Grace M101 Microphone Preamp Review

[amirm]

Looks like a good device, although I would have thought it’d be outside the scope of this site?

We have quite a large contingent of pro audio members who come here for other related reviews such as studio monitors and audio interfaces. This fits in for their needs. After all the site name doesn't distinguish between pro and consumer use of audio.

 

[DWPress]

Darn, I just picked up a Motu M2 to replace my gen1 Focusrite 2i2 thinking I was making a huge upgrade....

 

[Ricardus]

I wonder what the use case of such a device would be in today's market

This is sort of a silly question. The use case is any studio that records stuff and uses microphones (so basically ALL of them). And in studios where the microphones need a preamp, so basically all of them.

If you're recording you need a mic preamp for every input channel you have a mic attached to. Also, this price range isn't outrageous in the pro audio world. A quick search of Sweetwater Sound shows a 2-channel mic pre for $3450. Basically, like in other arenas, you can spend as much as you want for high-end or boutique gear. A well-respected tech friend of mine is not a fan of the Grace stuff. I'll have to ask him again, why.

 

[Ricardus]

Personally, I have no need for 8 mic preamps.

What are you recording? A typical session for me includes taking 8-12 channels of drums to tape, bass guitar, scratch guitar, and scratch vocals (guide track). 16 mic preamps are a must in that scenario.

 

[Rja4000]

We have quite a large contingent of pro audio members who come here for other related reviews such as studio monitors and audio interfaces. This fits in for their needs. After all the site name doesn't distinguish between pro and consumer use of audio.

It's also good if Pro standards are moving towards less legends and more actual objective performance.
Improve the quality at the very source of all recordings.

Same for studio monitoring chain: we'd need stronger quality standards.

And this is absolutely not in contradiction with creativity and "coloring" the sound.

 

[Jimster480]

Looks interesting but expensive, but atleast it is a competent product.

If my wife finally starts using her pickup for her Violin... I will check this out if my UMC202HD can't handle it.

 

[SHB]

What are you recording? A typical session for me includes taking 8-12 channels of drums to tape, bass guitar, scratch guitar, and scratch vocals (guide track). 16 mic preamps are a must in that scenario.

Yes, for you, that’s appropriate. I, though, am a solo act.

I’m doing digital not tape so there’s a lot of MIDI/synths/samplers/virtual musicians being used. Even when I was dealing with other artists, it was striped one track at a time and the drummer was playing Roland Vdrums.

 

[yo!]

Looks interesting but expensive, but atleast it is a competent product.

If my wife finally starts using her pickup for her Violin... I will check this out if my UMC202HD can't handle it.

Even a 202HD is capable to do very good recordings. Especially with condenser mics.
Just instrument in and low output dynamic mics are more on the average side ... but still OK.

Things like the grace are the tools you want when using vintage mics, ribbons, low sensitive dynamics and such 'boutique' stuff.
Not to forget the massive output voltage, combined with pro mixers that's a complete different gameplay (not so much in the home studio enviroment).

 

[phoenixsong]

This is sort of a silly question. The use case is any studio that records stuff and uses microphones (so basically ALL of them). And in studios where the microphones need a preamp, so basically all of them.

If you're recording you need a mic preamp for every input channel you have a mic attached to. Also, this price range isn't outrageous in the pro audio world. A quick search of Sweetwater Sound shows a 2-channel mic pre for $3450. Basically, like in other arenas, you can spend as much as you want for high-end or boutique gear. A well-respected tech friend of mine is not a fan of the Grace stuff. I'll have to ask him again, why.

A silly answer. It's like answering the question "why is Macdonald's still relevant in 2026" with "it keeps you fed duh". Why not go for a versatile integrated interface like the Topping E2x2 OTG or smt which should be audibly transparent and costs much less?

 

[sergeauckland]

A silly answer. It's like answering the question "why is Macdonald's still relevant in 2026" with "it keeps you fed duh". Why not go for a versatile integrated interface like the Topping E2x2 OTG or smt which should be audibly transparent and costs much less?

I would say a different market or use-case. The E2x2 is perfect for a stereo recording onto PC, less likely to be used into a large mixing desk. Although I have a E2x2, I think its great value is when connected to a PC. I don't see it being useful without a PC.
The Grace unit, I can see a high-end studio having a number of these, each feeding a desk channel.

Whether the Grace unit represents value for money is somewhat besides the point. A prestigious studio also has to be conscious of image when listing their equipment roster. That's one of the reasons why Apogee and Neve equipment features so prominently.

S.

 

[Cbdb2]

Yes, for you, that’s appropriate. I, though, am a solo act.

