Introducing the all new dual-channel vacuum tube preamplifier with mic, line, and instrument inputs: the 652!

The unique circuit provides up to 60 dB of gain using the vacuum tube input stage, followed by a master attenuation control in the discrete output buffer stage. Want a clean yet musical replication of the source? How about the creamy saturation of an esoteric vintage preamplifier?

The 652's gentle drive characteristics allow for a broad tonal palette, depending on the gain selection and how hard you hit it with signal. It can be used with all types of microphones (including ribbons) and the line level input pad allows you to add warmth and coloration to any track from a digital audio workstation. The switched ¼” DI jack on the front is perfect for the direct recording of unbalanced instruments.

Vintage sound, feel, and vibe. Hand-soldered and crafted with passion. The ultimate stereo tube preamp for the modern studio.
  • Vacuum tube (12AX7) input stage with 12-postion GAIN rotary switch (5 – 60 dB)
  • High voltage transistor buffer output stage with MASTER variable attenuator
  • Sifam AL20SQ isolated VU metering with traditional "ballistics"
  • Class-A operation, low noise topology
  • Custom Lundahl input and output transformers
  • Sealed switching relays with gold-plated contacts
  • Input impedance switch for XLR (300 ohms, 1200 ohms)
  • Line-level pad switch for XLR (15K ohms)
  • ¼" DI instrument input (4.7 Meg ohms)
  • Phase inversion switch
  • High-pass filter switch (80Hz)
  • Phantom power switch (+48V DC)
  • Regulated linear power supply with current limiting
  • High-quality Beldfoil® shielded wiring used throughout
  • 16-gauge steel chassis with 3/16" thick anodized aluminum front
  • 2 Year Limited Warranty
  • Specifications
    Input Impedance
    300 ohms, 1200 ohms (Mic)
    15K ohms (Line)
    4.7 Meg ohms (1/4" DI)
    Maximum Input Level
    +6 dBu (XLR, 1200R)
    -8 dBu (1/4" DI)
    Maximum Output Level
    +18 dBu
    XLR Output Impedance
    < 65 ohms
    Recommended Minimum Load
    300 ohms
    Frequency Response
    18Hz - 50kHz (-3 dB)
    High Pass Filter Characteristics
    -3 dB @ 80Hz, 20 dB/decade
    Maximum Gain
    60 dB (XLR, 1200R)
    EIN Noise
    -126 dBu (20Hz - 30kHz)
    -128 dBu (A-weighting)
    Noise Factor
    5 dB ref. 150 ohms (20Hz - 20kHz)
    +2 dBu to +18 dBu, 0.03% to 2%
    VU Meter Calibration
    0 VU = +4 dBu
    Tube Per Channel
    1x 12AX7
    Phantom Power
    +48V DC Regulated
    Power Sequencing
    Soft start for +/-12V DC supply
    Soft start for +260V DC supply
    30s turn-on delay for output relays
    Output relays mute immediately at power-down
    Power Requirements
    110-120VAC/220-240VAC, 50/60Hz, 33VA max
    Power Consumption
    24 Watts
    19" W x 3.5" H x 12.25" D (2U)
    483mm W x 90mm H x 311mm D
    16 lbs.
    Click here to download the 652 user manual
    Frequently Asked Questions
    What type of sound can I expect from the 652?
    The 652 gives you the sound of tubes and transformers with a flat frequency response, incredibly low noise, with a smooth and silky top end. The unique circuitry gives the ability to vary the amount of harmonic content depending on the gain selection and input signal level. You can easily achieve that "vintage" tube sound without accepting the inferiorities of gear from days gone by.
    Does it include a pad?
    Yes, the 652 has a 50 dB pad to switch the XLR input from "MIC" to "LINE" level, so it can be used on a mix buss, for warming up previously recorded tracks, and as a mastering tool for adding harmonics and subtle compression of signal peaks.
    Which input impedance setting should I use?
    There are two choices for input impedance: 300R and 1200R. Most microphones will interface best in the 1200R setting. The 300R setting is a low input impedance and will give a slightly altered frequency response depending on the microphone’s source impedance in conjunction with the 652’s input transformer. It is recommended that you try both settings with each microphone to find the best sound for you.
    What makes the 652 different from other tube preamplifiers on the market?
    Many manufacturers aim for low distortion at large output levels. The idea of the 652 is to take the sonic warmth of vintage vacuum tube preamplifiers (soft asymmetrical clipping and transformer saturation) and combine it with the best qualities of solid-state preamplifiers (low noise, wide gain-bandwidth product, low impedance output buffer) for getting that harmonically-rich character in a modern studio environment.

    In fact, some manufacturers are now offering -6 dB or similar level outputs specifically so we can drive the preamplifier circuitry for more analogue character. Modern converters and audio interfaces can be driven into overload trying to achieve this sound. Therefore, the 652 was designed for both copious amounts asymmetrical tube clipping and transformer saturation at lower output levels.
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