Looking to enhance your recordings without breaking the bank? In this guide, weโll dive into the best budget mic preamp hardware available, unpack their features, and help you find the perfect fit for your studio setup.
Under $200 (No Phantom Power) | Under $200 (No Phantom Power) Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 95 | 4325+ |
Under $200 - With Phantom Power | Under $200 - With Phantom Power Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 93 | 150+ |
Under $300 (No Phantom Power) | Under $300 (No Phantom Power) Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 94 | 350+ |
Under $300 - With Phantom Power | Under $300 - With Phantom Power Product Image | Product Title | *GEARANK | **Sources | Check Prices |
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Under $500 (No Phantom Power) | Under $500 (No Phantom Power) Product Image | Product Title | *GEARANK | **Sources | Check Prices |
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Under $1000 - With Phantom Power | Under $1000 - With Phantom Power Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 95 | 100+ |
*Gearank = Rating score out of 100.
**Sources = Number of gear owner and user opinions analyzed for these product Gearank Ratings.
Research Process: How Gearank Works
Whether you’re chasing warmth, clarity, or a polished professional sound, a good mic preamp is a game-changer.
Microphone preamps may not get the spotlight, but theyโre the backbone of great recordings. Since the 1940s, these essential devices have been powering studios by amplifying microphone signals and shaping sound quality. But why does this matter, and how can the right budget preamp elevate your recordings?
Hereโs the deal: a quality mic preamp doesnโt just amplifyโit defines your sound. It takes the raw, low-level signal from your mic (think Shure SM7B) and boosts it to a usable level while preserving detail and texture. Depending on your choice, it can add pristine clarity or a rich, warm character that enhances vocals, instruments, and everything in between.
Not all preamps are created equal, though. Some deliver transparency for a clean sound, while others lend unique tonal colors that can make your tracks stand out. The right preamp is like the secret ingredient that transforms your recordings from ordinary to extraordinary.
So, why settle for lackluster onboard preamps in budget audio interfaces? With the best budget mic preamps, youโll unlock the full potential of your mics, guitars, and drums without overspending. Whether youโre a seasoned pro or just starting your recording journey, the right preamp is your ticket to studio-quality sound.
Letโs explore the options and find your perfect match.
Under $200 – No Phantom Power
Cloudlifter CL-1
The CL-1 delivers up to 25dB of transparent gain, making it an indispensable tool for boosting low-output microphones without introducing noise or coloration.
At publication time, this was the Highest Rated Dynamic Microphone Preamp Under $200
Pros:
- Ideal for drive hungry mics like the Shure SM7b
- Pairs well with low output ribbon mics
- +25dB of transparent gain gives great signal to noise ratio
- Needs an additional XLR cable. Other inline preamps plug directly into the mic.
- Does not work with condensers (and it shouldn’t)
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The Cloudlifter CL-1 is an active inline microphone preamp that uses +48v phantom power.
It features a specially designed active circuitry that adds +25dB of transparent gain, resulting in better capture of sonic detail, and making any built-in mixer or interface preamp compatible with Ribbon Mics and gain demanding dynamic mics like the SM7b.
Since it utilizes phantom power, it can only be used with passive dynamic and ribbon mics.
Although it is a single channel preamp, the Cloudlifter CL-1 is often described as a mic boost, and rightly so because it does boost both the volume and sound quality of many mics. The resulting sound is quieter and cleaner with a lower noise floor. When paired with ribbon mics, particularly more quiet ones, the gain on interfaces no longer needs to be cranked, avoiding self-noise buildup.
It’s important to note that this does NOT boost mics that already need phantom power. It is not for use with condenser microphones.
If you’re not too keen on replacing your preamp and just want a way to improve the sound quality of your dynamic and ribbon mics, then the Cloudlifter CL-1 Mic activator is the way to go. It can also be used to help with long cable runs and if you’re looking for an easy-to-implement clean mic boost.
- Channels: 1
- Input Connectors: 1 x XLR
- Output Connectors: 1 x XLR
- Dimensions: 2″ x 4.5″ x 2″
- Weight: 0.85 lbs.
Under $200 – With Phantom Power
Soyuz The Launcher
The Launcher adds a warm, rich analog character to your mic, giving vocals and instruments a vintage studio-quality vibe.
Pros:
- Significant gain boost without overdriving preamps.
- Adds a warm, vintage tone with a creamy analog texture.
- Reduces the need for post-EQ by improving sound quality upfront.
