In 2011 Black Lion audio released the B12A, their take on APIâs well-known 312A preamp. Not marketed as a clone of the 312A, the B12A represented Black Lionâs re-engineered take to deliver that vintage âAmericanâ sound at a fraction of the price of the real deal. After much fanfare, and the success of the B12A MkII (upgraded input transformer) and the B12A Quad (four-channel version), Black Lion has brought us theB12A MkIII: Their newest iteration of this vibey classic. Its clean black faceplate with white LEDs makes for a sharp look, bringing it into line with their other products, such as the B173 MkII [Tape Op#141].
TheB12A MkIIIis very portable, in a half-rack space unit, and can be paired with another for a single rack space of stereo glory. All the usual features are there: switches for 48V phantom power, phase, input Pad, Hi-Z operation, with a single knob for Gain. The back of the unit has an XLR in and balanced 1/4-inch TRS output. I had to use a TRS to XLR cable, but if youâre like many who have a console or interface with TRS inputs, itâs business as usual.
In practice, theB12A MkIIIcertainly holds its own, though obviously in comparison to API preamps at twice its value, the differences begin to show as one could assume. That being said, theB12A MkIIIdoes the job that youâd expect from an API-like pre: fast transient response, articulate high end with smooth but rich lo-mids and lows. The biggest difference to my ear was the midrange, which was more scooped and/or clear, depending on what youâre looking for. TheB12A MkIIIwas also cleaner sounding to my ears, in the sense that API pres can get harmonically complex fairly quickly, which again, could be a good or bad thing depending on the sound you want. For instance, this could offer an advantage if youâre recording something thatâs naturally murky (like a Fender Precision bass DI, an old synth, or perhaps when using a darker mic). It depends on the context â Iâll never turn down the chance to use a classic-styled preamp so long as I know its strengths and weaknesses. If Iâm recording a Gibson ES-335 with a Royer R-121 ribbon [Tape Op#19] then sending it to a tube compressor. I wouldnât think twice about using theB12A MkIIIto save myself some low-mid build up that may occur with one of my real APIs.
A great addition might be to include an output knob that allows for higher gain settings. Itâs not a problem if youâre feeding into a compressor or something similar to duck the level, but this is one feature that would give it a leg up on some of my other more faithful API-style pres. Generally speaking, however, if youâre someone whoâs looking for a classically American sound on a budget, theB12A MkIIIis a great option â particularly if you want two of something at a very appealing price point!
($399 MSRP;blacklionaudio.com) Buy From Sweetwater -Dave Hidekthechurchrecordingstudio.com