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.
The DNE PWM Compressor module inherits the digital Pulse Width Modulator (PWM) compressor circuitry from the VNE/VT-7. Without getting too far in the weeds, there are several popular compression circuit designs, with the main analog variants being VCA, FET, optical, and variable gain (Mu). Although rare, digital variants like PWM exist, and when well implemented, they manage wide dynamics transparently and are capable of very fast response. However, on the DNE, attack and release times have been optimized to simplify the interface by offering the choice of Slow or Fast, rather than a range of values. In the context of a channel strip, these fixed values work well with many sources and music styles. Most of the time, I used it as a guardrail to make sure I didn’t clip the A/D converter, which admittedly might be using a sledgehammer to crack a nut, but the results were almost invisible, especially on sudden peaks from a crash cymbal or guitar amp. I’m a fan of having a compressor in the recording path, mainly for catching peaks. But even when not actively compressing, additional gear affects the sound. Having a specialist like the DNE is an asset for featured elements such as vocals or instrumental leads. For fun, I tested it as a sound effect. When purposefully crushing a snare track or room mic, I found it easy to dial in a controlled earthquake without excessive (unusable) breakup. At no time did I see the built-in attack and release options inadequate or constraining. Perhaps the best “smasher” application is on bass guitar (Fender Precision Bass on a rock song). Blending the DI from a DVA into the DNE and beneath a mic’d bass cabinet brought the articulation direct inputs are known for, while adding a subtle weight to an already rich amp track.
Finally, I unboxed the DLC Tube Equalizer, hoping to get it over with, as I expected nothing interesting from this processor. I really didn’t. And here is where I remind everyone that I’m often a moron. Have you ever talked to someone who uses the original D.W. Fearn VT-5? To the person, you’ll hear things like, “If there were a natural disaster, and I could only save one piece of gear, it would be my Fearn EQ.” That should have been a hint. The DLC is a passive equalizer circuit, such as the one used in the VLC and VT-5. It even shares the same hand-wound inductor and filter capacitors as the VLC, though the audio path contains some variations in the amplifier design. Like the full-sized units, the DLC features input and output transformers. The EQ has a high and low frequency range, with no bell. The four control pots are full range, with discrete roles: Boost or Cut. The Boost knobs range from flat to +12 dB, and the Cut knobs run from flat to -12 dB. That means it’s possible to boost and cut at the same time. And while many know about that “Pultec trick,” you haven’t lived if you haven’t made those changes by hand using real knobs. Try changing two variables at once with a mouse. The real-time interplay is essential to get the most out of that method. DLC users will appreciate how quickly complex filters can be auditioned and selected.
Although there is no correct answer to the chicken and egg paradox of which comes first: EQ or compression, I often EQ first. For some reason, I conducted most of my D Series (as a channel strip) tests with the DLC Tube Equalizer after the DNE PWM Compressor. It turns out that this method was a wonderful accident. This equalizer is a tone-shaping marvel that made me forget that it lacks a bell. At reserved settings, the DLC added high frequency content that sounded more like sticking your head in the live room with the source instrument than about making the top louder. Likewise, boosting the bass was nice, but I felt it also improved the lower mids in a meaningful, “chest voice” way. Similarly, shaving off some of the roof on cymbal mics that might have been set up too close, or spitty backing vocals, calmed down those tracks, rather than pushing them into the land of muffled AM radio. Using both boost and cut in the low frequency area can do some magic with a kick drum, depending on the bass part. Likewise, using both controls on the top can allow supporting instruments to fill the required frequency window without colliding with the more prominent tracks. I found myself using it on everything, even if it wasn’t necessary. Clearly, I loved the DLC module.
After torturing these units for months, I’ve come to the following conclusions: In the past, many people lacked the budget or opportunity to use the original rack units, but the D Series changes that. Hazelrigg Industries has made it possible to approach the sound of the full-sized hardware in the 500 Series format. Studios can opt for single mono channels, building their chains as they go. Likewise, choosing a stereo pair from the pre, compressor, or EQ designs is an attractive possibility. Finally, I found that setting up the DNE and DLC was inordinately fast; two areas notorious for becoming time-sucks when tracking. The quicker we get sounds, the sooner the magic happens. The D Series modules get out of the way, while providing fidelity that’s a step above many other products in this space. For those who have room in their 500 Series chassis, want something superb yet different, and value getting good sounds quickly, test these little monsters. They’re going to sell fast, so don’t doddle.