- Not ideal if you prioritize transparency
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The Soyuz The Launcher is a unique mic preamp that has earned a reputation for injecting a touch of analog magic into recordings. Designed as an inline active preamp, it offers a noticeable boost in gain for dynamic and ribbon microphones while adding a rich, vintage character that elevates vocals and instruments alike.
From the moment you plug it in, The Launcher transforms the sound, giving it a warm, creamy texture reminiscent of high-end studio gear. For podcasters, vocalists, and musicians looking to add personality to their sound without spending a fortune, this little device is a game-changer.
What truly sets The Launcher apart is its ability to bring out the best in lower-output microphones. Dynamic mics like the Shure SM7B or ribbon mics immediately benefit from its clean gain boost and tonal enhancements, delivering a polished sound with minimal effort.
Additionally, its analog-inspired circuitry reduces the need for heavy post-EQ processing, saving time while improving the recording quality from the get-go. Whether youโre tracking vocals, guitars, or drums, The Launcher consistently delivers warmth and clarity that punch well above its price tag.
However, The Launcher isnโt without its limitations. While it works wonders on budget or dynamic mics, the impact on higher-end condenser microphones is less pronounced, as these typically donโt need the same kind of gain or tonal enhancement. Additionally, some users may find its fixed colorization less flexible compared to fully transparent preamps.
That said, if youโre in the market for an affordable way to add character and boost to your recordings, The Launcher is an excellent choice that lives up to its hype.
- Channels: 1
- Mic Preamps: 1
- Input Connectors: 1 x XLR
- Output Connectors: 1 x XLR
- Dimensions: 0.75″ x 0.83″ x 1.73″
- Weight: 0.9 lbs.
Under $300 – No Phantom Power
Cloudlifter CL-2
The CL-2 offers the same clean gain as the CL-1 but with two channels, making it perfect for stereo setups or multi-mic recording.
At publication time, this was the Highest Rated Dynamic Microphone Preamp Under from $200 to $300.
Pros:
- Two matched channels
- Solves potential mismatch issues of using two separate units per mic
- Perfect for stereo ribbon or dynamic mics
- Not as good value if you’re only going to use 1 channel most of the time.
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The Cloud Microphones CL-2 takes the concept of the inline, phantom power-fed mic pres and doubles it for two independent channels ideal for stereo mic setups.
This dual mono version is ideal for matched stereo pairs and enables the use of dynamic microphones as overhead mics without added noise from pushing the mixer or interface preamps.
If you’re a fan of the original CL-1 single inline mic pre-amp from Cloud Microphones but wished for another channel, the CL-2 is the logical choice. The dual mono setup of the CL-2 ensures that the two channels are matched rather than using two separate inline preamps, which may have some component tolerance differences. For ribbon and dynamic mics, the CL-2 gives a great clean boost which helps relieve mixer and interface gain stages for a more optimal gain level.
Much like other inline preamps, phantom power needs to be turned on. This also makes it unusable with condenser mics.
If you’re looking to augment your matched ribbon or dynamic mic pair and make it work more efficiently, with a lower noise floor and less stress on the preamps of your interface or mixer, the CL-2 by Cloud Microphones is a great pick.
- Channels: 2
- Mic Preamps: 2
- Input Connectors: 2 x XLR
- Output Connectors: 2 x XLR
- Dimensions: 4.5″ x 5.75″ x 3.75″
- Weight: 1.19 lbs.
Under $300 – With Phantom Power
Golden Age Pre-73 MKIII
The Pre-73 MKIII delivers a warm and colorful sound reminiscent of high-end Neve preamps, offering exceptional value for its price.
Pros:
- User-friendly design
- Ample gain for low-output microphones
- Ideal for dynamic and ribbon mics.
- High-pass filter and “Air” settings for reduced noise
- Enhance clarity.
- Requires space
Check Out on Amazon
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The Golden Age Pre-73 MKIII is a standout in the world of budget-friendly mic preamps, offering a vintage-inspired sound that rivals much pricier gear. Modeled after the classic Neve 1073 preamp, it delivers a warm and musical tone thatโs perfect for adding character to vocals, guitars, and other instruments.
Whether youโre tracking in a home studio or a professional environment, the Pre-73 MKIII gives your recordings that sought-after analog richness, making it a favorite among those who want premium sound without breaking the bank.
One of the Pre-73 MKIIIโs biggest strengths is its versatility. With up to 80dB of gain, it easily handles low-output microphones like the Shure SM7B or ribbon mics, giving them the boost they need without compromising on sound quality. Features like the high-pass filter and “Air” switch add flexibility, allowing you to shape your sound and cut out unwanted noise right at the source. The controls are intuitive, making it accessible for both beginners and experienced engineers who want straightforward operation with pro-level results.
