JLM TMP8 8 channel microphone pre amp

 

 JLM Audio, though little known in the USA is well known among the international professional audio community receiving accolades of the best bands and engineers in Australia, New Zealand, Sweden, Japan and the UK. The subject of this review is an eight pack of mic pres in the Focusrite Red Range / API tradition (referring to the circuit topology, not the sound), the TMP8.

Focusrite Red and API pres are similar in circuit design. The Focusrite Red uses a normal IC Opamp where APIs use discrete. Their individual sound comes from the different transformers and opamps. The TMP-8 uses a custom transformer in the TMP-8, so it sits somewhere between the clean Focusrite Red sound and the fatter API. In no way is JLM trying to copy the API or Focusrite sound, instead they say they want to come up with a new sound or color to add to the recording palette, that is very good and affordable. I think they have got this one just right when is comes to how it sounds with a minimal pure path approach, not normally found at this price range.

Very compact at one rack space high and 2¾” deep, the design incorporates a soft limiter on each channel, which can be set to +10dBM or higher to come in 4dB before the A/D you are using is about to clip. It turns the last 4dB into about 9dB before clipping by transient clipping and log compression and is a completely passive design with a blue led indicator to show how hard it is being driven. The limiters are set by means of mini plugs that are custom fabricated by JLM for each customer’s requirements. The mini plugs are inserted under each channels connectors on the rear panel. If you wish to bypass the limiters, remove the mini plug! I was initially skeptical regarding the quality of these

limiters but after using the TMP8 and hearing how good they sounded, I quickly changed my mind.

 

FRONT PANEL
The TMP8 is housed in a sturdy case made out of brushed 1.6mm stainless steel. The front panel is 3.2mm and fabricated from stainless steel for a clean, modern look. Legends are screened in thick black script providing excellent visibility in low light. There is a convenient scribble area provided on each channel which is perfect for marking with the included white “china graph” pencil. This is followed by the mic pre gain and a led labeled “limit”, which glows when the levels get hot enough to activate the limiter. Channels one and two have ¼” direct inputs rated at one Meg (high impedance) intended for guitars, bass and piezo pickups. The remaining six channels have direct inputs for low impedance sources like dynamic mics, keyboards, synths and line level devices. There are buttons for 48V, 20 dB pad and phase reverse on each channel. At the far right of the unit is the power on off switch.

 

REAR PANEL
The rear panel is very minimal with 8 pairs of gold plated XLR connectors for the input and outputs of each channel and eight mini plug jacks for the limiter presets supplied with the unit. These “pre set” plugs are custom fabricated for each customers DAW input level requirements. Last is the power supply input, on a five pin XLR connector. The 54 volt, 2.2 amp power supply, absolutely not in the wall wart or line lump category, is very substantial.

IN USE
I used the TMP8 in a variety of recording situations including acoustic guitar and bass. I was impressed with the TMP8 on the acoustic guitar, recorded with a Neumann U87ai. The playback was very clean and transparent. There was no hint of color or attitude at lower gain but as I increased the output and started to “push” the limiters a bit, the pre seemed to come alive. The mids were solid and present but never harsh. On a Fender Precision Bass, the TMP sounds effortless. Solid lows without a hint of mud, plenty of gain without distortion and lots of iron in the sound. As a final trial for the TMP8, we brought in a local band called to cut rhythm tracks for CD release. The TMP8 was a match made in heaven for drums! I was able to get tones I needed to the tracks without any eq while the limiters allowed me to push the levels to -3 or higher (digital scale). The TMP8 can take all that you give it without choking, with headroom to +30 dBM into a 10K load! Maximum output into a 600 ohm load is still an impressive +24dBM. The limiters add a bit of thickness and punch and a “Neve like” quality when the inputs are pushed hard. The TMP8 has quickly become my go to choice for drums.

CONCLUSIONS
The TMP8 is solidly constructed, nice looking and most importantly, sounds great in a variety of applications. It would be an ideal sole mic pre for the front end of a DAW with plenty of channels to record live rhythm tracks. When it is accompanied by a cool little rack case provided by JLM as an option, it is perfect for remote applications. It would fit into a lap top computers carrying bag with ease. Orchestral and acoustic recordist will like the TMP8’s natural and effortless sound for documenting acoustic performances while rock and pop producers will love the thicker sound when levels are pushed to the limiters threshold.

The TMP 8 would be at home in any studio, home or commercial, project or professional. I could see it being used by those looking for a cost efficient front end for a DAW or remote recordings requiring the highest quality and portability. The TMP8 retails at about $2100.00 USD depending on the exchange rate and including a 3% currency conversion charge. This is less per channel ($262.50) than just about any but the cheapest of mic pres available. But don’t let the price fool you; the TMP8 will out perform many mic pres costing four times the price. I am sure we will be hearing more from this innovative company.
www.jlmaudio.com
Kurt Foster

Contact info:

JLM Audio
PO Box 12185 George Street
QLD 4003 Brisbane Australia
PHONE + 61 7 33690550
FAX+ 61 7 33690558

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