Doug makes the best tube circuits, period. From any manufacturer, or from any time period, you'll not find anything as good as what he puts his name on. I've got 2-VT2s, 1- VT7, and 1- VT4. Beyond owning as many as I can, The best endorsement I can possible give... even when strapped for cash, I find a way to buy them. And when working in another facility out of town, they are on my must have list. I use them every chance I get. May you live long and happily DWF. Thank you hearing the music in the wires.
A follow up question: is the difference in solid state and tube preamp circuits similar to the difference between push pull and single ended tube circuits? I've read that push pull circuits also clip in a square wave, is that always true? I love your podcast, an episode on the differences between push pull and single ended tube designs would be wonderful! Thanks for everything!
None of my designs use push-pull circuitry, which I think is best suited for power amps, so I have not done a lot of experimentation with P-P. The major problem I see with P-P is that the distortion products tend to favor odd-order harmonics, not the even-order (musical) harmonics of single-ended circuitry. The nice even-order harmonics of single-ended circuits are especially musical in triode vacuum tubes. A push-pull solid-state amplifier would seem to incorporate the least musical traits of any amplifying device. But there are really good-sounding push-pull power amps, both solid-state and tube, so it can be done. My preference is for single-ended, vacuum tube designs whenever that is a practical option.
Great video! I have a question: Do even the higher end solid-state preamps, which are marketed as “low distortion”(for example Earthworks ZDT, or Forssell or GML pres) suffer from the same problem with high transient peaks? Or are these problems rectified to an extent in them? Thanks in advance!
I think the best solid-state mic preamps handle transients very well. All preamps will eventually run out of headroom, given a strong enough transient. It's how the transient overload is handled. With high-quality preamps, it comes down to a matter of taste. Obviously I think quality vacuum tube mic preamps sound better than solid-state, but many great records continue to be made with solid-state preamps.
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Doug makes the best tube circuits, period. From any manufacturer, or from any time period, you'll not find anything as good as what he puts his name on. I've got 2-VT2s, 1- VT7, and 1- VT4. Beyond owning as many as I can, The best endorsement I can possible give... even when strapped for cash, I find a way to buy them. And when working in another facility out of town, they are on my must have list. I use them every chance I get. May you live long and happily DWF. Thank you hearing the music in the wires.
Wow, thanks, Ian. You are the kind of audio professional I make these products for -- those of us who want to hear music, not electronics.
Hey Doug, did you ever look into an analog m/s encoder-decoder?
Sweet Doug! The fact that you can turn off the meter and saturate to taste is just so great.
Thank you for these videos.
A follow up question: is the difference in solid state and tube preamp circuits similar to the difference between push pull and single ended tube circuits? I've read that push pull circuits also clip in a square wave, is that always true? I love your podcast, an episode on the differences between push pull and single ended tube designs would be wonderful! Thanks for everything!
None of my designs use push-pull circuitry, which I think is best suited for power amps, so I have not done a lot of experimentation with P-P. The major problem I see with P-P is that the distortion products tend to favor odd-order harmonics, not the even-order (musical) harmonics of single-ended circuitry. The nice even-order harmonics of single-ended circuits are especially musical in triode vacuum tubes. A push-pull solid-state amplifier would seem to incorporate the least musical traits of any amplifying device. But there are really good-sounding push-pull power amps, both solid-state and tube, so it can be done. My preference is for single-ended, vacuum tube designs whenever that is a practical option.
Great video! I have a question:
Do even the higher end solid-state preamps, which are marketed as “low distortion”(for example Earthworks ZDT, or Forssell or GML pres) suffer from the same problem with high transient peaks? Or are these problems rectified to an extent in them? Thanks in advance!
I think the best solid-state mic preamps handle transients very well. All preamps will eventually run out of headroom, given a strong enough transient. It's how the transient overload is handled. With high-quality preamps, it comes down to a matter of taste. Obviously I think quality vacuum tube mic preamps sound better than solid-state, but many great records continue to be made with solid-state preamps.
@@DWFearnHazelriggIndustries I see, thanks so much for your answer!
Where can I hear this Compression?
The VT-2 Mic Preamp and all our products, are available at most pro audio dealers. See our web site for a list. www.dwfearn.com