TEST: ART Tubemix

 When it comes to handy, analog desktop mixers with an interface integration, the name ART is probably familiar to many users. Anyone who can handle a manageable number of inputs when it comes to podcasts or home recording will certainly have noticed the American manufacturer with production in China when researching new equipment.

In order to stay in the conversation, the manufacturer is installing a tube in its latest product, the ART TubeMix, which is probably the most analogue component since control elements have been around, in this case the ever-popular 12AX7 / ECC83. Tube consoles are as old as recording technology itself, although most interested users are more familiar with them from recording temples in the 1960s such as Abbey Road Studios, rather than from current console technology. Let's see whether the beloved "non-linearity" of this component in the form of "heat", compression and saturation also comes into its own in the small mixer.

Construction and construction

The ART TubeMix is a 5-channel mixer in which channels 3 and 4 have been combined to form a stereo signal. The same stereo channel strip can also be operated in mono via a jack input, but does not have any adjustable pre-amplification in the form of a gain control. However, these can be found on channels 1, 2 and 5, whereby the first two channels in the input section can choose between jack and XLR, while channel 5 only has a high-impedance jack input.

While the first two channels have a control range of -7 dB to 33 dB (Line) or 0 dB to 43 dB (XLR), channel 5 has the option of processing the applied signal from -12 dB to 26 dB. In general, channel 5 quickly attracts attention because, in addition to purely high-impedance signal management, an amp simulation can be switched to the channel using a pressure switch. The practical test will show whether this is really an amp simulator or a much more useful speaker simulator.

To save space, all controls on the surface of the housing are designed as rotary controls. In addition to a three-band EQ (80 Hz, 2.5 kHz and 12 kHz), each channel has 2 AUX controls (left / right), a peak LED, a panorama control and a level control. The AUX channel is available as a TRS stereo circuit in/out, and the mixer also has a left/right control room out and a left/right main output. The TRS signal routing allows you to manage mono effects using a simple jack plug and corresponding stereo effects using a Y-whip.

In order to visually support the analogue character of the ART TubeMix, the mixer has two VU meters, which, with their natural inertia, always bring a certain relaxedness to the level control. Fast-paced LEDs may provide instant level control, but the more “musical” solution is still VU meters.

In the master area you can also use pressure switches to switch the signal from the VU meter, the 2x 6-digit LED display, phantom power and the different assignments of the signal to the control room and main mix. Except for the input socket of the included power supply and the USB connection socket, all connections are located on the top of the housing.

The device itself is very solid, which can be seen in the comparatively small dimensions (H x W x D): 82 mm x 195 mm x 245 mm by the hefty weight of 2.5 kilograms. The extent to which you can become comfortable with the “rustic oak” side panels depends on your personal level of suffering.

Tube circuit and USB

Anyone hoping for fat saturation in the style of a guitar amplifier will unfortunately have to lower their expectations. In terms of circuitry, the tube was placed behind the gain control and in front of the filters, so that it can only color the applied signal. The tube can be switched to either the first two channels or channel 5; the stereo channel 3/4 is left out completely.

According to the manual, the USB 2 interface used (16-bit / 48 kHz) is recognized by all modern PCs (from Windows 7) and Macs (from OSX 10.9) computers; no driver installation is required. The mixer also comes with an installation CD which contains a manual, the recording software Audacity 2.1.3 and an ART Asio driver. The very unusual 18 V / 1000 mA AC power supply is of course also included.

Practice

When you switch on the ART TubeMix, the first thing you do is check whether the power plug has not been plugged in correctly. Why? Well, the product does not have a power LED. Not even the VU meters are illuminated, i.e. H. You can't tell what level is present in dim lighting. Without an applied signal that activates the LED chains, you can only activate the 48 V phantom power and rely on the LED for the operating voltage, which is definitely not in the spirit of the inventor and you also run the risk of, e.g. B. to send a passive ribbon microphone to the eternal hunting grounds in no time. No offense, but in my opinion something like that is not possible.

When it comes to feel, however, the ART TubeMix scores well. The controls run evenly, have a pleasant resistance and, with the exception of the volume controls such as level, main level, control room and the AUX channels, have a 0 grid, which also makes blind operation easier. Unfortunately, this cannot be said about the Amp Simulator, Tube Assign and Meter-USB Source pressure switches. Black switch on a black background with a short stroke, and also without a status LED, forcing the user to concentrate on which status he has just activated.

First, let's take a closer look at the filters. The corner frequencies adopted from the early Mackie desks do a good job, although I personally like the mostly neglected mid filter the best. The 12K comes across a little harsh, while the 80 Hz boosts the bass range in a somewhat undefined way. All in all, however, the EQ does its job quite well. Now let's take a look at the two highlights of the ART TubeMix, the tube circuit and the amp simulator.

What could already be assumed based on the key technical data is also immediately noticeable in practice. Understandably, given its reputation when it comes to tube preamps, ART would like to sell the TubeMix as a tube mixer, but unfortunately this is not so easy to implement. In order to adequately integrate a preamp tube into the sound process, an anode voltage of approx. 170 - 250 volts is required, which must be generated via appropriate transformers. An 18 volt power supply cannot do this, so you shouldn't have too high expectations when it comes to tube circuitry.