I’m doing digital not tape so there’s a lot of MIDI/synths/samplers/virtual musicians being used. Even when I was dealing with other artists, it was striped one track at a time and the drummer was playing Roland Vdrums.

You dont use stereo for drums?

 

[andymcbain]

Whether the Grace unit represents value for money is somewhat besides the point. A prestigious studio also has to be conscious of image when listing their equipment roster. That's one of the reasons why Apogee and Neve equipment features so prominently.

S.

They’ll also be conscious of reliability, a good warranty and the routing flexibility that a standalone pre can offer over that of an audio interface (though this pre might not be the obvious choice for plumbing into a chain of analogue processors while recording)

 

[Jimster480]

Even a 202HD is capable to do very good recordings. Especially with condenser mics.
Just instrument in and low output dynamic mics are more on the average side ... but still OK.

Things like the grace are the tools you want when using vintage mics, ribbons, low sensitive dynamics and such 'boutique' stuff.
Not to forget the massive output voltage, combined with pro mixers that's a complete different gameplay (not so much in the home studio enviroment).

Ah okay, I'm not sure because I haven't used the pickup on my wifes Violin.... I bought it for her 7 years ago and she has been too afraid to install it all this time.... although now she is getting to a point where she might need to install it for performances.

 

[SHB]

You dont use stereo for drums?

No, I use MIDI for generating every drum. On mix down, I use synths/samplers, reverbs, etc. and that drum mix is done in stereo or surround.

 

[enricoclaudio]

I’m a big fan of Grace Design equipment. I personally own their m905 Monitor Control System and it’s by far the best monitor controller I have ever used. Their equipments are NOT cheap but the level of craftsmanship and features make them one of the best in the industry. You can say Grace Design is the Benchmark Audio of the pro audio world.

 

[MC_RME]

I'm not sure there actually is a norm.
Personally I do 20Hz-20kHz, but that's an arbitrary choice.
Most vendors give 150 ohm dBu(A) figures.

AFAIK there is no 'norm'*, but EIN is indeed typically given with A-weighting, as the value then is about 2.5 dB higher (better) than when measured unweighted. Unfortunately marketing divisions and manual writers don't understand that and often remove the A, so one can never be 100% sure unless the A is explicitely stated.

Grace might better match the overall quality of this product by referring to EIN in dBu in their spec table, as 'Noise referred to Input' in 'dB' is quite meaningless.

* Rane (Mr. Bohn) explained already in 2001 (or earlier) that EIN should be given unweighted. Unfortunately while he donated all the excellent Rane Audio Reference to the AES, see

Pro Audio Reference: PAR - AES

Pro Audio Reference Concepts, terminology, standards, history, and assorted surprises What is the PAR? The Pro Audio Reference attempts to explain all the various terms commonly used by engineers in the pro audio field. (Scroll down for the full history.) You can either search for a term in the...

aes.org

EIN is just a link in there to the (old) Rane website - which no longer includes that one as Rane has changed their product line completely. Currently you can still find it here:

Audio Specifications

To understand specifications, you must understand the tests. This note describes audio tests used to characterize audio performance with conditions.

web.archive.org

 

[enricoclaudio]

I have two of these pres and they didn't include power supplies at this price either.
The Grace is looking like a bargain to me. View attachment 505333

I’m addicted to Rupert Neve P2MB plugin on my Yamaha Rivage PM5. I love Silk Red/Blue and use that plugin on each vocalist mic and also in the FOH master mix

 

[G|force]

I’m addicted to Rupert Neve P2MB plugin on my Yamaha Rivage PM5. I love Silk Red/Blue and use that plugin on each vocalist mic and also in the FOH master mix

PM5, nice! I'm still using a Tascam DM3200 dinosaur or a little SSL SiX. Have you looked at what red/blue does with Plugin Doctor or Bertom EQ Curve Analyzer?

 

[Ricardus]

Yes, for you, that’s appropriate. I, though, am a solo act.

I’m doing digital not tape so there’s a lot of MIDI/synths/samplers/virtual musicians being used. Even when I was dealing with other artists, it was striped one track at a time and the drummer was playing Roland Vdrums.

I say "to tape" because I started on tape, but don't work on tape that much anymore.

 

[Ricardus]

A silly answer. It's like answering the question "why is Macdonald's still relevant in 2026" with "it keeps you fed duh". Why not go for a versatile integrated interface like the Topping E2x2 OTG or smt which should be audibly transparent and costs much less?

Because that doesn't answer the question either. Someone who would buy a Grace 101 would not buy a topping anything.

literally no one I know who records seriously uses anything that says Topping on the tin. Not that it's not a nice piece of gear but it's not recognized in the pro audio community.