So input 1 going out into input 2, right? :)

@@theoneandonlybright6145 Yep.

this sounds genius cant lie.

🤔 I didn't even think to do this. thank you 💡

Just ordered a revive audio modified vla2. This idea never crossed my mind. Thx

Just out of pure interest. Do you remember how you compressed it? What ratio, attack/release, etc. Kind regards

Pretty sure that's placebo. Bypass on the VLA is a direct passthrough from input to output. Open it up and look at the board, the bypass buttons are big switches that short the input directly to output. It's no different than a few inches of cable. You're hearing the placebo, 100%

Not in bypass but with no gain reduction. A little input from your DAW fattens the signal just running through it.

Do you still use it? Looking to get it to add to my Gap COMP 3A and ART PRO MPA II setup. For Glue and Depth mainly.

Sure, every day. It's in my chain on each recording. Gain reduction up to -4db, VU around 0, ratio around 2.5:1 to 4:1 and you are set!@@TzoHill

p.s. each track on my youtube channel was tracked with the ART VLA II in the chain.@@TzoHill

@@LarsTaylorMusic u legend, thank you.

☺@@TzoHill

Is it possible to this with the mpa?

H O P J E S V L A

I love my MPA II. Best bang for your buck out there.

To what type of tubes?

You wouldn’t happen to know where I can find info for mods do you? I want to get into modding my gear but there’s not really any info on how to go about doing so out there. Any help is appreciated!

@@htb123times if you've never soldered before try out a DIY RE kit. if you have, just get to know the parts you're going to be changing via forums - its very mod dependent finding info

I always thought the VLA was full voltage like the MPA Gold and MPA II.

@@JimijaymesProductions the VLAII is full voltage. Technically it is slightly tuned down within it's own circuit. When you look at it its clear that the designers toned down the voltage just a bit, likely to make harmonics easier to come by, but it is by no means a starved plate. But that's not really bad tbh. Everybody's favorite Culture Vulture is technically speaking, a design based on starving the tube with full user control. Starved plate can be just as good as full voltage on certain things. It just matters how it was designed.

@@ryanpwm Ahh so the II is but the original isn't, yeah I have used plenty of starved plate designs that work for what they are designed for such as the Maxon 880 Tube Overdrive (its a guitar pedal) which is starved plate but yet changing tubes makes a huge difference because it changes the gain stage feeding the opamp which does most of the clipping, so no it doesn't operate like a tube amp but it sounds very much like a tube amp. I think I will eventually get a VLAII I am pretty happy with plugins atm but if it adds any of the vibe the MPA II has but with compression that would be cool, otherwise maybe the Pro Channel as it has insert points.

@@ryanpwm - "Starved plate" is a term I keep seeing people throw around without actually knowing any facts. I've seen good outboard tube equipment and brands tarnished by what what is essentially starved plate gossip. People will just start saying 'starved plate' it in chats, and it gets repeated, even if it is not a fact...

I also use the MPA Gold! Excellent as an input device of course, but I mainly use it as a mixbus sweetener, to add that nice analog feeling to a digital track. It does something very beautiful to the low end.

what is the new bulb that you use in yours please?

@@raelmickaelbeneteau1125 telefunken are very good

That's more likely your using mediocre converters cause that's what I thought when my interface was a Focusrite 18i20. Once I switched to an RME that changed and the lowend is punchier now. If you even listen to this video you don't hear any loss lowend.

@@1972OGTony can attest to that. I've used a motu ultralite and focusrite before getting a modified apogee symphony. I wonder if it's consistent that low end converters have trouble with low end punch. You can see it directly on a frequency analyzer sweep. Only low end converters I know that add punch are Akai's. And that's just bit distortion.

@@1972OGTony *you’re

when will you show us your modification video??

Is it good for vocals? And bass?

@@CraftWon yes! Great for both.

Just got mine and noticed that the signal from channel 2 can be heard on channel 1, it’s not loud but you can hear it when you solo that channel In the daw. i don’t have stereo link on when this happens. Is this normal behavior?

@@AURAmusik. double check all your panning.

here the art is twice the rnc and 150 more than the rnla

I used to run a similar setup with an Onyx 32-4 and then an A&H GL Series 8 Bus with full usage of the matrix. It's great to have, but means also a helluva lot more maintenance and need for structuring. Alone the cabling across 4 full sized patchbays, outboard FX and compression and 16 I/O from the DAW weighed about 70 kg. Nowadays I'd run a downsized hybrid setup with a smaller form factor console from A&H or Soundcraft and an additional even smaller headphone mixer.