While its sound and functionality shine, the Pre-73 MKIII does have a few quirks. Its larger-than-average size can be inconvenient for smaller studio setups, as it takes up more depth than standard
- Channels: 1
- Mic Preamps: 1
- Input Connectors: 1 XLR/TRS Combo, 1 x 1/4″
- Output Connectors: 1 x XLR, 1 x 1/4″
- Dimensions: 1.75″ x 9.5″
- Weight: 3.08 Kg.
DBX 286s
The DBX 286s combines a mic preamp with essential tools like compression, de-essing, and gating, making it ideal for both live and studio use.
Pros:
- Great sounding preamp
- Gate/expander one of the best I’ve tried
- Dynamics and EQ well thought out
- Simplified controls limit tweakability
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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 gets 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.
Voiceover example recorded with the dbx 286s*
*Audio recorded with a Lewitt LCT 440 Pure condenser microphone.
The dbx 286s is a great addition to any recording studio, big or small. As a vocal chain, it adds a professional sheen to singing and great dynamic control for spoken word and voiceovers. 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 has just about everything in one unit 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.
- 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 – 100ฮฉ balanced / 200ฮฉ 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
Under $500 – No Phantom Power
Cloudlifter CL-4
The CL-4 offers the same transparent gain as the CL-1 but with four channels in a rackmount design, perfect for larger setups and pro workflows.
At publication time, this was the Highest Rated Dynamic Microphone Preamp from $300 to $500.
Pros:
- Great for drum mic groups or multiple singers
- Matched circuits ensure phase coherence
- More convenient than using multiple single preamps
- Rackmount design might not be for everyone
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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 keep 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 the 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 who need the added gain without noise or feedback risk in live situations, the CL-4 rackmount is an excellent addition to your rig.
- 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.
Under $500 – With Phantom Power
Cranborne Audio Camden EC1
The Camden EC1 delivers pristine audio clarity with an optional “Mojo” setting that adds analog warmth and character when needed.
Pros:
- Clean and transparent sound
- Stepped gain knob that allows for quick and easy adjustment
- Durable construction, including well-built knobs and switches
- Great value for money
- No optical cable included
- Complex initial setup
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The Cranborne Audio Camden EC1 is a versatile single-channel microphone preamplifier with many features. It is based on the latest iteration of the Camden preamp, offering technically superior performance. The EC1 includes a mic/line input on the rear, a high-impedance instrument input on the front, and an additional external line input, providing flexibility for various recording scenarios. Its compact half-rack-width form factor makes it suitable for desktop use, and it includes a headphone amplifier that comfortably drives a range of headphones.
One standout feature is the analog Mojo circuit, which allows users to dial in two tonal characters, adding subtle coloration to recordings. The Cream setting imparts a smooth coloration, while Thump adds weight and character to the sound. However, some users may prefer a completely transparent preamp without any coloration. The EC1 also includes a CAST port for sending and receiving audio over shielded CAT5e, 6, or 7 cables. While the external power supply may not be ideal for some users, it keeps thick mains IEC leads away from the audio circuitry.
In summary, the Cranborne Audio Camden EC1 is a mic preamp and a versatile tool that enhances recordings while offering analog flavor. It provides excellent technical performance, flexibility in input options, and a compact form factor, making it a valuable addition to various recording setups.
- Channels: 1
- Mic Preamps: 1
- Input Connectors: 1 x XLR, 4 x 1/4″ (Line/Hi-z, External Line, L/M Aux, R Aux)
- Output Connectors: 1 x XLR, 2 x 1/4″, 1 x Cat 5 Ethernet (C.A.S.T.)
- Dimensions: 1.75″ x 8.66″ x 9.44″
- Weight: 3.96 lbs.
JHS Colour Box V2 Preamp Pedal
The Colour Box V2 packs a ton of tonal shaping options into a compact pedal, making it a versatile choice for both studio and live performances.
At publication time, this was the Highest Rated Condenser Microphone Preamp from $300 to $500
Pros:
- Versatile Neve style preamp in a box
- Compact form factor
- Doubles as an overdrive pedal
- Great for stage and studio
- Stompbox form factor not for everybody
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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 directly to the 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. But to a guitarist, this format is heaven sent.
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.
- 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.
Focusrite Scarlett OctoPre
The OctoPre provides eight additional preamp channels with clean, transparent sound and ADAT connectivity for seamless studio expansion.
