From day one, Hazelrigg Industries has been knocking it out of the park with their variants of classic D.W. Fearn [Tape Op #37] hardware, such as the VLC-1 preamp & equalizer [#117] and the VNE tube compressor [#147]. However, many have been hoping for 500 Series versions of this gear. With the new D Series modules, the Bucks County, Pennsylvania, company introduces a full signal chain with three 500 Series designs: The DVA Tube Mic Pre/DI, the DNE PWM Compressor, and the DLC Tube Equalizer.
I initially requested a pair of DNE PWM Compressors to compare to the D.W. Fearn VT-7 [Tape Op #58]. But co-founder Geoff Hazelrigg suggested that most people will use the D Series modules as a studio chain, a situation that should have been obvious to me, so I agreed. I'm glad I listened to his recommendation. These units all have a characteristic sound and personality, making all three worth examining.
The DVA Tube Mic Pre/DI is a hybrid microphone preamplifier based on the Hazelrigg Industries VLC-1 and D.W. Fearn VT-2 preamp. Although the input circuit is identical to the one found in the VLC-1/VT-2, including a 6072A vacuum tube, and relies on transformers on both the input and output stages, there are some internal differences. The DVA’s secondary gain section uses a low distortion / high output solid-state path to replace the output tubes found in the rack units. Note: I marvel at how much of the original circuit made it into the DVA. In speaking with tube gear makers over the years, all have assured me that collapsing valve rack gear into a single 500 Series module is a sizable challenge. No, fitting a tube, the other necessary components (including adjusting for sufficient heat dissipation), and doing it under the power supply limitations of the host chassis, is a technical miracle if it sounds decent – and the DVA sounds much better than “decent.”
For those who have never used the VT-2, it’s important to understand that it is unlike most tube preamps. The DVA is no exception. I’ve struggled to describe the performance, so work with me here. If I had to pick one word, it would be “big.” Yes, it can be loud and clear, but it’s more than that. Sources seem to be more present across the frequency range while retaining a sense of dimension, as if a mono track somehow captured a hint of stereo space. The VT-2 has been an open secret among national voiceover talent, and the DVA carries on this tradition as well. On instruments, it brought out a sense of force to a mono PZM on a usually reserved upright piano. But it really smacks on snare and toms, or on a drum room mic. On a Taylor acoustic guitar, the DVA captured the highs without adding the harsh artifacts characterized by some tube preamps. This is not to say that the DVA is without teeth. Engaging the 20 dB pad and using the Gain to bring the signal back up will drive the tube harder. Since the DVA is capable of 60 dB of gain, you push for more vibe by attenuating the signal before it reaches the input pad. As for drums, I would love to hear an entire kit tracked exclusively through DVAs. Translation: Get giant drum sounds without samples, and get off my lawn.