@@otobotrecords Then you know! I hear you on the "easier approach" available nowadays, I have a few setups, its mostly recall that dictates. But there's nothing quite like spreading your song across the desk, balancing on faders and pans, then EQing tracks against each other with both hands, and no "latency", the Analog flowing through your fingers into your ears. The whole game has evolved. From 24-track 2-inch, into a desk with EQ and Outboard Dynamics, back to 2-track tape. Then DAT tape. Then SSL shoved recall and Dynamics into the board. Then Pro Tools replaced the Tape Machines. Then it all got so cheap and fast that you could kinda do it In The Box. But it wasn't the same. But now we could afford to build our own "Project Studios", no more tape (okay maybe Adat or DA-88s), Live Boards or "Small Format Consoles", then print back in. Somebody started calling it Hybrid. Now with the computers getting faster, and replacing Drum Machines, Sequencers, and Synths (VST VIs) and companies getting better and better at emulation plugins of Analog gear, one day, somebody somewhere, completed the entire process inside of a Mac. And immediately Gear Sluts became like holocaust deniers and said it wasn't "real" whatever the fuck that's supposed to mean. Fast Forward to 2020, and SSL, Neve (both of them), API, Audient, Trident, etc. all have Small Format Consoles, designed to be used in Small Hybrid Studios, and sound better than their old ones for the price of a small car rather than a house. At the same time, In The Box mixing is so respectable now that Most music never leaves the computer, and many of the biggest mixers have switched entirely to digital and plugins. And, for me, the Console 1 system, combined with UAD integration and near zero latency, FEELS the most like mixing Analog so far. In some ways even better, for instance switching between 20 channels at a time in say a 100 channel mix, rather than sliding a chair all the way left or right, tweaking, then sliding back to listen. Now its 5 bank pushes, pick a channel, never leave the sweet spot, and every channel strip comes to my fingers. So why fuck with an Analog Desk, or hundreds-of-pounds and thousands-of-dollars of Mogami, and patchbays, and soldering, and all the other gear, when you could just load a DAW, add some plugins, and grab a mouse. I don't know. Maybe I'm just stupid. But I'm not alone.

@@otobotrecords BTW, never used the Onyx, but the Mackie 8-Bus changed the game back in the day. All the power of a real inline studio Console. But then I heard the Soundcraft Ghost, and instantly fell in love. It was like having a girlfriend, and everything is going fine, but then you meet HER, and everything changes. She's down for anything and can do things you never even thought about. She's got that sexy British accent that makes your girlfriend sound so plain and now annoying all the sudden.

@@otobotrecords Annnndddd ....to me, the Allen & Heath GLs were.... logical...and flexible, I knew a couple of dudes that had em, I really liked the stereo channels rather than using two of my 32, but I didn't like that it wasn't inline, and you couldn't split the EQs. (Also, both roll off at 100 which is limiting). But the key difference to me, once you laid everything out across the board, set your routing, got your levels and pans into a solid static mix where you could hear "the song". That's when I engage the EQs, and the real difference between all consoles reveals itself. How do the manipulate the sound? What of their Own sound gets added to the track in the process? In my mind, the Allen & Heath EQs sounded much better than the Mackie's. But it sounded like a dude. A dude's mixer for dude music, like rock etc. The Soundcraft EQs felt like poor man's Neves. Voluptuous, soft, round, thick, smooth. Getting a kick, snare, and a bass to play together was like a menage a troix. Everything just feels right. In contrast, mixing in the box can feel like having sex in an exam room with all the lights on.

So want to see this

Preamp?

nekkerspoel

Ik zal dat ook doen

The pro vla 2 is nice, but for distortion the pro mpa 2 is much better. I've owned both and the mpa got used on almost everything I recorded externally. I also switched the tubes in both of them for vintage Telefunken, Philips Miniwatt etc and the sound of the tubes in the vla is subtle, but in the mpa it's significant. The mpa has high voltage rails while the vla is cheap starved plate. (Although the mpa can switch to starved if you want, but it sounds boring in comparison). Vla 4/5, mpa 5/5 imo

@@ozzy3ml Awesome, thanks for the insight!

A Maeland l

If that’s the ART tps I got one and yeah it is pretty bad ass esp for the price

your song 😶