ART Solo VLA
Review by Paul Vnuk Jr.
Tube-based Optical or FET Compression
Last month, we reviewed the Solo MPA microphone preamp, part of a trio of new Solo Series processors announced by Applied Research and Technology (ART) at last year’s winter NAMM show. We continue our Solo Series journey with the multi-voiced, tube Opto/FET-based Solo VLA compressor.
Happy 40th!
2024 is the 40th Anniversary of the company, which was started in Rochester, New York, back in 1984. ART has kindly provided us with some company history, and we also interview Steve Hendee, one of the company’s longest-tenured employees. We will get to our celebration momentarily, but first, let’s meet the new Solo VLA.
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.
Recording Magazine Article -Here-