't used a 528e in years (80s) but it is fantastic...so good to dial in a nice thick broadcast sound. In many ways, just the right amount of flexibility (eq) combined with easy-to-use compression and de-essing. With all the options available, it is easy to start cycling through different preamps and channel strips, but I've always recommended that when you find something that fits your voice there is little need to change. The 528e are getting up in years, but in my opinion are still worth servicing... In the end, it's about the sound not what gear was used...hang on to that 528e...Cheers!
@@askdrtk one more question. I have a new Mackie DLZ creator mixer (similar to Rodecaster Pro) it's a mixer/interface combo. It keeps 'disconnecting' from my computer. It's often a brief disconnect but sometimes requires a reboot. i'm using a high quality anker usb cable and am running the most recent firmware. i've been trouble shooting all week. am about to refer to your video that addresses tweaks to make to Windows for audio but wondered if you had any ideas.
Could this compressor be used as a glue compressor and or a sidechaining compressor
Not really sure why you would demo an already compressed and/or mixed vocal, no way of knowing what it’s actually doing. Respect for uploading however 🤘
I have an old Art Pro Channel Strip collecting dust somewhere. I'm afraid some plugins just do a better job than cheap hardware.
Noticed. Thank you...
The tactile hands on approach can't be replaced by a plug in.
And yes I have plenty of plug-ins.
Using your hands creates a different result.
@@ultrajayme Using your hands ON HIGH END HARDWARE, creates a different result.😉
@Tav_cr 💯 but also just using your hands in general creates a connection that can't be replaces. But yeah I totally agree with what you mean. Especially from a pure GAS perspective haha
Actually the ART Pro-VLA II Two Channel Vactrol-based Compressor does a far way better job than using any high end or stock plugging, a example would be: would you like a far better organic product , rather than a synthetic non value one that’s not always consistent
In this case that’s the equivalent of what am trying to tell you that the ART Pro-VLA II Two Channel Vactrol-based Compressor is way better man