Pros:
- Great way to expand inputs on select Focusrite interfaces
- Upper frequency harmonics give smoothness and shimmer to tracks
- 8 channels are enough to record drums
- Excellent gain and dynamic range
- Some plastic parts may become faulty from mishandling
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The Focusrite Scarlett OctoPre is an 8 channel preamp that allows the expansion of the inputs of select Scarlett audio interfaces. The preamp enables additional input and output options for use with multiple microphones, especially when recording setups like drums and orchestration.
With a whopping 109dB dynamic range, the OctoPre is a great choice for the aforementioned setups as well as recording dynamic singers and spoken word.
Recording quality is consistent with Focusrite’s top-tier audio interfaces. So, purchasing an affordable interface that has ADAT out and pairing it with the OctoPre is a great combo for small home studios. The sound is transparent with just a little crispness at the highest end of the spectrum, perfect for giving life to vocals and smoothing out brittle sounding cymbals with rich harmonics.
Do note that the cover for the ADAT port can break if mishandled.
If you’re looking to add more inputs to your existing audio interface with great sounding Focusrite preamps, the Scarlett OctoPre is the obvious choice in this price range.
- Channels: 8
- Mic Preamps: 8
- Frequency Response: 20Hz – 20kHz
- Input Connectors: 8 x XLR-1/4″ combo, 2 x Optical Toslink (ADAT)
- Output Connectors: 8 x 1/4″
- Controls: Gain, Phantom Power, Sync, Sample Rate, Mic/Line, Pads, Output
- Weight: 7.1 lbs.
Under $1000 – With Phantom Power
Grace Design m101
The m101 offers unmatched transparency and detail, making it a top choice for those who demand pristine, uncolored recordings.
At publication time, this was the Highest Rated Condenser Microphone Preamp Under $1000
Pros:
- Excellent harmonic content without affecting frequency response
- Compact, high-quality enclosure
- High grade components and circuit
- Ribbon mic mode complements the microphone type well
- Priced high for a “budget offering”
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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 no frills half-rack format. If you’re looking for a straightforward, studio-quiet, and transparent-sounding mic preamp, then check out the Grace Design m101.
- 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.
Things To Consider When Buying a Mic Preamp for Vocals or Instrument Recording
Transparency vs Coloration
Many of today’s audio interfaces come with built-in preamps, and most of them lean towards transparency, which is all good – until you itch for more from your studio gear. Most Solid State Mic Preamps are made to scratch this itch for better quality, offering improved transparency and more control over the sound. They are also usually transformerless to reduce sound coloration.
When you find yourself looking for vintage-style warmth and coloration, you’ll want to go for Tube Mic Preamps that mimic old recording equipment. These mic pres mimic old school circuitry and components, using actual vacuum tubes and even customized transformers to get as close as possible to the sound of the tube amp they are reproducing. While modern production techniques have made these units more reliable, it is still safer to handle these units with care, because of their tube component.
Note that a good application of coloration and transparency is a type of art that can improve your overall sound. Thankfully, it’s not limited to the type of circuitry used. There are solid state Preamps that are designed to provide vintage style voicings, and there are tube preamps that can be transparent. If you’re not sure what you want, you can use the age and style of your favorite tracks as your starting point. Some FET Mic Preamps are designed to mimic some tube saturation by clever circuit design. These are generally more durable and consistent than their tube counterparts but can get harsher when pushed.
Sound Source
Mic preamps are designed to increase gain without compromising on the noise floor. Aside from vocals, mic preamps are also useful for augmenting instruments like drums, acoustic guitars and amplifiers, some even come with Hi-Z inputs for electric guitars and basses. Transparent preamps are more versatile and are designed with clean headroom in mind. Some designs color the sound in pleasing ways with harmonics or some equalization. You have to take your other sound sources into account when deciding on your mic preamp.
Number of Channels
Many of the recommended items in this edition of the guide are single channel preamps and are suited to augment built-in preamps for single-source recordings. 2 channel preamps are usually made with matched componentry, ensuring better consistency versus using two single-channel preamps. While there are multi-channel preamps in the market today, they mostly function as additional inputs for audio interfaces. This means that they aren’t needed by most of the readers who are interested in a budget mic preamp. Most Mixing Boards and audio interfaces already have decent preamps for recording and the market has shifted in favor of preamps with fewer channels that are definite upgrades over many built-in preamps.
Input and Output Ports
Aside from the basic XLR input to TRS line level output that characterizes mic preamps, many offer a range of other I/O options. Other input ports include 1/4″ Hi-Z inputs for guitarists who use electric guitars, 1/4″ TRS line level inputs, and 1/4″ Return inputs. On the output side the options include XLR and ADAT. If you are looking to expand the capabilities of your ADAT compatible console or audio interface, then you’ll want preamps with ADAT output.
