ART Pro VLA III - Dynamics processor

• 2-channel microphone preamplifier
• 2U rack-mount format
• Class-A FET microphone preamplifier
• Selectable 12AT7 valve voicing
• Selectable solid-state voicing
• Voice switch
• Character switch
• Variable microphone impedance range
• Variable low-cut filter
• XLR microphone inputs
• 1/4-inch instrument inputs
• 20 dB boost
• Phase reversal
• 48 V phantom power
• Analogue VU meters
• Balanced XLR outputs
• Balanced 1/4-inch outputs
• Switchable between +4 dBu and -10 dBV
• Universal internal power supply
• Maximum gain 70 dB
• Maximum output level +27 dBu
• Input impedance (XLR): 600 ohms to 80 kOhm
• Input impedance (instrument): 1 MOhm

Two-channel opto-compressor with tube character and flexible voicing

The ART Pro Audio Pro VLA III is a 2-channel rack-mount opto-compressor that combines classic analogue dynamics processing with modern flexibility. As the direct successor to one of ART’s best-known compressors, this third version remains true to the tried-and-tested concept of optical compression, a genuine 12AT7 valve and musical response, whilst specifically expanding its range of functions to suit modern studio workflows. Whether smoothing out individual tracks, thickening vocals, taming dynamic instruments or acting as a gentle bus compressor to bring the mix together, the Pro VLA III is designed for musical, unobtrusive compression.

The Pro VLA III utilises an optical compression circuit known for its rather smooth, musical and organic response. This is precisely what makes it ideal for sources where compression is needed to provide a noticeable benefit without stifling the performance. Vocals, bass, guitars, synth pads and even entire sub-groups benefit particularly well from this type of dynamics processing.

Thanks to its dual-mono operation or coupled stereo mode, the compressor can be used flexibly on individual signals as well as on stereo sums or buses.

Voice switch for valve or solid-state

New to the third generation is the Voice switch, which allows you to choose between a warm valve signal path and a clean solid-state signal path. This makes it easier to adapt the compressor’s character to the source material. For vocals, bass or bus compression, the tube mode can add more warmth and density, whilst the solid-state mode offers a more direct and controlled response.

Extended ratio range for more precise compression

Another new feature is the extended ratio range, now going as low as 1.25:1. This is particularly useful for subtle processing, such as on stereo sums or in the mastering stage. This means the Pro VLA III can not only pack a real punch, but also work very subtly and musically when just a touch of control or ‘glue’ is required.

More headroom, less noise, better stereo symmetry

Compared to its predecessors, the new version offers more headroom, lower noise and improved channel symmetry in stereo-link mode. This is particularly important for stereo buses and mixing applications, as it ensures the left and right channels work together more cleanly and consistently.

Full control right on the front panel

Each channel features variable controls for threshold, ratio, attack, release and output, plus a separate bypass per channel. Another particularly handy feature is the simultaneous metering of input, output and gain reduction, so you can see at a glance what’s happening sonically and dynamically at any given moment.

This makes the Pro VLA III not only musical, but also pleasantly straightforward to use in day-to-day work.

The rear panel features balanced XLR and 6.3 mm jack inputs and outputs. In addition, the unit can be switched between +4 dBu and -10 dBV, which facilitates integration into various studio or project studio set-ups. The universal internal power supply supports worldwide operation and eliminates the need for external power supply solutions.

The Pro VLA III is not an aggressive effects compressor, but rather a musical all-rounder with an analogue character. This is precisely why it is suitable for many typical studio tasks: thickening vocals, controlling bass, taming guitars, smoothing out synths or gently bringing a mix together. For those who see compression more as a musical tool rather than a brutal level-squeezer, this offers a very attractive solution.

Input impedance

10 kΩ balanced / unbalanced

Maximum input level

+20 dBu in +4 dBu mode

+10 dBV in -10 dBV mode

Maximum output level

+20 dB max

Frequency response

10 Hz to 50 kHz, +0 / -1 dB

THD

less than 0.005 per cent in solid-state mode

Equivalent input noise

-99 dBu in +4 dBu mode, A-weighted

-107 dBu in -10 dBV mode, A-weighted

Power supply

100 to 240 V, 50/60 Hz, 25 W

Dimensions

8.9 x 48.3 x 23.4 cm

Weight

4.76 kg

The particular appeal of an optical compressor often lies less in brutal control than in its ability to smooth out material musically and hold it together. This is precisely why units such as the Pro VLA III often work so well on vocals, basses or mix buses. They provide audible compression without constantly sounding like a compressor. This often makes them more valuable in day-to-day studio work than particularly aggressive specialist solutions.