Professional Documents
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V T- 7 3 7 S P
P u r e C l a s s A M o n o Va c u u m Tu b e / D i s c r e t e
P r e a m p l i f i e r, O p t o - c o m p r e s s o r & E q u a l i z e r
Operation Manual
© 2016 Avalon Industries Incorporated. Release 2.0
V T- 7 3 7 S P
Operation Manual
1.0 Introduction
Welcome to Avalon and the world of Pure Class Twenty-two sealed silver relays provide
A music recording systems. The Vt-737sp is an hard-wire bypass and multiple routing options
extremely powerful, versatile and musical for total creative control and minimum signal
direct recording path for combining the essetial degradation. The output line driver combines
elements needed for professional music a dual triode vacuum tube with a low noise,
recording: Class A vacuum tube preamplifier, discrete high-voltage to current converter and
vacuum tube opto-compressor and discrete a balanced DC coupled output amplifier.
parametric equalizer.
These elements along with many others in
The Vt-737sp provides the recording profes- the Vt-737sp provide pure balanced and
sional with a versatile high-quality recording musical sound, extreme low-end definition
channel, capable of amplifying, controlling, and and amazing headroom.
shaping a signal from its source and delivering
the signal directly to the audio recorder or DAW The Vt-737sp is hand built in the U.S.A using
(ditigal audio workstation) input, completely only the finest active and passive electronic
bypassing the mixing console and its sonic components available. Many of these parts
limitations. have been custom-manufactured exclusively
for Avalon.
The Vt-737sp features a pure and minimal A “no compromise” approach in every stage
signal path design utilizing advanced features of design and production ensures that the
of high voltage, four dual triode vacuum tubes Vt-737sp will give many years of dependable
and 100% discrete Class A circuit topologies. high-quality service.
Your Vt-737sp was packed carefully at the Keep the packaging materials in case you need
factory. Check to make sure that the shipping to ship your unit for warranty service.
carton contains the following items:
Note: Your must fill out and send in your war-
1. Vt-737sp ranty card in order to receive warranty and
2. Power cable technical support. If you have not already filled
3. Warranty card out your warranty card please take the time to
4. Operation Manual do so now.
Microphone
Vt-737sp
-OR- Mic Input
Mixing Console
Hi-Z
Output
or
Instrument Instrument
Input Monitoring
-OR-
Input
System
Line Input
Line Signal figure 2.0 Quick Start up
OUTPUT - Use the output control as the 3. EQUALIZER - Press in equalizer switch and
overall level control. familiarize yourself with the four band para-
metric band equalizer. Adjust the TREBLE Hz
EQ->COMP - Inserts the four band parametric frequency selector switch to 10K. Turn the
EQ before the compressor in the signal path. TREBLE knob up and down. You are now
boosting all frequencies at and above 10k.
SC-MID - Engages the built in side-chain. The Experiment with 15k, 20k, and 32k positions.
frequencies boosted in the Mids of the EQ will Leave the TREBLE level control at center 0
be routed to the compressor control circuit (not position. The BASS controls only the shelf is
in the audio path) so that those frequencies are in the opposite direction. So if you boost the
compressed more than the overall program; BASS at 60Hz you are boosting everything at
great for de-essing. and below 60Hz.
Now you have full compression, with fast 3.2 Grounding Instructions
attack and slow release, and frequencies at
10K going into the side chain being com- Always connect the Vt-737sp to a grounded
pressed more than the overall signal. AC power circuit.
You have now used all of the functions in the If the unit should malfunction or become “live”,
Vt-737sp. The combinations, colors, and tones the chassis ground will provide the path of least
are endless. For more details on each specific resistance for electric current to reduce the risk
control and fuction please refer to Chapter 4, of fatal shock.
Operations and Controls (page 15).
The AC power cable must be plugged into an To change the AC voltage for your location:
appropriate outlet that is correctly installed
and grounded in accordance with all local elec- 1. Make sure there is no AC power cable con-
trical safety codes and ordinances. nected to the AC inlet.
If hum or ground-buzz is induced into the 2. Insert a small flat-head screwdriver tip into
system, remove the rear-mounted the voltage selector cavity. Carefully lift-open
GROUND-LINK. This is ground-link isolates the hinged cover from left to right.
the AC chassis ground from the audio ground.
When the LINK is removed, the AC ground
remains connected to the chassis via the AC
inlet connector and provides a direct path for
any electrical fault or dangerous condition.
