D.W. Fearn

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn VT-1 Single Channel Mic Pre.

Microphone preamplifiers from D.W. Fearn's VT-series will change the way you think of audio quality. The transparency is astounding. Vocals sound smoother, warmer, more intimate, with a compelling presence. Any microphone and any sound will benefit from the improved clarity, definition, and lack of solid-state artifacts. The VT-1 from tube guru D.W. Fearn recreates the sound of classic tube preamps of the 1960s. Modern components and computer-optimized circuitry, unavailable during the vacuum tube era, elevate this design to a new level of performance.The VT-1 preamplifier was designed for optimal sonic quality, reliability, and durability. Like the best tube equipment of the 1950s and '60s, the VT-1 is built on a heavy-gauge aluminum chassis, utilizing point-to-point wiring. Each vacuum tube is selected for minimum noise and microphonics, and maximum sound clarity. The front panel switches control sealed, gold-contact precision relays for all audio switching, eliminating the possibility of dirty contacts degrading the sound and minimizing the internal audio path. Four class-A triode amplifier sections (in two tubes) in each channel comprise the entire active circuit. This surprisingly simple circuit, along with top-quality components and careful design optimization, results in the sonic superiority that the VT-1 has become known for. All over the globe, VT-1 mic preamps are in daily use in the world's best studios, as well as in home project studios, helping many top recording artists achieve the best possible sound.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). Dual-channel version D.W. Fearn VT-2 also available (see #180272).History of the VT-1 and VT-2 Vacuum Tube Microphone Preamplifiers One day in 1991, I was going through some old masters in a closet at home and came across a reel from 1968. It was one of the first studio recordings I ever made. I pulled the tape box off the shelf and thought about those days. Although I suspected that the recording might be a bit crude, I remembered that the music was pretty good, so I made a cassette to listen to in the car. I kept forgetting to put the cassette in my pocket for a few days, but finally I remembered to take it. That old recording brought back memories of my first studio — and how primitive a setup it was. But listening to that tape was a revelation; some of the sounds were really nice. The vocals were full and warm but still punched through. Acoustic guitars had a depth I don't often hear in current recordings. And the sax solo — wow! It ripped through with a grossly distorted but beautifully powerful sound. That recording was done on a 4-track Scully 280 and mixed to a 2-track Scully. My prize microphone was a Neumann U-87. ...details

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn VRP-1 Red Vented Rack Panel 1RU.

Fearn presents this 1.75 inch (1RU) ventilated rack panel that is painted with the same high-gloss polyurethane paint we use on all our products. The audio rack panel has a small D.W. Fearn logo and vacuum tube icon in gold.The VRP-1 panel is made of high-quality steel, and will match the color of any D.W. Fearn gear made since 2006. (The color may be slightly different for some older units yet the differences in most cases are not too significant.)Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. This is especially important for the more complex products like the VT-7 Compressor (#180292) and the VT-5 Stereo Equalizer (#180291), which have many tubes and generate considerable heat while operating.. ...details

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn VT-2 Dual Channel Mic Pre.

The VT-series microphone preamplifiers from D.W. Fearn will change the way you think of audio quality. The transparency is astounding. Vocals sound smoother, warmer, more intimate, with a compelling presence. Any microphone and any sound will benefit from the improved clarity, definition, and lack of solid-state artifacts. The VT-2 preamplifier recreates the sound of classic tube preamps of the 1960s. Modern components and computer-optimized circuitry, unavailable during the vacuum tube era, elevate this design to a new level of performance.The VT-2 mic preamp was designed for optimal sonic quality, reliability, and durability. Like the best tube equipment of the 1950s and '60s, the VT-2 is built on a heavy-guage aluminum chassis, utilizing point-to-point wiring. Each vacuum tube is selected for minimum noise and microphonics, and maximum sonic clarity. The front panel switches control sealed, gold-contact precision relays for all audio switching, eliminating the possibility of dirty contacts degrading the sound and minimizing the internal audio path. Four class-A triode amplifier sections (in two tubes) in each channel comprise the entire active circuit. This surprisingly simple circuit, along with top-quality components and careful design optimization, results in the sonic superiority that the VT-2 has become known for.All over the globe, VT-2 preamps are in daily use in the world's best studios, as well as in home project studios, helping many top recording artists achieve the best possible sound.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). Single-channel version D.W. Fearn VT-1 also available (see #180271).History of the VT-1 and VT-2 Vacuum Tube Microphone Preamplifiers One day in 1991 I was going through some old masters in a closet at home and came across a reel from 1968. It was one of the first studio recordings I ever made. I pulled the tape box off the shelf and thought about those days. Although I suspected that the recording might be a bit crude, I remembered that the music was pretty good, so I made a cassette to listen to in the car. I kept forgetting to put the cassette in my pocket for a few days, but finally I remembered to take it. That old recording brought back memories of my first studio — and how primitive a setup it was. But listening to that tape was a revelation; some of the sounds were really nice. The vocals were full and warm but still punched through. Acoustic guitars had a depth I don't often hear in current recordings. And the sax solo — wow! It ripped through with a grossly distorted but beautifully powerful sound. That recording was done on a 4-track Scully 280 and mixed to a 2-track Scully. My prize microphone was a Neumann U-87 and that's what w. ...details

