NEW TMP-8 Transformer Mic Preamplifier $2725 AUD + GST (Shipping Weight 3.5kg)

Features for each Channel

  1. 8x Transformer Input / Solid State Output Mic Pre
  2. Custom Made High Performance Transformer Inputs. (-1dB 10Hz to 400khz unloaded)\
  3. 2 x 1Meg Unbalanced Fet DI Inputs
  4. 6 x 1k Balanced DI Inputs
  5. 8 x 20dB Pad Switch.
  6. 8 x Phase Reverse Switch.
  7. 8 x 48v Phantom Power Switch and LED.
  8. 8 x 41 click positions Gain Control from 20 to 60dB.
  9. 8 x Soft Limiters that can be set so A/D Converters don't clip with external 3.5mm Jack for each channel.
  10. 8 x 3 pin Gold Neutrik XLR on Inputs & Outputs.
  11. Available with two sizes of External 110v / 240v Switchmode 48v Power Supply or will run from single 48v 300mA  power rail.
  12. 1 rack Unit high in Stainless Steel less than 90mm or 3.5 inches deep including front panel knobs. (75mm or 3 inches rack depth)

Sounds like

  • This type of Mic Pre is very minimalist & pure with amazingly silky top end and extreme Signal to Noise ratio. The Low end is tighter and fatter which is amazing on drums. Once the soft limiters are set to match the A/D Converters they are being used with, they sound like the Apogee Soft Limit & Prismsound Overkillers do on all eight channels with a blue LED becoming brighter the harder they are driven. This allows you to use your digital like going to tape so you can use every BIT of your digital input giving you more clarity and no worries about clipping.


  • Maximum output into 10k load = +30dBM (limiter disabled)
  • Maximum output into 600 load = +24dBM (limiter disabled)
  • Maximum input pad out = 0dBM
  • Maximum input pad in = +20dBM
  • Minimum Gain with Pad in = 0dB
  • Maximum Gain with Pad in = 40dB
  • Minimum Gain with Pad out = 20dB
  • Maximum Gain with Pad out = 60dB
  • Input Impedance 600 ohm
  • Output Impedance 600 ohm
  • Frequency response is Flat with -1dB roll offs at 10Hz & 175kHz and -3dB roll offs at 3Hz & 225kHz.
  • THD < 0.005%
  • Soft Limiters can be ordered set to almost any level to match different A/D clip points.
  • The list below shows some of the more common settings.
  • +22dBM for Protools HD \ Protools 888 \ Yamaha 02R input \ Mackie HD System \ Mackie DXB-200
  • +20dBM for Aark24 \ ESI Juli@ \ Apogee Rosetta 800 with internal jumpers set to match +20dBu
  • +19dBM for RME Multiface and Fireface
  • +18dBM for Protools 882 \ Digi001 \ Digi002 \ Paris \ MOTU896HD
  • +15.1dBM for Hercules 16/12FW 
  • +10.8dBM for Creamware  A16 \  MOTU 2408 mk II \ Alesis A13 (Needs 7dB pad)
  • (To set levels under +18dBM an external three resistor pad which we can supply is needed to convert your non pro A/D to pro levels)
Mic Pre Amplifiers  
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You can find a great review at under RO Reviews done by Kurt Foster with some recordings and demo's as well at the links below

JLM Audio TMP8, Eight Channel Microphone Preamp Review

JLM Audio TMP8, Eight Channel Microphone Preamp Review

JLM Audio TMP8 in use on drums and vocals.

 JLM Audio TMP8 demonstration / Anatomy of a Drum Mix




Hey Joe ! Here is a small review for your web site

I've been using a number of joe malone's products on my latest sessions inc. After the Fall, Grandville & Mick Hart. The TMP-8 has been used in every application you can think of. I simply love the tonality of this thing, punchy tight bottom with nice airy tops, sounds f*#kin' ace to me ! Also had kik ass results with the VMP-2, from smooth valve warmth to flat out crankin' saturation.

Joes gear has that classic sound we all love and chase. It has the characteristics of your neve, api, plutec, all that shit without the crackles & pops, & a tad more smack !

cheers joe,
Richard Stolz.


Hi Joe

Thought you might like to know that I did my first session with the TMP8 and it's fabulous! I used it on drums, and apart from the kick and toms I didn't even have to eq the drum tracks in the mix! I used a UAD Pultec eq on the mix bus (3db @ 10k), and the whole mix sat together nicely. It'll probably need a tiny bit more top overall, but I'll leave that for the mastering engineer to decide. I also used it for vocals with my AEA R84 ribbon mic and found plenty of gain available, which surprised me, although the singer was loud. I'll try it on a softer singer next time - the AEA needs lots of clean gain, usually 55-60db for vocals.

And finally, the limiters are great - no more worries about overs, that's for sure. I drove them very hard on the chorus vocals (it was a hard-ish rock tune) just to hear them working, and ended up keeping the takes! Normally that kind of level would destroy a take, and the waveforms looked pretty hammered, but sound-wise, it was just what we were looking for :-)

You've got another happy customer!


Frank McGing



HI Joe

Just had to let you know how great your Mic Pre's are with the limiters set for my Paris System. I could crank the gain on the drums and found I didn't have to compress them on mix down. Sounded great as they were!

On Acoustic Guitars, I get the body as well as the clarity. When I want the aggressive Acoustic Guitar in come the limiters and there you have it. I love it !

Against some of the other 'noted' brand names, their value can't be beaten. Looking forward to trying your other products. Keep them coming.

Murrey Seymour

Synergy Recording


Hi Joe,

           My name is Peter Walters. I produced and played bass on the Wiley Reed album “Straight from the Heart” which won 3 Sunnie awards in 2003 – Best Male vocal, Best Blues / R&B album and Best Production-yours truly along with Lynnette Irwin . It was engineered by Mark Scholtes. I thought you might like to know that we used the TMP 8 in the recording with very happy results. 

Kind regards Peter Walters (Walmusic studio)  




Hi Joe - heres a little review of the TMP-8s for you;

I've used the TMP-8s to record drums, bass, acoustic and electric guitar and voice. I found them to be clean and extremely quiet with a very smooth and almost dark (not dull, just not over emphasised or harsh in any way) top end - they sound a good deal more expensive than they are. I had a unit without the soft limiters fitted, however I still found them to deliver a great drum sound on a jazzy hip-hop track I was working on. They did little if anything to colour the signal, but this was a good thing - I could really hear my mics for the first time and the resulting sound tended to react better to compression and EQ. If you are using high quality mics to record a great sounding instrument or performer, the TMP-8s will capture the sound with no loss and allow the performance to shine through. I think such great sounding, high quality mic preamps would be an invaluable addition to any studio, no matter what it's current setup is. In short, the build quality, circuit design and functionality is first class and the sound is transparent in the nicest possible way! Bloody great job!

Cheers, Matthew Redlich  (Matt does now work for me. But he did write this back when he was a poor uni student.)

attached is a little sample of a track that I've used tmp8 drums in, just in case you want to put some sound examples on yr website

tmp8 drums.wma (345KB)