Form Factor
You’ll want a preamp that fits in well with your other gear, and form factor plays an important role. This guide features inline, rackmount, and desktop preamps.
Inline preamps usually have a cylindrical form factor and mount directly into the output of your mic. They are also usually phantom-powered. other inline preamps, come in a D.I. box type format.
Rackmount preamps occupy either a full horizontal rack or, in some cases, like the Grace Design m101, are half-racks.
Desktop preamps are exactly what they are and are usually non-rackmountable.
The JHS Colour Box V2 is an exception to these as it comes in a stompbox format.
It is also important to know where the ports are placed so you know how to position them. We’ve included the dimensions and weight (where available) in this list so you can know before purchasing if they will fit into your available space.
Extra Features
Important features that you should look out for include phantom power and an input pad. Other features that can be practical include EQ and/or high-pass/low-pass filters, noise gates, metering and power switching.
Best Cheap Mic Preamp Selection Methodology
The first edition was published in 2017. The current edition was published in January 2025.
We began by looking at all widely available standalone preamps at US based retailers that are intended for use with microphones, except that we excluded 500 series modules.
We short-listed 43 sub $1000 mic preamps to rate for this guide and then collated a total of over 17,377 ratings, reviews, and forum discussions about each preamp and processed those data with the Gearank Algorithm to produce a rating score out of 100 for each one. We processed 19.6% more rating sources for this edition than the previous one.
We then used these ratings to select the highest rated in each of the categories above to recommend. For more information about our methods, see How Gearank Works.
About the Author and Contributors
Here are the key people and sources involved in this guide’s production – click on linked names for information about their music industry backgrounds.
Lead Author & Researcher
A cool piece of trivia about this guide: I bought the dbx 286s because of the previous edition. At that time, I didn’t feel like I needed an external preamp in my project studio. But as time went by, I slowly realized the limitations of my interface’s built-in preamps. I chose it for reasons I outlined in my extended dbx 286s review. It’s a great addition to my studio setup. Informed decisions go a long way!
Contributors
Jerome Arcon: Product Research.
Alexander Briones: Editing.
Jason Horton: Illustrating.
Media / Image Credit
Main/Top Image: By Gearank.com using photographs of the Grace Design m101, Behringer MIC500USB, Cloud Microphones CL-2, Golden Age Pre-73 MKIII, Golden Age Project Pre-73 Jr, DBX 286s and Focusrite Scarlett OctoPre.
The individual product images were sourced from websites, promotional materials, or supporting documentation provided by their respective manufacturers, except for the dbx 286s expander/gate, which was photographed by the author.
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Comments:
11 responses
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Publication of our September 2022 Edition resulted in the following preamps coming off the recommended list above:
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The March 2021 edition saw the removal of the following preamps from the recommended list above, but you can still see our analysis of them:
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As a result of our April 2020 update the following preamps came off the recommended list above, but you can still read our analysis of them:
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Today we removed the Focusrite OctoPre MkII Dynamic Mic Preamp from the recommended list above due to a lack of availability.
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Can any of your rack units convert the processed analog input to MIDI for output? If not, does any manufacturer rack have this capability?
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None of the mic preamps or vocal effects processors, that are on our recommended lists have the ability to convert audio to MIDI.
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Surprised the Millennia HV-35P wasn’t included in the “under $1000” class. HV-3 is used in film scoring and classical music recording everywhere (and in my home studio!)
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It is on our short-list and remains eligible for inclusion, but so far it hasn’t quite rated high enough for us to recommend it: Millennia HV-35P Rating.
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As a result of our February 2018 update of this guide the following models were removed from the recommended list above, however you can still read what we have to say about them:
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I need a preamp mainly for the phantom power source for my blue encore 300 condenser mic, for my vocal performances. I don’t need multi channel. As the venues I am performing have serious power issues,is there any preamp that runs on rechargeable batteries without depending on the power at the venues?
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Vocal Effect Pedals like the TC-Helicon Mic Mechanic 2 can give you what you need. It comes with a built-in mic preamp, it can supply phantom power, and it can run on four AA batteries.
Still, no portable mic preamp can help you if the power issues affect the venue’s PA system. It also can’t save you from the dangers that electrical issues pose, so it would be best to let the venue administration know of any power related problem.
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Disclosure
Author & Contributors
Raphael Pulgar
I've been an audio engineer for 20 years specializing in rock and metal recordings. I also play guitar and produce original music for my band and other content creators.
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