ART Pro VLA III - Dynamics processor

• 2-channel microphone preamplifier
• 2 HU rack format
• Class-A FET microphone preamplifier
• selectable 12AT7 tube voicing
• selectable solid-state voicing
• Voice switch
• Character switch
• variable microphone impedance range
• variable low-cut filter
• XLR microphone inputs
• 1/4-inch instrument inputs
• 20 dB boost
• phase reverse
• 48 V phantom power
• analog VU meters
• balanced XLR outputs
• balanced 1/4-inch outputs
• switchable between +4 dBu and -10 dBV
• universal internal power supply
• maximum gain 70 dB
• maximum output level +27 dBu
• Input impedance XLR 600 Ohm to 80 kOhm
• Input impedance instrument 1 MOhm

Two-channel opto-compressor with tube character and flexible voicing

The ART Pro Audio Pro VLA III is a 2-channel opto-compressor in rack format that combines classic analog dynamics processing with modern flexibility. As the direct successor to one of the best-known ART compressors, the third version remains true to the proven concept of optical compression, genuine 12AT7 tube and musical control behavior, but expands the range of functions specifically for current studio workflows. hether for smoothing individual tracks, compressing vocals, taming dynamic instruments or as a gentle bus compressor for more cohesion in Mix - the Pro VLA III is designed for musical, unobtrusive compression.

The Pro VLA III works with an optical compression circuit that is known for its rather soft, musical and organic control behavior. This is exactly what makes it interesting for sources where compression should help noticeably without killing the performance. Voices, basses, guitars, synth pads or even complete subgroups benefit particularly well from this type of dynamic processing.

Thanks to the dual-mono mode or the coupled stereo mode, the versatile compressor can be used for individual signals as well as on stereo sums or busses.

Voice switch for tube or solid state

New in the third Generation version is the voice switch, which allows you to choose between a warm tube signal path and a clean solid-state signal path. This allows you to better adapt the character of the compressor to the source material. For vocals, Bass or bus compression, the tube mode can provide more warmth and density, while the solid-state mode is more direct and controlled.

Extended ratio range for finer compression

Another new feature is the extended ratio range down to 1.25:1, which is particularly interesting for subtle interventions, for example on stereo sums or in the mastering area. This means that the Pro VLA III is not only able to make a significant impact, but can also work very finely and musically when just a hint of control or glue is required.

More headroom, less noise, better stereo symmetry

Compared to its predecessors, the new version offers more headroom, less background noise and improved channel symmetry in stereo link mode. This is particularly important for stereo busses and mix applications, as the left and right sides work together more cleanly and stably as a result.

Full control directly on the front

Each channel offers variable controls for threshold, ratio, attack, Release and output, as well as a separate bypass for each channel. The simultaneous metering of input, Output and gain reduction is also particularly practical, allowing you to see directly at any time what is happening in terms of sound and dynamics.

This makes the Pro VLA III not only musical, but also pleasantly clear in everyday use.

The rear panel features balanced XLR and 6.3 mm jack inputs and outputs. It is also possible to switch between +4 dBu and -10 dBV, which facilitates integration into different studio or project studio setups. The universal internal power supply supports worldwide operation and saves on external power supply solutions.

The Pro VLA III is not an aggressive special effects compressor, but rather a musical all-rounder with an analog character. This is precisely why it is suitable for many typical studio tasks: Making vocals denser, controlling Bass, capturing guitars, smoothing synths or gently tightening up a Mix. If you see compression as a musical tool rather than a brutal level control, this is a very attractive solution.

Input impedance
10 kΩ balanced / unbalanced

Maximum input level
+20 dBu in +4 dBu mode
+10 dBV in -10 dBV mode

Maximum output level
+20 dB max

Frequency response
10 Hz to 50 kHz, +0 / -1 dB

THD
below 0.005 percent in solid-state mode

Equivalent input noise
-99 dBu in +4 dBu mode, A-weighted
-107 dBu in -10 dBV mode, A-weighted

Power supply
100 to 240 V, 50/60 Hz, 25 W

Dimensions
8.9 x 48.3 x 23.4 cm

Weight
4.76 kg

The special appeal of an opto-compressor often lies less in its brutal control than in its ability to musically smooth and hold material together. This is precisely why devices like the Pro VLA III often work so well on vocals, basses or mix busses. They compress audibly without always sounding like a compressor. This often makes them more valuable in everyday studio work than particularly aggressive special solutions.