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Wow, I just heard the Millennia M-2b is discontinued for good, no more made. If I won the lottery I would have 24 channels of those and call it completed. They are simply outstanding. I feel blessed to have at least 2 channels. I guess I have what will go down as one of the worlds most amazing preamps. The M-2b are now Vintage.

The M-2b is a two channel, high voltage, transformerless, 100% Class A biased, all vacuum tube stereo microphone preamplifier delivering the essential nature of triode musicality.

The advanced M-2b circuits employ differential topologies, ultra-high headroom, electrically correct transformerless coupling, high voltage rails, hand-selected componentry, unfailing attention to power and ground integrity, and much more.

Why a vacuum tube mic preamplifier All audio circuits, regardless of topology, whether tube or solid state, impart some coloration. In all topologies, Millennia seeks to minimize circuit-induced artifacts while retaining as much original sonic information as possible at the output. Nevertheless, even in these refined tube and solid-state topologies, there remain subtle sonic distinctions. If we were to subjectively characterize our vacuum tube topologies, some descriptions which come to mind include a heightened sense of ambience and "euphonic space," a subtle but enhanced musical "sweetness," and a particular quality of "intimacy" not normally associated with our solid-state designs. By contrast, one might say that Millennia's range of semiconductor products (HV-3, Mixing Suite, TT-FET paths, etc.) present a tactile, acoustically lifelike rendition of even the most difficult and complex spectra, exceptional dynamic stability, and superior objective performance in areas of THD, common mode rejection, noise, frequency response, and output drive capability.

Alas, both Millennia design topologies (vacuum tube and solid state) offer incredible realism, yet each technique approaches accuracy from a different sonic direction. Vacuum tubes offer audio performance which semiconductors cannot. Semiconductors offer audio performance which vacuum tubes cannot. Both have a significant and complimentary role in professional audio. Millennia now makes available the finest in both worlds.


  • BK (DPA) +130V mic inputsclass="xf-ul"> [LIST]
  • DC inputs for ideal performance with dynamic andclass="xf-ul"> [LIST]
  • ribbon microphonesclass="xf-ul"> Features
  • Musical, involving, euphonicclass="xf-ul"> [LIST]
  • High speed transformerless, pure Class A, 350 voltclass="xf-ul"> [LIST]
  • triode designclass="xf-ul"> [LIST]
  • Differential topology: no attenuator "pads" requiredclass="xf-ul"> [LIST]
  • Effortless dynamics, vividly realistic ambienceclass="xf-ul"> [LIST]
  • >35 dBu output headroomclass="xf-ul"> [LIST]
  • High resolution gain controlclass="xf-ul"> [LIST]
  • Precision potentiometers, ultra-premium componentsclass="xf-ul"> [LIST]
  • Built for critical professional applicationsclass="xf-ul"> [LIST]
  • Gold audio connectors, tube sockets, and relaysclass="xf-ul"> [LIST]
  • 3/8" thick radius extruded aluminum face plateclass="xf-ul"> [LIST]
  • Durable mirror-gloss anodized finishclass="xf-ul"> [LIST]
  • Mil spec 16 gauge cold-rolled steel chassisclass="xf-ul"> [LIST]
  • Ultra-clean toroid power supply: internal sub-chassisclass="xf-ul"> [LIST]
  • Hand machined aluminum knobs,class="xf-ul"> [LIST]
  • illuminated IT&T push buttonsclass="xf-ul"> [LIST]
  • Richly musical vintage vacuum tubes availableclass="xf-ul"> [LIST]
  • Mogami Neglex OFC audio wiringclass="xf-ul"> [LIST]
  • Silver Teflon power wiringclass="xf-ul"> Specifications
    Minimum Gain
    14 dB

    Maximum Gain (3 ranges with continuous trim)
    50 dB

    Frequency Response (+0 / -3 dB)
    4 Hz to 130 kHz

    Noise (50 dB Gain, 10 Hz - 30 kHz, 150 ohm Source)
    -116 dB EIN

    Total Harmonic Distortion + Noise (30 dB Gain, 10 Hz - 20 kHz Bandwidth, 0 dBu Out)

    Intermodulation Distortion (50 Hz & 7 kHz) 35 dB Gain, +27 dBu Out

    Phase Response (35 dB Gain, 20 Hz - 20 kHz, +26 dBu Out)

    Phase Response, Stereo Deviation (35 dB Gain, 20 Hz - 40 kHz, +27 dBu Out)

    Common Mode Rejection Ratio (30 dB Gain, 1 kHz, 100 mV C.M.)
    > 60 dB

    Slew Rate (35 dB Gain, +27 dBu Out)
    > 20 Volts per microsecond

    Maximum Input Level (20 Hz - 40 kHz, 14 dB Gain)
    +20 dBu (no attenuator pads required)

    Maximum Output Level (20 Hz - 40 kHz, 10 kilohm Min. Load)
    > +35 dBu

    Interchannel Crosstalk (30 dB Gain, 1 kHz, 0 dBu Both Outputs)

    Phantom Input Impedance
    3.800 ohms

    Output Impedance
    120 ohms

    DPA (B&K) Mic Powering
    +130 V dc max, (non-phantom)

    Phantom Powering
    +48 V dc, +/- 2 V dc

    Power Consumption
    50 watts maximum

    Power Requirements
    Selectable: 100-120, 200-240 V ac, 50/60 Hz

    Dimensions/Shipping Weight
    19" W x 3.5" H x 12" D, 26 lbs.

  • audiokid Thu, 02/23/2017 - 17:06

    pcrecord, post: 447781, member: 46460 wrote: That's what I thought. I went to the website a few days ago and didn't see it... :(

    I contacted them today and their response was that they only sold one in the last year. What a shame sign of the times.

    DonnyThompson Fri, 02/24/2017 - 04:27

    That's unfortunate.
    But as you said, a sign of the times.

    Sometimes - and I mean occasionally - in my journeys as a home studio consultant, I'll see nice gear; Millennia, Neve, Grace, SSL, Neumann, AKG, Manley, UA, ...
    But it's pretty rare in the home studio scene. Mostly I see Behringer, Samson, M-Audio, Tascam, and entry-level Presonus and Focusrite stuff. Mics like 57's, 58's and budget-level AT's round out the inventory.
    (I see a lot of AT2020's.)

    I-O's are generally Behringer or M-Audio. Sometimes I'll see a UA, but never anything by Antelope, Prism, RME...

    I can't help but wonder if the lack of hi-caliber gear in home studios - beyond the price tags - is also due to the styles of the music that the people who own these small "studios" are into and are producing; Rap, Hip Hop, Thrash Metal, and projects that are nothing but completely VSTi driven compositions ( Dance, House, Trance, etc).... truthfully, in so many of these current styles that are popular with younger recordists, high-caliber gear wouldn't really matter all that much anyway. So maybe, just maybe, a factor in the caliber of gear being used is partially style-driven?

    The home studios where I typically see the finer pieces of gear - nice preamps, nice mics - are usually doing a lot of acoustic-centered stuff (classical, folk, country, bluegrass) and/or are owned by people who used to operate or work at pro studios, who are accustomed to the upper caliber gear, and who know the differences between budget and pro.
    That being said, I'm not sure the majority of their clients can really hear the difference, (or would even care if they could?)

    And, with so many people putting together their own recording rooms at their homes (on what is probably a weekly basis), far less people are doing work at pro rooms.
    As stated here on RO many times before, it's not a good time for pro studios, and so many of the purchasers of the upper-level gear - like Millennia - were pro/commercial facilities.


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