Studio Projects VTB-1 V Series Tube Microphone Preamplifier
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The first audition was with a Taylor acoustic guitar miked with an Oktava MC012 with a cardioid capsule running straight to the VTB-1 and into the DAW. No compression, no EQ. We recorded five passes, the first one at the SS setting. The first thing I noticed — even though we were riding the gain levels high — was that the VBT-1 itself was dead quiet. No hum, no hiss, no RF noises. As we made each guitar pass and cranked on the tube-drive knob, the presence of the tone increased. After we got to the passes that were near the end of the scale, things just started to sound dirty. Not unlike an amplifier that gives you about 75% of usable power before it starts to crap out. Nevertheless, Studio Projects leaves it up to you as to how much you want, and I'm sure there may be applications for the higher tube settings that I haven't yet investigated. Mark and I both agreed that the guitar sounded best around 9 to 12 o'clock.
Next up to bat were some vocal tracks cut with a Studio Projects C1 microphone. During the first pass on the SS setting, it was clearly apparent that this preamp is serious. We continued doing passes and cranking up the dial each time. Each pass was clearly adding more warmth to the signal. All the passes sounded stunning until we reached the last quarter of the dial. High noon seemed to be the sweet spot . [an error occurred while processing this directive] Number three in line was a Danelectro bass plugged directly into the DI on the front panel. We tracked the bass with no compression and no EQ. Even though the sound of the bass didn't sit as well as if it were compressed, it nevertheless accurately brought out the tone of the bass on the SS setting and really came to life at 9 o'clock. In all fairness, I'd have to say the explorations into the DI aren't conclusive as I'd need to set up the entire chain for the bass. But I heard nothing objectionable, and the bass came through with nice, full frequencies.
| VTB1 SPECIFICATIONS | |
| Maximum Gain: Mic In to Bal Out: 72dB (60dB preamp gain, 12dB output gain) Line In to Bal Out: 42dB (30dB preamp gain, 12dB output gain) Phase response (20-20kHz, either input): <+/- 15 degrees | Input Impedance: |
| Distortion/Noise(THD + Noise): -20dBu input-Mic; 0dBu input-Line Both measured at +15dBu output Mic or Line In to Bal or Line Out: <0.0015% (Blend set full CCW- no tube) Mic EIN: -128dBu (150 ohm source, 60dB gain) | Output Impedance: |
| Frequency Response (20-20kHz, ref 1kHz): -20dBu input, +15dBu output Mic In to Bal Out: +0 /-0.25 dB 0dBu input, +15dBu output Line In to Bal Out: +0 /-0.5 dB | |
Critical Listening
After recording all the different passes, we began listening back. We soloed tracks, listened to them in context with drums and other tracks recorded earlier and also A/B'ed the VTB-1 passes with the same parts recorded with the Radius 40.
Auditioning every pass was like bringing up a different quality. All of the first three passes sounded great — so it's more of a matter of deciding which setting would help the track best sit in the overall scheme of the recording. After selecting what we felt were the best passes on each take, we did some A/B'ing. I must say, as much as I like the Radius 40, the difference of the VTB-1 was surprising. In technical terms, the VTB-1 completely blew the doors off the Radius 40. I have been a long-time user of high-end and mid-range TL Audio products, and though I have never felt the mic pre on the Radius 40 is outstanding, as an overall tube-hybrid front-end for a project studio at $600 or under, it's hard to beat. After hearing the VTB-1, I've changed my mind.
The difference in sound between the units could be compared metaphorically to the the Radius 40 sounding like a drop of ink on a piece of paper with bleeding around the center spot. The VTB-1, on the other hand, sounds more like a defined, deliberate mark with little to no bleeding around the edges, even as the dial is cranked and the tube pushed harder. The sound of the VTB-1 is warm without sacrificing definition.
I have never heard a mic pre under $1,000 that sounds and acts like the VTB-1. The missing link in the price versus performance chain has arrived! Next time we'll be raising the bar by running the VTB-1 against Neve and API mic pres — two of the heaviest hitters in the audio industry. I've heard through the grapevine from some trusted industry sources that the VTB-1 recently took a little run with an Avalon 737 and didn't exactly lose the race.
Last Word
The heavens are surely smiling on Studio Projects and its rapidly growing user base. Considering the various new ventures the company has, including one with the legendary microphone-modification wizard, Stephen Paul, to bring Stephen's first microphone to market, there seems to be no end in sight for Studio Projects as they continue to smash through sonic performance barriers. If you're looking for your first external pre, you've found it. The question of whether to buy a solid state pre or a tube pre is history. If the pres you have didn't run you over a thousand dollars, you're not getting the sound that this unit delivers.
The VTB-1 is one of the most versatile mic preamps I have ever used, with a wide variety of sonic treatments, from transparent to beautiful warmth to bordering on tube insanity. If I was limited to recording an entire project with only one pre, I would seriously consider the VTB-1 for the task. The VTB-1 is certain to join the ranks as one of the most innovative audio products of the year.
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