Specs

The Pro Channel III specs include a frequency response of 12 Hz to 100 kHz, an A-Weighted dynamic range of >110dB, THD of >0.009%, Mic/Line input EIN of -128dBu and -109dBu for the instrument-level input. The total input gain is 60dB. The max balanced output level is +26dBu, with the unbalanced at +20dBu.

Left to Right

The interface is laid out logically in four sections: input, compressor, EQ and output/metering.

In the preamp section, the stepped input gain knob works in conjunction with a +20db gain boost switch (think low-output dynamic and ribbon mics) for setting optimal mic and instrument levels and to prevent input clipping. The XLR mic input is around the back, while the High-Z ¹/₄“ instrument input is on the front.

Setting the impedance switch to the high position can also help with those and offer gently alternate tonal settings. Phantom power is available on the front panel, along with a 6dB/Oct (10 Hz to 250 Hz) high-pass filter to deal with plosives, rumble, low-frequency noise, etc.

Compression

The compressor offers a set of standard controls, including Threshold, Ratio, Attack and Release. The multi-voice promise of the Pro Channel III is realized when you engage the Voice switch to select either tube/Opto or FET dynamics control—first seen on the Solo VLA reviewed in our October issue. The Opto circuit employs a hand-selected 12AT7 tube. The compressor can be bypassed altogether, and the signal path can be set with either the compressor before or after the EQ, which is a console-like pro touch.

EQ

Each EQ band offers + or – 12dB of cut or boost. The low band can be set at 40 or 120 Hz. The mid-band is sweepable from 20 Hz–2 kHz (Low-Mid) and 200 Hz–20 kHz (High-Mid), respectively. The high band is fixed at 12 kHz. As with the compressor, the EQ can be bypassed.

Output

The output section features a large VU-type meter that shows either input or output levels with a Meter Trim set screw to adjust the 0 point accurately. A separate 10-segment LED meter gives visual feedback on the compressor attenuation. Lastly, there is an Output level knob with a range from -∞ to + 15dB, with the 12 o’clock position being 0dB.

Around the Back

The back panel has the XLR input, ¹/₄” insert I/O, and XLR and ¹/₄” outputs with a switch to change the output level from +4dBu to -10dBv. The unit has a robust internal power supply and a 3-pronged power outlet.

In the Studio

The mic preamp delivers solid, quiet and clean results with just the right balance of character. I am a guitarist, and fingerpicked acoustic guitar tracks sounded detailed and open. The gain boost helped get a good, quiet, clean signal from the dynamic and ribbon mics I tried in multiple scenarios. The impedance switch revealed a clearer, almost truer voice from my vintage RCA BK5 ribbon mic. Having a choice of two impedance settings is great, of course, but I am a tad jealous of the continuously variable impedance option offered by the ART Solo MPA.

Being Direct

The High-Z input turns the Pro Channel III into an amazing direct box. My usual signal path for recording bass is from a DI into an Opto compressor. Having those together in a single unit is very convenient. This unit could quickly become a go-to for recording bass in my studio.

What He Said

As our editor, Paul Vnuk Jr., mentioned in his review of the ART Solo VLA, the tube/Opto and FET circuits produce results that compare favorably to the well-known LA-2A and the 1176LN compressors, respectively. I noticed, as Paul did that the Tube/Opto doesn’t grab as hard as an LA-2A. That can be a good thing. Letting some transients through can help on drums. As mentioned, it works great on bass. The FET setting results are in the 1176 ballpark, although slightly “tamer.” It’s worth reiterating that this compressor is not intended to be a clone of either unit.

Color Me Compressed

The tube/Opto compressor controlled fingerpicked acoustic guitar naturally while adding a bit of vintage weight and color. The FET compressor worked better on uptempo strummed acoustic guitar tracks, being a bit brighter and snappier. I was also impressed with how well it confidently controlled sung vocal recordings. It was equally effective on voice-over recordings, where I leaned on the compression a little harder.

Tones

The EQ is well suited for tracking where you aren’t generally making drastic changes. You can high-pass unwanted low frequencies and gently scoop or enhance critical mid and high frequencies. That said, it’s certainly capable of bolder moves and could be a contender in the mix stage when needing a different flavor of EQ. The stepped controls help nicely with mix recall.

Final Thoughts

There are many channel strips on the market. The Pro Channel III distinguishes itself not just with its overall sonic and build quality and specifications but by its unique multi-voiced compressor, and pro features like optional signal paths and the insert loop.

It’s surprisingly hard to find a direct comparable in both features and price. With the Pro Channel III, ART has again found a sweet spot between quality and affordability, making the Pro Channel III a serious contender as a cost-effective alternative to the built-in microphone preamp in your interface combined with a highly effective compressor and EQ adept at tracking and mixing.

Price: $399

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