ART Tube MP Studio V3 BK

The pots (knobs) are a bit noisy when turning them, as if they already needed contact spray, when I received the unit.

The contour selector dial knob's mark is also a bit misaligned, so it's not always easy to see which contour is selected, as the dial's mark may seem somewhat in-between two positions.

Apart from that, I'm satisfied with it. It solves the problem of making my ribbon mics easier to work with, as several of the contour settings include a hipass filter, and some boosting of presence or treble frequencies.

I like its sound, and it CAN actually saturate the signal, if required.

Worth mentioning is its "medium input impedance" as it's described in the manual. It does change the sound of f.e. ribbon mics a bit. For this reason, I like using my ribbons with the (amazing!) sE DM1 inline gain booster, which fixes the impedance issue. This solution will essentially give your ribbon mic two sound signatures: one mellow, and one that's more open.

After using expensive valve preamps when recording in studios, I was after a cheaper version for my home studio; something that would add warmth to a bland digital signal.
At a reasonable price, I find that the ART Tube MP Studio V3 does just that.

The preamp itself comes with presets for certain instruments or vocal types, although after experimenting with these, I don't always go with their suggestions depending on the tone I'm after.

Playing around with input gain also is quite interesting, and with a clear VU meter and LEDs to indicate overloading signal paths, you have a clear insight into what simple adjustments can do.

The phantom power +48v is great for condenser mics too.
Another use for this preamp that I have found useful is using it as a DI for both bass guitar and acoustic guitars.
Obviously the sound quality is subjective from person to person and I have read mixed reviews about this. Ultimately, this is no Neve preamp, so don't be under any illusion that it is; however, great and easy to use for simple home demos.

As I needed this to use in the UK, it came with an EU to UK plug converter, this was it's only downside... being provided with a genuine ART UK adapter would have been much better as now the adapter+EU/UK converter is extremely cumbersome and doesn't stay in the socket happily without a bit of gaffer tape to hold it in place. DO NOT use any third party adapter as an alternative as the mA has to be exactly 1000mA at 9v AC. Most third party adapter tend to be around 300-500mA and can do serious damage to the preamp.

In Thomann's defence, I never raised this as an issue and I'm sure they would have resolved the matter.

So, to summarise: perfect for home demos and use as a DI, just be wary about the power source - check with Thomann if buying in the UK

First of all, I have to say I love the looks of this piece of equipment with its old-school VU meter. Aesthetically it looks much nicer and like a more expensive machine compared to the higher grade Art preamps.
There are a number of presets with the main difference in sound between them being different eq profiles, principally more treble or less. The other difference is whether you want the (preset and non-user-adjustable) limiter to work or not. Honestly I couldn't tell the (very subtle?) variations between the "neutral" and "warm" versions of the presets.
It's a good active DI as well.
It does add a subtle pleasant sonic aspect to the sound thanks to the magic of the tubes--this magic mostly consisting of a natural soft compression inherent to the design of the tube itself. I used it for recording and even during practice to alleviate the digital harshness of most of the equipment we get to use these days. Recommended for both its sonic properties and DI usefulness.
However it's not quiet like a thousand-dollar piece of gear and there is a great difference in the input level of the presets with the limiter always on as opposed to the sounds without the limiter. Their outputs are not matched well and the VU meter and the red overload light function at completely different levels. The decay time is quite long on the limiter facility so you want to make sure that the signal never triggers it greatly as the significantly squashed sound will result in poor recordings.