For every widely recognized microphone, compressor, studio monitor, mic preamp, or any other studio tool, there are many more that will do an amazing job and yet seem to fly under the radar. When you’re searching for a new sonic solution for your studio, it can be hard to ignore the hype that the famous gear receives, and you may not realize how many other world-class options are actually available to you. Let’s look at some top-shelf studio gear that doesn’t get as much love and recognition as it deserves.
Acme Audio Opticom XLA-3 MKIII Tube Optical Limiter
Optical limiters and compressors are known for their smooth response and sonically transparent nature and are often a first choice for vocals and dynamic acoustic instruments. The Acme Audio Opticom XLA-3 MKIII sets itself apart from the pack with its unique triple optoelectronic circuit, which combines the best characteristics of three different compression curves. You have your choice of Fast, Normal, or Slow response curves, allowing you to be as gentle or aggressive as your audio calls for. And, with its all-tube circuitry and transformer-balanced input, the Opticom XLA-3 MKIII lends a rich, vibrant character to whatever you run through it.
- Learn more about the Acme Audio Opticom XLA-3 MKIII.
Grace Design m101 Microphone Preamp
When you need a truly transparent mic preamp with enough gain on tap to get the most out of low-output microphones, it’s hard to beat the Grace Design m101. Whatever you put in is what you get out — with virtually no noise even at high gain settings. A dedicated “ribbon” mode not only removes phantom power from the signal path to protect ribbon mics, but it also ups the available gain to get the most out of low-output dynamic mics of all types. It’s a flexible preamp and DI in the studio with three individual outputs (two balanced and one unbalanced) that make it easy to route your signal to multiple destinations if you need to. All in all, the m101 is a fantastic mic preamp that has been impressing studio engineers for well over a decade.
- Learn more about the Grace Design m101.
AEA RPQ2 2-channel Ribbon Microphone Preamp
Even if you only own a single ribbon mic, it’s worth having the AEA RPQ2 ribbon microphone preamp to bring out its best sonic qualities. Developed by the masters of ribbon mics at AEA, the RPQ2 FET preamp is optimized for low-output dynamic mics. With an astounding 81dB of gain available, and no phantom power to potentially damage sensitive mics, the RPQ2 delivers the full fidelity of your ribbons and dynamic broadcast mics with practically no noise whatsoever. AEA’s acclaimed CurveShaper circuit allows you to squeeze extra sweetness out of your mic’s top-end response. And, with front-panel DI inputs for instruments, rear-panel insert points for other processors, and switchable mic/line operation, the RPQ2 extends its studio versatility well beyond just ribbon mics.
- Learn more about the AEA RPQ2 rackmount preamp.
- Learn more about the AEA RPQ 500 Series module.
Audio-Technica AT5045 Large-diaphragm Condenser Mic
The Audio-Technica AT5045 stands out among large-diaphragm condenser mics with its nimble ability to fit in practically anywhere. Its slim design allows you to sneak it into positions where most large-diaphragm mics would be impractical, such as close-miking a snare drum. And, with its impressively high SPL handling and transformer-coupled output, you’re guaranteed to capture clear, detailed recordings with a touch of character. Combining superior sound quality with the ability to position practically anywhere, the Audio-Technica AT5045 is a valuable addition to any recording engineer’s mic collection. And you won’t find many microphones that sound better on acoustic guitar, which is why you’ll see it featured in so many of Sweetwater’s acoustic guitar videos.
- Learn more about the Audio-Technica AT5045.
- Watch Mitch Gallagher’s review of the Audio-Technica AT5045.
Drawmer 1973 Multiband FET Stereo Compressor
With two channels of 3-band FET compression, the Drawmer 1973 multiband FET stereo compressor is equally adept at tracking, mixing, and mastering applications. Drawmer earned their reputation for top-shelf audio circuitry, and the 1973 delivers the big, wide, and exciting sound quality that discerning audio engineers look for in a hardware compressor. Thanks to its multiband design, the 1973 is truly a compressor you can also use like an EQ to balance the tonality of any mix. And, with its dry/wet blend control, you can maintain the dynamic punch of your source audio. Best of all, the 1973’s streamlined control set is fast and simple to work with compared to many other multiband compressors.
- Learn more about the Drawmer 1973.
- Learn how to use multiband compression like a pro.
Black Lion Audio Micro Clock MKIII XB Master Clock
It’s easy to see why an external clock such as the Black Lion Audio Micro Clock MKIII XB wouldn’t get much hype and fanfare. A good word clock generator simply isn’t exciting — until you hear the improvement it can make in the sound quality of your audio interface or digital mixing board. The Micro Clock MKIII XB stands out among premium master clocks with its compact form factor, which has made it a huge hit with live sound engineers, noticeably improving the sound of practically any digital PA system. The benefits of a high-quality, precision clock like the Micro Clock MKIII XB imbue your digital converters with greater clarity, depth, punch, and enhanced imaging — once you hear it, you won’t want to go without.
- Learn more about the Black Lion Audio Micro Clock MKIII XB.
