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A Family Affair

The single-channel/mono Solo VLA is nearly identical to the Solo MPA minus the front side ¹/₄” input on the latter. Each Solo Series offering is housed in a matching black 1U 19” rackmount enclosure with a short 6” depth, and they all feature a matching backlit VU meter.

FET or Opto—You Decide

The Solo VLA continues the Solo Series “multi-voice” paradigm. Where the Solo MPA offered a choice of blendable tube or solid-state topologies, the Solo VLA implements a similar idea, offering a choice of tube-based optical or FET-style solid-state compression.

The Analog Optical Isolator (AOI) Opto circuit uses a hand-selected 12AX7 tube (just like the tube stage in the Solo MPA).

Dial It Up

Across the front are standard compression controls via five 31-position detented pots: Threshold (-30dB to +20dB), Ratio (1.25:1 to 20:1), Attack (.25ms to 50ms), Release (.15s to 3s) and Blend (Dry to Wet).

These are followed by three LED-equipped push buttons: Voice (Opto/FET), Comp (Bypass/Active) and VU Meter (Gain Reduction/Output). The final controls are a 31-position Master Output (-∞ to +15dB) and a master power switch.

Plug It In

Rear connections include a choice of balanced XLR or ¹/₄” TRS ins and outs—a nice touch since most pro setups use XLR, while most budget and intermediate audio interfaces are ¹/₄” TRS. There is also a 3-prong IEC jack for the unit’s large internal toroidal transformer.

Back to Basics

The Solo VLA is a basic four-knob compressor in the classic tradition—two classic traditions, actually. Choose your ratio, bring the threshold down onto your audio signal, set your attack and release appropriately to the material, and you are in business. Handily you can use the blend knob to dial in parallel compression without the need to resort to complicated routing schemes.

Color Me Compressed

Of course, the mention of Opto and FET topology begs comparisons with the well-known Teletronix LA-2A Opto compressor and the Universal Audio 1176LN FET. The Solo VLA is not intended to be a clone of either unit in any way, shape or form, and yet…

I set Opto mode to a ratio at 3:1, the attack set one click below 12ms and the release at .60 seconds. When set to 5–10dB of reduction on a lead vocal, I was quite surprised how ballistically close the Solo VLA was to my Universal Audio reissue LA-2A.

The LA-2A was slightly more open and dimensional tonally, while the Solo VLA was a bit rounder and darker. When comparing the recorded WAV files visually, I could see that the VLA let a few more initial transient hits through while the LA-2A was more grabby. Neither are indictments; rather, they highlight that the Solo VLA has its own classic Opto compressor tonality rooted firmly in ART VLA units, past and present.

When I compared the Solo VLA in FET mode to my 20-year-old reissue 1176LN, the two were tonally close. However, the Solo VLA is more of a smooth leveling device than an aggressive one like the 1176LN.

In Use

Moving beyond comparison, the Solo VLA is a very competent vocal compressor—especially in Opto mode. It was a similar experience when used on bass guitar, offering its own firm take on the classic Opto school of compression.

My favorite use was on acoustic guitar, set to a 2.1-ish ratio with a medium attack and release, timed to the strums. It was nice to hit the compressor harder than normal and then dial it back with the blend knob to offer a touch of motion and excitement to the track. I liked FET mode best here, although Opto mode adds a nice spongy weight.

I did not have a pair to try as a bus compressor (drums or otherwise), but the blend knob is handy for use on a boldly compressed mono drum room mic, but again blended back to let the initial transients strike through. It was similarly effective in FET mode on snare drum at a very fast attack and release, offering control and smack.

The Solo VLA is on the “warm” side, but unlike some tube gear, it is not a grit or dirt box.

Final Thoughts

Using the ART Solo VLA, it’s easy to see and hear why VLA compressors have gained such a coveted following throughout the years. The ART Solo VLA is a strong entry that does its lineage proud with versatile, rich, weighted voicings and a broad throw of compression options.

Like its MPA-sibling, the ART Solo VLA retails for $299, making it a great choice for beginners and seasoned pros alike.

 

Price: $299

More From: artproaudio.com

ART History

(Courtesy of ART/Yorkville)

ART was founded in Rochester, New York, by a team of engineers who first worked together at the legendary MXR guitar-pedal company: Phil Betette, Tony Gambacurta, John Langlois, Richard Neutrour and Terry Sherwood.