D.W. Fearn Pro Audio > Signal Processors > Equalizers >

D.W. Fearn VT-5 Stereo Equalizer.

The VT-5 Stereo Equalizer is a dual-channel version of the acclaimed D.W.Fearn VT-4 LC Equalizer (see #180274). The frequencies, steps, curves, etc. are exactly the same. The VT-5 is a true stereo equalizer, with one set of controls that work on both channels simultaneously.This equalizer will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars, any sound, or even an entire mix. Even with extreme settings, the VT-5 will never sound harsh.This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1 (#180271)/VT-2 (#180272) mic preamp design, so the equalizer has much the same sonic character as the preamps.The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control.The input is line-level, transformer-balanced bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps.All controls on the VT-5 equalizer are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are also custom-made for Fearn by Jensen Transformers Inc. The equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction.Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix.Important Note: Having many tubes, the VT-5 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.The History of the VT-4/VT-5 EqualizerThroughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization circuits, it was obvious to me that the. ...details

D.W. Fearn Pro Audio > Signal Processors > Compressors and Limiters >

D.W. Fearn VT-7 Stereo Compressor.

The D.W. Fearn VT-7 Stereo Compressor has an all Class-A vacuum tube audio path, like all Fearn audio products. The gain reduction elements utilize circuitry that duplicates the sound and characteristics of the finest classic vacuum tube compressors, without depending on tubes that are no longer manufactured. The control circuitry is modern solid-state analog. The two channels may be used independently or linked together for stereo. A built in sidechain high-pass filter may be selected to reduce the compression on bass-heavy material.Controls (each channel): •Threshold •Gain •Attack •Release •Harder/Softer •Separate/Link/Link HPF •The VU meters may be switched between indicating gain reduction or output level.The VT-7 Compressor has a highly transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors.The two channels may be used independently, or linked for stereo. In addition, a third position on the Link switch inserts a high-pass filter (HPF) in the sidechain to reduce the gain-reduction sensitivity of the VT-7 to low frequencies. This is a gentle roll-off, nominally at 100Hz. This allows a bass-heavy mix to have a better frequency balance, and prevents heavy low-frequency audio from modulating the audio level. The VT-7 is equally adept in tracking as well as a bus compressor. Even jazz and classical tracks can be sent through the VT-7 for some mild gain control without obvious effect other than a significant improvement in the overall sound of the mix.Design Philosophy Like all D.W. Fearn products, the VT-7 stereo compressor is a no-compromise design. From the quarter-inch thick front panel painted with the finest polyurethane finishes to the choice of all components and controls, the VT-7 is built to look as great as it sounds. Fearn build products that last, so they use parts with superior durability and longevity. Fearn products are hand-built by craftsman, one at a time, in the USA.Important Note: Having many tubes, the VT-7 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.History of the VT-7 Compression Amplifier Compression (or limiting) is sometimes seen as a necessary evil in the recording process. Often it is used to compensate for less than optimum performance or recording technique. However, when used appropriately, there is no question that good-sounding compression can add loudness, power, and improved impact to a recording. Over many years of recording, I have had the opportunity to use and sometimes own some of the best compressors in the world. For the D.W. Fearn line of products, a compressor was obviously important. I began the search for the ultimate compressor design in 1995 and it wasn't until 2004 that I developed the sound I was looking for. There are several ways to achieve c. ...details

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn VT-15 Vacuum Tube Recording Channel.

