TK Audio DP3 Review
Product released
2023
Reviewed at
€1999
Weight
5kg
Dimensions
W19″ D~7″ H1.75″
2023
€1999
5kg
W19″ D~7″ H1.75″
The TK Audio DP3 is a dual-channel mic preamp that combines clean modern gain with three distinct colour options. Each channel can run through a Class-A stage, a germanium circuit, or a saturation circuit, allowing you to choose between transparent detail and vintage character.
Up to 80 dB of gain, sweepable high-pass filtering, selectable impedance, and a direct instrument input. It's designed to handle a wide range of studio recordings. Built in a sturdy chassis with quality transformers, the DP3 will give you flexibility to cover both everyday tracking and more character-driven recording.
Out of the box the DP3 comes as a 1U, rack-mount dual channel preamp with sturdy metal faceplates and illuminated switches. Each channel offers up to 80 dB of gain, a Class-A stage, germanium and saturation circuitry, phantom power, a -30 dB pad, and selectable input impedance (1600 ohm or 400 ohm).
There’s also a Hi-Z instrument input with a direct mode that bypasses the mic input stage, useful for recording electric guitar directly. A sweepable high-pass filter covers 30-400 Hz to help clean up low end rumble.
The output level control sits after the Class-A stage so you can push the transformer hard without clipping earlier stages. The DP3 delivers up to +26 dBu of max output level. It uses Lundahl transformers at the front end and a Carnhill transformer in the Class-A stage.
The DP3 feels built for pro spaces as soon as you lift it. It’s heavy, solid, with a no-nonsense layout. The switches click firmly; the knobs feel weighty, in a good way. Setting up is intuitive—patch in mics, engage phantom power, choose impedance, then dial gain.
Moving between Class-A, saturation, and germanium modes reveals obvious differences: clean modern, gritty warmth, or soft-edge colour. The Hi-Z input is well built; switching to direct mode lets you hear instrument tone without transformer character, for more control. The high-pass filter responds smoothly; even at low cutoff it cleans up rumble without hollowing out midrange. For a first listen, the DP3 sounds like it has more capability than many single-channel pres in its price band.
In clean mode the DP3 delivers transparent, quiet gain.
Vocals sound detailed and open; instruments preserve their natural harmonics. When you engage germanium you hear both even and odd harmonics; it softens the very top while adding warmth to mids.
The saturation stage adds more grit and odd harmonic distortion—useful for adding character to guitars or backing vocals. Class-A mode introduces low-mid punch and thickness, especially noticeable on drums, guitars or even bass going through DI + Class-A.
The combinations are interesting: saturation + Class-A gives heft, modern + clean gives precision. The sweepable HPF keeps things tight without making them sound thin. Across gain settings the noise floor stays low.
Loud sources handled well with no nasty behaviour if you pad or back off correctly. It’s capable both for polished modern tracking and for more coloured, vintage-flavoured takes.
Each channel of the DP3 has a bank of switches: Class-A, germanium, saturation, pad, polarity invert, impedance selector, phantom power. The meters are headroom meters with eight LEDs, letting you see how hard the internal stages are working even before the output trim.
Gain control is stepped to allow precise matching and level setting. The Hi-Z input has its dedicated switch; the direct mode bypasses input transformer and mic front end so you can record instruments with different behaviour and character. The high-pass filter is variable (30-400 Hz), which helps tailor low end per source. The output level control is after the Class-A stage so you can push for transformer tone without clipping early in the chain. Physical build is robust; switches are illuminated for visibility.
Compared to boutique pres that aim for vintage tone, the DP3 competes well with models like the Warm Audio WA-273 or Neve-style preamps when using its Class-A path. It gives more tonal options than single-mode pres like many clean solid-state units.
If you want one workhorse preamp that can do clean and vintage, the DP3 is aimed at you.
Engineers who record multiple sources—vocals, instruments, room mics—and need different tones will find value. Recording guitar and bass DI tracks, drum overheads, lead vocals benefit from its flexibility.
Studios with rack space to spare will appreciate the build and usability. If your room or interface already adds a lot of noise, or you need ultra-clean minimal coloration, this may be more than you need, but for many recording situations it offers more options than many single voiced pres in the same price bracket.
The TK Audio DP3 is a strong hybrid mic preamp offering a broad range of tonal options in a single unit. It blends vintage warmth with modern clarity through its three character circuits, high-quality components, and broad gain. It handles both quiet and loud sources well, has useful feature set (pad, HPF, Hi-Z, impedance switches etc.), and feels built to last. It’s not perfect — some will prefer simpler gear or ultra-clean pres for certain tasks — but the DP3 delivers excellent flexibility. For a studio that does many styles of work and values having one unit that can shift personalities, the DP3 is a compelling and capable choice.