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Hazelrigg Industries has earned a reputation for bringing the warmth and musicality of classic tube gear into the modern studio. Built in collaboration with legendary designer Doug Fearn, the Hazelrigg 500 Series lineup delivers the sonic character and build quality you'd expect from their full-size rack gear, but in a compact, portable format.
In this edition of Hear The Gear, Vintage King’s Bryan Reilly put the DVA tube microphone preamp, DLC inductor EQ, and DNE PWM compressor to the test across a range of instruments. Below, you’ll hear the raw, unprocessed recordings of each instrument, along with detailed breakdowns of the gear and settings used. But first, let’s dive into what makes each module unique.
The Hazelrigg Industries DVA is a hybrid tube mic preamp inspired by the D.W. Fearn VT-2 and Hazelrigg VLC. It uses a single 6072a vacuum tube and features transformers on both the input and output for rich harmonic coloration. The input stage mirrors the VT-2 design, while the make-up gain is handled by a clean, high-output solid-state amplifier to fit the 500 Series format.
The DVA also includes a front-panel instrument input, polarity reverse switch, -20 dB pad, high-pass filter, and phantom power. Whether you're after clean fidelity or a bit of tube-driven saturation, the DVA offers a flexible front-end for any source.
Based on the passive EQ circuit in the Hazelrigg VLC (and the D.W. Fearn VT-5 before it), the DLC features a vacuum tube input stage and a hand-wound inductor for silky-smooth tone shaping. Like its big siblings, the DLC includes transformers on both input and output, with carefully selected filter capacitors delivering a refined, musical response.
You’ll find high and low boost and cut controls, along with frequency select switches for each band. It’s an intuitive, musical tool—great for shaping tone without sacrificing character. Best of all, you can boost and cut different bands simultaneously to recreate the classic “Pultec trick.”
The DNE compressor is derived directly from the Hazelrigg VNE and D.W. Fearn VT-7, using the same Pulse Width Modulation (PWM) circuit design. Known for ultra-fast response and smooth, transparent gain control, this circuit is capable of everything from subtle glue to aggressive punch.
Attack and release are selectable via two-position switches (Fast/Slow), and the high-pass filter in the sidechain helps the compressor react more naturally to low-frequency material. Stereo linking is available if your 500 Series rack supports it. With an LED gain reduction meter and output indicator, the DNE makes it easy to dial in just the right amount of compression.
For this session, Bryan Reilly recorded a full track using the DVA preamp, DLC EQ, and DNE compressor—no plugins, no additional processing. Below, you’ll hear the raw recordings of each element, along with the specific settings used.
On the vocal track, the DVA pairs perfectly with the U47’s vintage vibe, adding a touch of tube silkiness. Bryan used the DLC EQ to add some air on the top-end, provide some low-end support, and help tame the proximity effect with the Low Cut. Meanwhile, the DNE compressor provides smooth, transparent control that keeps the vocal consistent and upfront.
The drum track for this song was created by recording samples of the live kick and snare, then using those samples to program a groove, and mixing in a mono overhead recording of Bryan playing along on the drum kit.
The U 47 FET captured plenty of weight and punch from the kick, and the DVA brought out the body and low-mid impact with a touch of tube color. The DLC’s wide low-end boost helped round out the subs, while a high-end lift added click for definition without sounding hyped.
This snare had a Big Fat Snare Drum dampener on the head, giving it a deeper tone. The DVA preserved the snare’s natural crack, while the DLC sculpted the top and bottom for added clarity and body. The DNE added a firm smack with fast attack and release settings, helping the snare sit forward in the mix.
Same as the snare, the floor tom also had a Big Fat Snare Drum dampener on the head for a deeper, darker tone. Bryan used the DLC to add some weight and presence with the low and high-end boosts, plus cut some of the mudiness in the low-mids. No compression was needed on this track, as the overheads picked up plenty of attack.
The ribbon mic’s natural warmth paired beautifully with the DVA’s tube stage, capturing a full, musical image of the kit. The DLC helped add shimmer to the cymbals while maintaining the ribbon’s smooth texture. A light touch of compression from the DNE brought glue and cohesion without flattening dynamics.
The DVA’s DI input delivers a full, round tone with just a hint of tube texture, while the DLC tightens up the low end and emphasizes string articulation. The DNE’s fast compression evens out the performance, ensuring the bass locks in with the kick drum.
The DVA captures the AKG C 414’s detailed high end, while the DLC shapes a balanced tone, cutting mud and enhancing sparkle. The DNE’s slow attack preserves the pick attack, letting the guitar’s natural dynamics breathe.
This track was recorded hot to add a bit of grit, adding harmonic richness to the Fen-tone. The DLC scoops out boxiness while the DNE’s faster compression tames strumming transients, creating a tight, rhythmic counterpart to the left mic.
The ribbon mic paired with the tube preamp gave this track a smooth, vintage tone with subtle saturation from the DVA. The DLC emphasized the amp’s high-mid sweetness and fattened the lows just enough. The compressor gently held things together without dulling articulation.
The smooth tube tones of the DVA paired perfectly with the AEA ribbon mic and classic Leslie speaker on this track. Bryan used the DLC to add a bit of low-end and brought out the Strat’s sparkle with a hearty high-end boost. Some moderate compression with the DNE helped keep the Leslie’s signature swirl consistent.
Hazelrigg Industries’ 500 Series modules bring top-shelf tube tone and expert design into an accessible, modular format.
What's most impressive is how well these three modules work together as a cohesive signal chain. The tube warmth from the DVA pairs perfectly with the musical EQ curves of the DLC, while the DNE's transparent compression glues everything together without sacrificing dynamics.
Whether you're building a complete 500 Series rig or looking to add some tube magic to your existing setup, the Hazelrigg Industries DVA, DLC, and DNE deliver the goods.
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