Rackmount channel strips are usually more of a "medium" type of studio gear for a lot of people. I've always done software monitoring during recording but sometimes the latency builds up especially when the tracks and plugins start piling up. I also wanted to have some processing going into the audio interface for general communication, so I started looking into channel strips for my project studio.

Starting off, your signal gets put through the Preamp section. While I don't think dbx based the circuitry on API gear, to my ears, it reminds me of what API preamps sound like. It smooths out the high frequencies with harmonics without muffling the input. Other features of the preamp include a standard 48V phantom power and 80Hz high pass filter at 18dB/octave. The roll-off on the filter is enough to deal with wind and vibration transfer from the mic stand without affecting the overall tone of the mics I use. The input levels are visible thanks to 4 LEDs that indicate the amount of signal passing through the preamp.

The dbx 286s compressor section works well even with just 2 controls.

The compressor section looks basic at first glance. The controls are a bit different from what most would expect. Drive is basically your threshold control, and the compression ratio is fixed at 4:1. The density knob is a release time knob with fully counterclockwise giving the slowest release and fully clockwise giving the fastest.

Equalization is also simple on the outside. Labeled "Enhancer" on the unit, the low frequencies are a combination of a boost at 80Hz while simultaneously cutting out 250Hz as you go higher with it at a ratio of 2:1. The high frequency control employs a dynamic shelving EQ. I noticed that with higher speaking levels, the high frequencies don't get proportionally louder but retain clarity throughout the entire voice's dynamic range.

The gating is very natural at ratios lower than 2:1 and filters out my A/C in the background well enough for general recording.

Tweakers that rely on minute adjustments of various parameters might find the controls a bit too limited. Even so, I actually preferred this simplicity because it didn't keep me fixated on getting everything right.

The great price point and feature set make it great value for any studio. Even comparing it with more expensive channel strips, it packs enough of a punch to hang with the big boys, especially with how well the dynamics are handled.

The dbx 286s is a great addition to any studio, big or small. As a vocal chain, it adds a professional sheen to singing and great dynamic control for spoken word and voice overs. While the simplified controls may not be to everyone's liking, each module is cleverly engineered to have a useful setting no matter what the input. If you're looking for your first channel strip or preamp, the dbx 286s is a great choice at a great price.

If you'd like a detailed explanation of all its functionality, then take a look at my extended dbx 286s review.

Specifications

• Channels: 1 (some people mistake the Insert for a second channel)
• Inputs: XLR (mic), 1/4" TRS (line), 1/4" TRS (insert)
• Outputs: 1/4" TRS - 100Ω balanced / 200Ω unbalanced
• Preamp: 0dB to +60dB gain with phantom power on XLR pins 2 and 3
• Compressor: ratio 4:1 with a threshold range of -40dBu to +20dBu
• De-Esser: frequency range 800Hz to 10kHz High Pass, 12dB/octave
• Enhancer: with high frequency program-controlled shelving equalizer, approximately 15dB maximum HF boost, and low frequency bell-shaped boost @ 80Hz, bell-shaped cut @250Hz, ratio is approximately 2:1
• Expander/Gate: with an adjustable expansion ratio from 1.5:1 to 10:1
• Rackmountable: Yes - 1U

ART is known for their affordable outboard gear, especially their mic preamps. The ART Voice channel is a full-featured channel strip with all the tools you need to get an amazing sounding track onto recording. It features a Class A Tube Preamp with up to +60dB Mic gain and +40 dB Line gain.

While the front panel looks overwhelming at first glance, seasoned engineers will feel right at home with the controls. It includes a semi-parametric EQ that can be patched pre- or post- dynamics section, multiple insert points, an expander/gate section (one of my biggest requirements in an outboard channel strip), and a special impedance control to fine tune different mics to the preamp.

Switching the tube voltage changes the response of the preamp mild tube tone to harmonically rich. Cheap microphones can benefit from the warmth and saturation of the tube section.

Additional I/O makes it versatile enough to integrate into an already busy rig while USB out lets it function as a direct recording solution for smaller setups.

While a blessing for experienced engineers, the complex layout and various controls might be overwhelming for someone still learning the craft, but don't let that stop you from adding it to your rack.

The ART Voice Channel is a versatile piece of gear at a great price. It's an amalgamation of many important pieces in a signal chain and works well with both vocal and instrument recordings. That being said, it's not the most transparent preamp so if that's what you're after, look elsewhere.

