Best Budget Mic Preamp Hardware ($100 to $1000)

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.

Specifications

• Channels: 1
• Input Connectors: 1 x XLR
• Output Connectors: 1 x XLR
• Dimensions: 2" x 4.5" x 2"
• Weight: 0.85 lbs.

The sE Electronics DM1 Dynamite is a compact, transparent mic preamp designed to enhance the performance of low-output microphones. It effectively provides 28dB of gain using a low-noise Class-A design, ensuring clean amplification without introducing noise or distortion. Powered by the phantom power of your preamp, the DM1 eliminates the need for batteries or external power supplies.

This device is handy for passive ribbon mics and moving-coil dynamics when your regular mic pre lacks sufficient gain. It maintains a flat frequency response from 10Hz to 120kHz, making it suitable for various applications. However, due to its fixed 28 dB gain, the DM1 may pick up more noise in some situations. Users should be mindful of noise sources and consider using noise reduction techniques if necessary.

Overall, the sE Electronics DM1 Dynamite is a great mic preamp for boosting microphone signals, especially for low-output mics. Its transparent amplification and ease of use make it a valuable addition to any mic locker.

Specifications

• Channels:1
• Mic Preamps:1
• Input Connectors:1 x XLR
• Output Connectors:1 x XLR
• Dimensions:3.78" x 0.75"
• Weight: 0.17 lbs.

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 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.

Specifications

• 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.

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.

Voiceover example recorded with the dbx 286s*

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 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.

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 Behringer Ultragain ADA8200 is an 8-channel ADAT Expander and mic Preamp designed for recording and audio production. It features new Midas-designed microphone preamps and ADAT lightpipe ports for digital interfacing. The front panel includes mic and line inputs, and the device offers respectable sonic qualities with a well-controlled noise floor and ample gain.

While it may not compete with high-end preamps, it provides decent performance for its price range. The global phantom power can be turned on or off using a push-button on the front panel, and a rear-panel slide switch with limited master internal clock sample rates determines clocking options.

The Ultragain ADA8200 is a budget-friendly solution for expanding audio interface I/O capabilities, especially considering the added Midas-designed preamps. It offers eight channels, a convenient front-panel layout, and ADAT connectivity, making it practical for home studios and project setups.

However, its sonic quality and clocking limitations may not the needs of some users. The gain knobs aren't notched so setting gain for a stereo pair of mics may be difficult to get precisely. Also note that the audio does not pass through from front to rear without using a loopback via ADAT cables

Overall, it's a practical choice for those on a budget who need additional channels and preamps.

Specifications

• Channels: 8
• Mic Preamps: 8
• Input Connectors: 8 x XLR, 8 x 1/4" TRS
• Output Connectors: 8 x XLR
• Dimensions: 1.75" x 19" x 8.5"
• Weight: 4.6 lbs.

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 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 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 however 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.

Specifications

• 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.

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.

Specifications

• 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.

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.