I chose the dbx 286s among many others because it's the only channel strip in the price point (even the entire category!) that has a noise gate. More expensive offerings provide better preamps, more robust equalization and compression controls and other features that make them popular but sometimes, one key feature is all it takes to secure the purchase.

When I first started using it for voiceovers, many people complimented the cleaner and smoother sound of my production with it. Up until that point, I've only been recording straight to DAW and adding plugins to address things like sibilance, noise and dynamics. The dbx 286s does everything better and allows me to have zero latency on my processed sound when monitoring. Using outboard gear has a neat effect of feeling more "connected" with your performance compared to having that small bit of latency around 4ms when using plugins. Sometimes it's that psychological boost that's needed to elevate performances and as the first piece of outboard gear I've gotten for my current small project studio, it's been a great tool that brings me back to my days working with analog gear in a larger recording studio.

The expander/gate section ensures noise like AC hum and other low-level noise get filtered out.

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.

One thing that might sway people away from it would be the simplified controls for each segment following the preamp. 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 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

The Cloud Microphones CL-4 expands on the CL-1 inline preamp; this time with 4 independent channels in a rackmount unit.

Discrete JFET circuitry and a transformerless design keeps the signal path clean and clear.

For live use, the added gain from the CL-4 enables you to cut through a live mix with full dynamics without increasing the risk of feedback.

The rackmount chassis is a standard 19" rack unit and manufactured in the USA.

Adding gain without raising the noise floor is always a welcome improvement. With the CL-4, an ensemble of singers can benefit from feedback-free clean gain will result in better live presentation. In the studio, a collection of dynamic drum mics benefits from having a lower noise floor in post as gating them isn't as difficult.

Since it's a rackmount unit, it might be an inconvenience to those that don't have a rack yet. Desktop operation is fine but it's far more convenient to have a case ready.

Cloud Microphones have done it again with the CL-4 Rackmount. For those that need the added gain without noise or feedback risk in live situations, the CL-4 rackmount is an excellent addition to your rig.

Specifications

• Channels: 4
• Mic Preamp: 1 Vintage Style Preamp with Tantalum Capacitors
• Input Connectors: 4 x XLR
• Output Connectors: 4 x XLR
• Dimensions: 19" x 1.75"
• Weight: 1.19 lbs.

The Pre-73 MKIII is Golden Age's reasonably priced nod to the classic Neve 1073, featuring vintage style tone coloration courtesy of its solid-state design with Tantalum capacitors.

This single-channel preamp gives you up to 80dB of gain, which makes it compatible with passive ribbon mics, while the high pass filter and 2-position high-frequency boost allows for sound shaping.

The unit is housed in a red mini-rack form factor that is easy on the eyes and sturdy enough to survive regular use.

The metal housing is sturdy, but the plastic parts leave a little more to be desired. But that doesn't take away the quality of the circuitry. The sound is rich and sweet just like the preamp it's based on.

Add analog vibe to your recordings with the Golden Age Pre-73 MKIII, highly recommended.

Specifications

• Channels: 1
• Mic Preamp: 1 Vintage Style Preamp with Tantalum Capacitors
• Input Connectors: 1 XLR/TRS Combo, 1 x Hi-Z
• Output Connectors: 1 x XLR, 1 x 1/4"
• Controls: 80dB Gain, Output, Phantom Power, Phase, Input Impedance, Highpass filter
• Dimensions: 1.75" x 9.5"
• Weight: 6.8 lbs.

You're probably wondering what a stompbox is doing in a mic pre amp guide. JHS has thrown conventions aside and put a Neve-style console preamp and EQ circuit into a stompbox format. This was borne from JHS founder Josh Scott's goal of replicating guitar tones recorded direct to console with the strip hitting saturation similar to The Rolling Stones and The Beatles to name a few.

This V2 iteration takes that concept further by adding more console-like features to the stompbox, enabling it to be used as a true mic preamp and more.

It features a fully analog signal path with a newly added output transformer in this V2 iteration. It also includes a phantom power pass-thru which lets your interface or mixer's phantom power go through the preamp and into your condenser mic. Hi/Lo input adjusts headroom according to the input needs.

The input is a combo TRS/XLR jack so you can use microphones as well as guitars with it. Outputs are covered by separate XLR and 1/4" jacks.

The pedal is literally a "Neve in a box" which has never been heard of before. Aside from being a preamp, there are many different uses for the Colour Box V2 such as using it as an overdrive pedal or even a bass D.I.

Not exactly a downside but it being in pedal form might not be to everyone's liking.

The JHS Colour Box V2 demands to be taken seriously as both a studio and stage tool. Even if you are only getting it as a preamp, you are bound to find a dozen or more uses for it just like many others have.

Specifications

• Channels: 1
• Mic Preamp: 1 Vintage Style Preamp with Tantalum Capacitors
• Input Connectors: 1 XLR/TRS Combo, 1 x Hi-Z
• Output Connectors: 1 x XLR, 1 x 1/4"
• Controls: 80dB Gain, Output, Phantom Power, Phase, Input Impedance, Highpass filter
• Dimensions: 1.75" x 9.5"
• Weight: 6.8 lbs.

Compared to many offerings at this price point the Grace Design m101 looks minimal, even underfeatured. But what it lacks in features, it makes up for in sound and simplicity.

It is a mic and instrument preamp that utilizes premium components like 0.5% precision metal film resistors for signal clarity and a 12-position gold-plated rotary gain switch.

It also features improved RFI suppression for studio quality clear and quiet performance.

It has a ribbon mode that applies more gain and phantom power protection for working with ribbon mics.

Most of what the Grace Design m101 brings to the table are on the component and circuitry level rather than with controls. That being said, it's an amazing sounding preamp that doesn't necessarily change the frequency response of your mics, but rather, it gives your recordings a sense of depth and clarity that is usually lost with cheaper preamps.

The wide 75dB gain range is also a boon for dynamic mic users as it's capable of driving even the most power-hungry broadcast dynamic mics.

Given the sound, build and circuit quality, there isn't much to fault about it. You get a preamp at this price point for specific tonal or harmonic characteristics. The law of diminishing returns starts to matter more at this price point as well so the Grace Design m101 is a great value offering.

While it doesn't score points for heritage, it does rank high for top-tier componentry, circuit design, noise floor and clarity; all in a simple-to use half-rack format. If you're looking for a straightforward, studio quiet, and transparent sounding mic preamp, then check out the Grace Design m101.

Specifications

• Channels: 1
• Mic Preamps: Grace Design preamp with Ribbon Mic mode
• Input Connectors: 1 x XLR, 1 x 1/4" (Hi-Z)
• Output Connectors: 1 x XLR, 1 x 1/4" (Balanced), 1 x 1/4" (Unbalanced)
• Controls: Knobs: Gain, Trim | Buttons: 48V Phantom Power, Ribbon Mode, HPF, Power
• Dimensions: 1.7" x 9" x 8.5"
• Weight: 2.4 lbs.