D.W. Fearn VT-2 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 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.
DW Fearn VT-2 Tube PreAmp
DW Fearn VT-2 Tube PreAmp
DW Fearn VT-2 Tube PreAmp 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 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.
In designing the VT-2, no compromise in sonic quality, reliability, or ruggedness were permitted. 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.
All vacuum-tube design
Clean and airy high end
Fat low end
Unsurpassed warmth, transparency, and musicality
Lo-Z input position for superior performance with transformerless mics
+48 volt phantom power (completely disconnected when off)
Custom-design Jensen input and output transformers for superb sonics
– 20 dB input pad (switchable)
True VU meters (amplifier isolated)
All point-to-point audio wiring
High-performance, fully-regulated power supplies with exceptional reserve
Gold input and output XLR connectors
Polypropylene and polystyrene coupling capacitors
All audio switching through gold-contact, sealed precision relays
International operation on 100, 120, or 220 VAC, 50/60 Hz
CE certified, RoHS-compliant
+4 dBm output
Conservatively rated precision components and rugged construction for stability and long life
Line-level processing with the LP-1 Line Padaccessory
Single-channel version D.W. Fearn VT-1 also available
Direct recording of electric instruments with the D.W. Fearn VT-3 Vacuum Tube DI or PDB Passive Direct Box
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. It is simply a high-quality bridging-type 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 accomodate line-level signals from consumer-level (-10 dBV) to high professional levels (+10 dBm or more). The LP-1 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.