The VT-15 Vacuum Tube Recording Channel combines the mic preamp from the D.W. Fearn VT-1, and the DI input functionality of the VT-3, plus the acclaimed dynamics control of the VT-7 Compressor, and the most-often used features of the VT-4 Equalizer.Mic Preamp The mic preamp section has all the features of the VT-1 (#180271) (the single-channel version of the VT-2 (#180272)), plus a built in Line Pad (the same as the LP-1 (#180295), and a front-panel 1/4" jack for an instrument input from an electric or electronic guitar or keyboard.Compressor The compression section is identical to a single channel of the VT-7 Stereo Compressor (#180292), including a switchable high-pass filter in the sidechain to reduce low frequency compression when necessary.Equalizer The equalization section is a scaled-down version of the versatile VT-4 LC Equalizer (#180274). It has a single frequency for each of the LF Boost, LF Cut, HF Boost, and HF Cut. These frequencies were determined by analyzing which were the most often used settings on the VT-4. Approximate equalization frequencies: LF Boost 100Hz, shelving; LF Cut 90Hz, shelving; HF Boost 9.8kHz, with adjustable Q; HF Cut 11kHz, shelving. The controls are continuously variable, from -12dB of cut to +12dB of boost. The HF Q is also continuously variable.Which comes first, compression or equalization? Sometimes you need the compression before the EQ, and sometimes the EQ should come first. The VT-15 does not lock you into only one configuration; a front panel switch allows you to instantly switch from Comp/EQ to EQ/Comp.A full-size true VU meter monitors either gain reduction or output level. The mic/line input connector is a XLR female, and the output is a XLR male, both on the back panel. The Instrument input is a 1/4" jack on the front panel. The D.W. Fearn VT-15 is in a standard rackmount package, 5.25" high (3RU). A rear panel switch allows the VT-15 to instantly be converted from 120 to 240 VAC operation, 50/60Hz.Important Note: Having many tubes, the VT-15 can generate a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.History of the VT-15 Vacuum Tube Recording Channel With the success of the VT-1/VT-2 Vacuum Tube Microphone Preamplifiers, the VT-4 LC Equalizer, the VT-7 Stereo Compressor, and the VT-I/F and VT-3 Vacuum Tube DIs, there was a great temptation to combine the features of all of these products into one recording channel. But I had a problem with the concept. I did not want to be tied into having the compression come before the equalization, or vice-versa, so a prime design goal was to make the order of the processing switchable. That way the user has a choice of compression before equalization or equalization before compression. Different circumstances require different approaches to processing. Achieving this switching with a minimum of noise and level change was solved quickly, but all the. ...details

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn PDB Passive Direct Box.

As a lower-cost alternative to the D.W. Fearn VT-3 Vacuum Tube DI, this single-channel DI box uses the top-of-the-line Jensen direct box transformer in a heavy-duty steel box, finished with the same high-quality paint as the other D.W. Fearn products. It features dual 1/4-inch phone jacks for Instrument and Amp, a Neutrik gold-contact male XLR output connector, and a ground-lift switch.The Passive Direct Box is ideal for recording any electric instrument, such as bass, electric guitar, electronic keyboards, etc. The DI's high-impedance input is designed to properly match any instrument designed to normally feed a guitar amp. The output is 150 ohms, balanced, at mic-level.The PDB Passive Direct Box is an accessory for the D.W. Fearn VT-1 (#180271) or VT-2 (#180272) microphone preamps that provides high-quality direct recording of electric instruments. It may also be used with other mic preamps. The PDB takes a low-level, high-impedance, unbalanced signal (such as from an electric bass guitar) and converts the signal to a mic-level, low-impedance, balanced signal to be fed to a professional microphone preamplifier.•Note that the PDB is not designed to process line-level signals. For that application, the D.W. Fearn LP-1 Line Pad (#180295) would be appropriate.. ...details

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn LP-1 Line Pad.