- Learn more about why clocking matters.
elysia nvelope Dual-channel Transient Shaper
The concept of transient shaping itself is arguably underrated — it enables you to shape sounds and to precisely balance them in a mix in a way you simply can’t achieve with compression and other dynamics controllers. The elysia nvelope is a hidden gem in this category. It’s adept at shaping individual tracks and stereo mixes alike with dual-mono or stereo-linked operation. Separate controls for attack and sustain give you the control you need to add snap to snare drums, to smooth out acoustic guitar picking, to beef up vocals, and much more. Bonus points are awarded for being available in both rackmount and 500 Series formats.
- Learn more about the elysia nvelope rackmount processor.
- Learn more about the elysia nvelope 500 Series module.
Useful Arts Swarm 4-channel Microphone Preamp/DI
Audio engineers of all types have expressed acclaim for the Useful Arts Hornet mic preamplifier and DI, and the Swarm 4-channel mic preamp packs four of them in a rackmount enclosure while adding even more useful functionality. Just like the Hornet, Swarm mic preamps offer high headroom and exceptional fidelity plus a Color control to add sweet harmonic richness to any signal. With the rackmount format, Useful Arts was able to add must-have features like highpass filtering, a 22dB pad, and polarity control — everything you could ask for in a studio or live sound environment. With a top-notch signal path including CineMag input transformers and JFET DIs, the Swarm represents big value in a 4-channel preamp.
- Learn more about the Useful Arts Swarm.
- Learn more about Useful Arts’ design philosophy in this article.
ART Pro-VLA II 2-channel Opto Tube Leveling Amplifier
ART is known for designing simple and reliable audio solutions at affordable prices, and that’s probably why their standout pieces like the ART Pro-VLA II don’t get as much hype as they should. Ask any studio engineer that’s spent some time with the Pro-VLA II, and they’ll tell you it’s not just good for the price — it’s really good, adding richness and presence to anything you run through it. And, with switchable input levels to accommodate working with professional- and consumer-grade audio gear and an assortment of balanced and unbalanced I/O, the Pro-VLA II earns big bonus points for flexibility in the studio.
- Learn more about the ART Pro-VLA II.
Reftone Ref-Cube Reference Monitors
Using small, single-driver speakers as an alternative reference to your main studio monitors is not a new idea, but Reftone Ref-Cube monitors set a new standard for small-format monitoring. Their small, paper-cone drivers deliver full-range audio at low volumes and are perfect for anticipating how your mixes will sound on home speakers, in a car, and through other playback systems. Their exceptional midrange clarity makes Reftone monitors the perfect way to zero in on vocals. And, if your mix balance sounds solid when you check it on your Reftones, you can rest easy that it’ll translate to practically any listening system.
- Shop Reftone monitors.
- Learn more about Reftone in this interview with founders Dave Hampton and Lisa Chamblee.
Retro Instruments Sta-Level Tube Compressor
The Retro Instruments Sta-Level tube compressor re-creates the sonic magic of the 1956 Gates Sta-Level, which played a huge role in the sound of radio hits from the ’60s. You’ll instantly become addicted to the Sta-Level’s ability to imbue any signal with warm, airy, and intimate character, and its simple control set makes it a joy to work with — just turn those input and output controls until it sounds amazing, whether the “it” is a vocal, bass, acoustic instrument, or anything else. A big part of the Sta-Level’s girth, color, and sonic personality is in its nonlinear attack and release times, which help minimize common compression artifacts even at heavy gain-reduction settings.
- Learn more about the Retro Instruments Sta-Level.
Warm Audio WA-47Jr Large-diaphragm Condenser Microphone
The classic U 47 FET is one of the most revered microphones of all time, and the Warm Audio WA-47Jr aspires to offer a similar sonic mojo at an amazing value. Transformerless microphones like the WA-47Jr are valued for their detailed sound and resistance to distortion even at high SPLs. That means the WA-47Jr — just like the legendary mic it’s based on — is perfect for capturing the power and intensity of acoustic instruments, where capturing fast transients is crucial. Character-packed tubes and transformers have their place, but, when clean and precise audio capture is your priority, you’ll be amazed what you can record with the Warm Audio WA-47Jr.
- Learn more about the Warm Audio WA-47Jr.
- Watch Mitch Gallagher’s review of the Warm Audio WA-47Jr.
Royer R-10 Ribbon Microphone
Royer has long been a leader in premium ribbon microphones, and their R-121 ribbon mic is a studio staple across the globe. While Royer’s top-of-the-line ribbon mics have rightfully earned a ton of acclaim, many studio engineers still don’t know they can have that rich, detailed sound at a great value with the Royer R-10 ribbon mic. Featuring a custom transformer designed by Dave Royer, the R-10 delivers the rich and smooth sound we’ve come to associate with premium Royer mics. And, thanks to its ultra-high SPL handling, the R-10 excels at close-miking loud sources like horns, guitar amps, percussion, and practically anything else. The R-10 also takes EQ extremely well, allowing you to bring out the ribbon’s natural top-end sweetness without adding noise or harshness.
- Learn more about the Royer R-10.
- Watch our Royer R-10 mic video demo.
In Closing
Hopefully, we’ve tipped you off to some new solutions for your studio — any (or all) of the gear mentioned above would serve a professional audio engineer or music producer well. And, if you’re still not sure you’ve found the right tool for the job, give your Sweetwater Sales Engineer a call at (800) 222-4700 — we’re always eager to help you find a custom-fit solution for your specific needs and workflow!