Specifications

• Channels: 1
• Inputs: 2 x Combo (XLR/TRS), 1 x ADAT (Optical)
• Outputs:1 x AES/EBU (XLR), 1 x S/PDIF (Coax), 1 x S/PDIF (Optical)
• Preamp: Class A vacuum tube (12AX7), up to +60 dB (Mic) +3 dB to +40 dB (Line) with 48v phantom power
• Compressor: 1:1 to 20:1
• Equalizer: Low Frequency: 50/150 Hz Selectable, MID 1 Frequency: 100 Hz to 3kHz continuously variable, MID 2 Frequency: 500 Hz to 15kHz continuously variable, High Frequency: 5K/15kHz Selectable
• Rackmountable: Yes - 2U

The 1073 style preamp/EQ has always been a community favorite. The design lends itself well to warm and polished sounding vocals with a focused and clear midrange and a shimmering top end.

The Vintech X73i is based on the legendary 1073 design build with production techniques that allow Vintech to make it more accessible to a greater majority of studios and engineers.

It features a Class A solid state preamp with a familiar EQ section that allows for various cuts and boosts. The analog circuitry makes even the most extreme settings sound musical in many contexts.

From a distance, The X73i would pass as an actual Neve unit with the color scheme. The X73i injects the Neve mojo with a more polished, modern twist. With compression, the high end never gets overemphasized as sibilance gets smoothed out across a broader spectrum thanks to the harmonic content -- just as the unit the X73i was based on. The modern construction and componentry definitely give it a "brand new" sound compared to vintage units with aged components and lower tolerances.

This, however, means that the X73i is not a 1 to 1 reproduction. It favors consistency over vintage accuracy so having a stereo preamp pair would be more consistent (and affordable!) than getting two vintage units.

If you're a fan of the 1073 preamp/eq and have a limited budget to outfit your studio with a channel strip, the Vintech X73i is your best bet to get that N style polish.

Specifications

• Channels: 1
• Inputs: 1 x XLR (Mic), 1 x XLR (Line), 1 x 1/4" (Line)
• Outputs: 1 x XLR, 1 x 1/4"
• Preamp: Class A solid state with up to +70db gain with 48v phantom power
• Compressor:none
• Equalizer: Low shelving, Fixed Hi EQ, Variable Low EQ, Variable Mid EQ frequencies
• Rackmountable: Yes - 1U

The Manley Core Reference is a channel strip based on Manley's award winning VOXBOX. With a Class A tube mic preamp (1 x 12AX7 for gain and 1 x 6922 White Follower) and custom Manley transformers, the Core Reference was designed to be as it's named: the core of your project studio.

The Core Reference brings together Manley's most popular modules and technology into an "essentials" package channel strip.

Aside from the tube preamp, the Core Reference has a baxandall eq, ELOP compressor and Brickwall limiter.

Going into the preamp, the overall tone is crisp and clear without making bright condenser mics thin or brittle. This is a big plus for bright mics like the Sony C800g or C100 to have a richer top end without totally sacrificing the tonality they are known for. Manley's own Reference series condenser mics have an extended top end. With that in mind, if your mic collection consists of bright mics, this unit's preamp is a godsend in keeping harshness at bay.

That said, the Core Reference has its own compromises. Its modules are not as fully fleshed out as the main units Manley offers such as their individual dynamics and EQ lines. The lack of a noise gate/expander (which is important to me) is also something to look out for.

The Manley Core Reference is a great entry point to high end gear. It allows a generous taste of what boutique gear can do for your sound without the collective cost of owning multiple modules.

Specifications

• Channels: 1
• Inputs: 1 x 1/4", 2 x XLR
• Outputs: 2 x XLR
• Preamp: Class A tube mic preamplifier (1 x 12AX7 for gain and 1 x 6922 White Follower), Manley hand-wound transformers, Mic Pre Selectable Gain 40dB or 60dB, Line Amp Selectable Gain 20dB or 40dB
• Compressor: ratio 3:1, variable Attack, Release, and Threshold controls,
• Equalizer: Low and High Baxandall Shelves (80Hz and 12kHz) with ±12dB range, Sweepable Midrange Bell EQ (100Hz – 1kHz) or (1kHz – 10kHz) with ±10dB range, 120Hz High Pass Filter switch
• Rackmountable: Yes - 2U