The D.W. Fearn LP-1 Line Pad is a two-channel accessory for use with the VT-1 or VT-2 Vacuum Tube Microphone Preamplifiers (#180271 & 180272) that isolates the amplifier from impedance variations of the line. The LP-1 is simply a high-quality bridging-type line pad that accepts line-level inputs (+4 dBm nominal) and produces a mic level output. The actual pad loss is 45 dB. When used in conjunction with the VT-1 or VT-2 Input Pad (-20 dB), it allows the mic preamp to accommodate line-level signals from consumer-level (-10 dBV) to high professional levels (+10 dBm or more).The LP-1 preamp line pad is packaged in a heavy-duty die-cast aluminum box, painted with the same high-quality red paint and gold silk-screened labels as the other D.W. Fearn products. The Input and Output connectors are gold-contact XLR.The LP-1 is typically used when the subtle signal-modifying characteristics of the VT-1 or VT-2 are needed on a line-level source, such as a previously recorded track, or at the end of a processing chain. Several LP-1/VT-2 owners use the combination on the overall mix. At least one CD mastering facility uses the LP-1/VT-2 in the mastering chain. The LP-1/VT-2 combination can also often be used to effectively salvage tracks that are otherwise too distorted or "edgy" for master use. IMPORTANT NOTE: The LP-1 is not a "direct box." In most applications, the LP-1 cannot be used to record an electric or electronic musical instrument such as an electric bass guitar, synthesizer, etc. For direct recording of electric instruments, you need either the D.W. Fearn VT-3 Vacuum Tube DI (#180273), or the D.W. Fearn Passive Direct Box (#180294).. ...details

D.W. Fearn Pro Audio > Signal Processors > Microphone Preamps >

D.W. Fearn VT-3 Dual Channel Vacuum Tube DI.

The VT-3 from D.W. Fearn is a dual-channel, all-triode vacuum tube DI ("direct box") for recording electric or electronic instruments. The inputs are designed to provide the proper load impedance for all instruments that have a 1/4" phone jack output. Tube circuitry provides the very high impedance necessary to capture all the details of these instruments.The outputs of the VT-3 are mic level (150 ohm source impedance at a nominal -30dBV). The VT-3 Direct Box is designed to operate into a high-quality microphone preamplifier like the Fearn VT-1 (#180271) and VT-2 (#180272) Vacuum Tube Microphone Preamplifiers.Operation is very simple: plug the instrument into the 1/4" front panel jack and take the output either from the front panel XLR connector, or a parallel XLR connector on the back panel. A second 1/4" jack provides an output to feed a guitar amplifier when necessary. A ground-lift switch helps eliminate ground loop buzz, and a switchable high-pass filter gently rolls off frequencies below 100Hz when required.The two channels are entirely independent and can be used with two different instruments at the same time.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296).History of the VT-3 Vacuum Tube DIAs far back as I can remember, taking instruments "direct" has never sounded very good to me. There always seemed to be a lack of dynamics and a sterile quality to sounds recorded with a direct box (or DI). The first tube DI that we produced was the VT-I/F Instrument Interface. It was a beautiful piece in a large, machined-aluminum case that you could drive a truck over. Unfortunately, the cost of that case made it impossible to build the VT-I/F for a reasonable price. Only about 75 were ever made, but the owners loved them, and we kept getting requests for it. After several years of promises to bring out a rackmount version, we finally did so in 2006. The VT-3 is exactly the same as the VTI/F internally, except that we added a switchable high-pass filter and changed tubes from the 6072A (which we use in all our preamps) to the 6N1P, an excellent-sounding tube used in our VT-4 EQ and VT-7 Stereo Compressor.Before beginning the design of the circuit, I spoke to engineers, producers, and musicians about what they felt was lacking in DI boxes. Almost without exception, they all said, "It's got to have tons of headroom." How much headroom was enough? I spoke to a number of instrument pickup manufacturers and got an idea of the peak output level of a variety of instruments. These figures were confirmed with an oscilloscope placed directly across the output of various electric guitars, basses, pianos, synthesizers, etc.The first design goal was to accommodate the full dynamic r. ...details

D.W. Fearn Pro Audio > Signal Processors > Equalizers >

D.W. Fearn VT-4 Equalizer.

The VT-4 equalizer from D.W. Fearn will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars, any sound, or even an entire mix. Even with extreme settings, the VT-4 will never sound harsh.This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps.The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control.The input is line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps.All controls are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are custom-made by Jensen Transformers Inc. The D.W. Fearn VT-4 equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction.Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). The History of the VT-4 EqualizerThroughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization circuits, it was obvious to me that the passive inductor-capacitor (LC) circuit was the one that sounded the most musical and natural to me. In thinking about how I use equalization, I realized that having simultaneous boost and cut at the low and e. ...details