From the beginning, the company focused on the recording market, and the first products were digital reverbs. “We set out to produce good, solid, reliable products,” recalls Steve Hendee, Export Manager at Yorkville Sound and one of the original ART employees. “No bells and whistles, just affordable, easy to use, and built to stand the test of time.” Over the years, the product lineup expanded to include amplifiers, mixers and signal processors for guitar and bass. Today, the brand continues to serve the recording market, along with live and installed sound.

Its best-known product is the Tube MP, a compact microphone preamp launched in 1995 and nominated for a TEC award in 1996. It was designed to make tube preamps, previously found mainly in big-budget studios, accessible to the average musician. It remains in production today, and next year, in 2025, the Tube MP will celebrate its 30th anniversary.

Yorkville Sound was one of the original distribution partners of ART, and in 1999, ART officially joined the Yorkville family. Today, product development is headquartered at the Yorkville Sound offices outside of Toronto, Canada, in collaboration with a sales and service team that remains in upstate New York.

ART continues to focus on making quality tools that are affordable for any musician and audio engineer. This is due to a company culture in which almost everybody involved with the ART brand is also a player, whether an enthusiast or a professional. In the words of Yorkville Sound CEO Steve Long, who has been reflecting on 40 years of ART, “It’s musicians helping musicians.”

Interview with Steve Hendee

By Paul Vnuk

When did you start with the company?

I started in 1984 and was one of the five original employees. I was previously the production manager at MXR, where everyone came from in the early days. In the beginning, I did the audio testing of all of the products, packaged them and then shipped them. I was also in charge of receiving.

What was the first ART product?

ART started with a half dozen products from MXR—all rack gear, no guitar pedals. The flagship was the 01A, one of the first digital reverbs. It was barely 16-bit, and I believe the dealer cost was around $1,200. It started ART down the road of signal processors.

How has ART evolved over the years?

In its early years, ART was all about digital reverbs, effects and guitar processors—the “Pink Years.” The SGE and later SGX units were everywhere. Then two things happened: Nirvana and ADAT.
Grunge ousted all the rack gear, and many guitarists went back to the basics with a couple of pedals and an amp.

Around the same time, Alesis started the affordable digital recording revolution with the ADAT. ART saw the change and introduced affordable front-end/tube products. Home recording took off, and ART was a large part of that with the Tube MP, ProMPA and ProVLA.

The original Tube MP and ProVLA compressors have achieved a decades-long cult following with beginners and pros alike—why do you think that is?

The Tube MP is arguably the best-selling tube pre of all time. In the mid-90s, there was nothing available at that price point ($149). It was initially laughed at, but then people started checking it out, and sales went through the roof. A tube pre for mics and active DI for instruments, it brought tube sound to the masses. The Tube MP is still in production today and is basically the same as the original. Some parts changed to surface mount, but overall, it is the same model.

It is the same for the ProVLA. The advent of affordable home digital recording allowed the ProVLA to succeed. Although not an LA-2A, it offered people a tube/FET leveling amp at a very cost-effective price point. Since it was tube-based, it was popular for hot rodding and mods. The current ProVLA II is an enhanced ProVLA. Cosmetically it has a very attractive extruded front panel. Internally, it’s the same original design, but with the addition of a link switch, the unit can be used in mastering situations.

What is your all-time favorite legacy ART piece?

There were so many favorites, but I’ll go old school with the SGX2000. It was a great rack mount GTR FX processor (and NightBass for bass players!). The SGX2000 offered a tube preamp along with digital and analog FX. Add on the X-15 Ultrafoot remote pedal with two expression pedals, and you had a formable guitar rig.

What is your current favorite ART product?

There are a couple, but the new Pro Channel III has it all. A channel of classic ART pre, tube/FET compressor and a semi-parametric EQ make for the perfect and affordable channel strip. It’s like the whole history of ART lives inside this mode.

Is there anything else you think people should know about ART?

ART and its products have stood the test of time for 40 years. We still hold true to the company’s beginnings, offering sold, quality, affordable products to musicians and audio engineers. It has been an honor to be part of the ride.

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