Activating the tube in the signal path creates a clearly perceptible compression of the signal with a slight low-mid/bass boost, which is much more sophisticated than the EQ's bass control. At the same time, however, the transparency of the signal also decreases, so that solo monitoring benefits from the tube circuit, but in the sum mix the signal decreases in its succinctness. The extent to which this is an advantage or disadvantage depends on the source material and the total mix. Everyone has to have their own experiences here.

Due to the circuitry, you cannot change the saturation of the tube using the gain control, so activating the tube is equivalent to a kind of booster function in terms of volume, compression and filter behavior. Here too, personal taste decides.

Finally, the amp simulator still has to flex its muscles. To do this, I played an electric guitar directly into the desk via a Pushking Overdrive. It is noticeable that even with the Amp Simulator circuit deactivated, the high-impedance input is designed to have significantly lower treble than the other channels. The infamous scratching above 4K, which creates a distorted guitar, can hardly be heard here and only increases significantly when the tube circuit is activated.

Activating the Amp Simulator is supposed to create an emulation of guitar amplifier and speaker simulation, but only extends to a targeted increase/decrease of typical frequencies. The circuit cannot reproduce the dynamic and tonal behavior of a classic amplifier/loudspeaker combination. This input may be useful for quickly capturing a compositional idea, but it can never replace high-quality hardware emulation or even professional microphone recording.

Conclusion

The ART TubeMix is a handy yet massive mixer/USB interface on the market that attracts attention with two unusual features. A manually activated tube circuit and an amp simulator increase the flexibility of the product, which easily and quickly transports almost all signals into the DAW and out again.

I hope I no longer have to complain about the lack of any operating displays and the unlit VU meters with the 2.0 edition of the product.

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Additional Informations:

ART Audio, established in 1988 by the visionary Tom Willis, stands as a testament to the fusion of technical ingenuity and the profound love for music. This company, steeped in the tradition of high-fidelity audio craftsmanship, has dedicated itself to elevating the listening experience of recorded music to an art form.

### The Core Philosophy: A Symphony of Tubes and Technology
At the heart of ART Audio's ethos is a deep-seated reverence for valve amplifiers. In an era dominated by digital advancements, ART Audio swims against the current, championing the rich and warm sound that only valve technology can produce. This deliberate choice is not just a nod to nostalgia but a well-considered decision to harness the unique ability of valve amplifiers to imbue digital sound sources with a more organic and less abrasive quality.

### Expansive Product Landscape: Crafting Sonic Masterpieces
ART Audio's catalogue is a veritable cornucopia of auditory delights, each product meticulously designed and handcrafted to deliver an unparalleled auditory experience:

1. **Eloquent Tube Amplifiers and Preamps**: The crux of their offering lies in their range of tube amplifiers and preamps, such as the lauded Art Audio Carissa SET 845 and the Art Audio PX25 MKii. These devices are not just equipment but conduits of pure, unadulterated sound.

2. **Turntables and Phono Stages**: For the vinyl aficionados, ART Audio extends its craftsmanship to turntables and phono stages, ensuring that the warmth of analog sound is captured in its most pristine form.

3. **Mono-Block and Stereo Power Amplifiers**: From the robust power of their mono-block amplifiers to the compact efficiency of their stereo amplifiers, each model is a testament to ART Audio's commitment to excellence in sound reproduction.

4. **Integrated Amplifiers**: Merging the functionality of preamplifiers and power amplifiers, their integrated amplifiers offer a harmonious blend of convenience and top-tier audio performance.

### The Artisanal Touch: Handmade in the UK
Every piece of ART Audio equipment is a labor of love, hand-assembled in the UK with an unwavering attention to detail. This artisanal approach ensures that each product is not just a piece of technology but a masterpiece of audio engineering.

### The ART Audio Experience: Beyond Listening
Owning an ART Audio product is not merely about listening to music; it’s about experiencing it. The company strives to create a deeper connection between the listener and the music, transcending the mere act of listening to create an immersive, emotional experience.

### The Audience: A Loyal Following
ART Audio has garnered a dedicated following among those who appreciate the finer nuances of sound. Their products are a staple in high-end audio setups, revered by audiophiles and music lovers alike for their ability to bring recorded music to life.

### Looking to the Horizon: Innovating While Honoring Tradition
ART Audio stands at the crossroads of tradition and innovation, continuously evolving to meet the demands of the modern audiophile while staying true to its heritage. This balance ensures that ART Audio remains at the forefront of the high-fidelity audio equipment industry, now and in the future.

In essence, ART Audio is more than just a manufacturer of high-quality audio equipment; it is a purveyor of musical experiences, a bridge between the past and the future of sound technology. The company's unwavering dedication to quality, coupled with a deep understanding of the emotional power of music, firmly positions it as an illustrious name in the realm of high-fidelity audio.