3.4 Rack Mounting and Cooling Always use all four front panel-mounting
holes when mounting the Vt-737sp in a rack
The Vt-737sp is designed to be mounted in a enclosure. If not shipped in its original pack-
standard 19” equipment rack. As vacuum tubes ing, the Vt-737sp should be transported in a
and Class A circuitry generate heat, it is highly floating-type shock-mounted flight case.
recommended that an additional rack space
above and below the unit be kept empty to Although the Vt-737sp is well shielded against
allow for adequate cooling. Avalon Design has moderate electrical and magnetic feilds, care
developed 1U ventilation panels (VP-1) specfi- should be taken to avoid areas that are in
cally to keep your rack-mounted gear cool. proximity to large motor or power transform-
ers. Locations near sources of high RFI (radio
frequency interference) such as computers or
digital effects devices should also be avoided.
Because of the microphonic nature of vacuum
tubes, areas of extreme vibration or sound
levels should also be avoided.
Be sure that the top and bottom of the unit is When the Vt-737sp is switched off or during
not obstruced and air is allowed to flow easily the “soft-start” turn-on procedure, it is in hard
through the chassis. If the unit is not wire bypass mode and the unit will pass signal
rack-mounted, be sure to place supports under utlizing a hard wire relay but none of the con-
the unit to allow air to pass underneath. Never trols will operate (line in to line out).
leave any obstruction on top of the unit (such as
papers or books) blocking ventilation slots. Allow the unit to warm up for at least thirty
Also, be sure that the heat sink mounted on the minutes prior to use. This allows the compo-
rear panel of the chassis has adequate clear- nents time to come up to temperature and
ance from the equipment enclosure and any stabilize before recording begins.
adjacent equipment. In electronic equipment,
excessive heat is the cause of most component It is recommended that the unit be turned
failures. A little extra precaution to ensure off during periods of “non-use” greater
proper ventilation can help avoid equipment than 4 hours.
8 COMPRESSOR 16 EQUALIZER
When switch is engaged, the compressor is Inserts equalizer into signal path. When disen-
inserted into the signal path. When disen- gaged, equalizer section is hard wire bypassed
gaged, the compressor section is hard by a sealed silver-contact relay.
bypassed by a sealed silver-contact relay.
17 INSTRUMENT (HIGH-Z INPUT)
9 VU METER 1/4” unbalanced phone jack. High impendance
Can be selected with the METER switch to input selected when INPUT is in INSTRUMENT
indicate either output level (non-illuminated) or position. Also known as D.I. (direct input. Instru-
compressor gain reduction (illminated). The VU ments such as electric guitars and basses can
meter’s needle is also speed sensitive for mea- be directly plugged into this jack via a standard
suring gain reduction. This helps in setting the shielded guitar cable.
ATTACK and RELEASE of the compressor
18 HIGH PASS FREQUENCY
10 BASS Continuously variable rotary control that varies
Sets amplitude (cut/boost)of bass band. Vari- the cut-off frequency of a passive high-pass
able +/-16dB, with center detent. filter on the output of the preamp section. This
simple, smooth filter rolls off the low-end
11 LOW MID frequencies and works well for reducing room
Sets amplitude (cut/boost) of low mid band. rumble, muddiness or microphone handling
Variable +/-20dB with center detent. noise.
21 EQ->COMP
27 Hz (LOW MID)
Switches the signal so that the equalizer sec-
Switches the signal so that the equalizer sec-
tion is before the compressor. This gives flexi-
tion is before the compressor. This gives flexi-
bility to achieve different sounds. Putting the
bility to achieve different sounds. Putting the
EQ before the compressor will give the signal
EQ before the compressor will give the signal
a more squashed or tighter sound than if the
a more squashed or tighter sound than if the
EQ follows the compressor.
EQ follows the compressor.
22 ATTACK
28 FREQUENCY X10 (LOW MID)
Varies attack time of compressor from 2ms to
Push-button switch when engaged (illuminat-
200ms.
ed “X10”), multiplies the normally covered Hz
frequency band )30Hz to 450Hz) by ten (300Hz
23 VU METER (0dB calibration screw)
to 4k5Hz).
Recessed screwdriver adjustment for setting
of 0dB on the VU meter when set to read the 29 FREQUENCY X10 (LOW MID)
compressor’s gain reduction.
Push button switch when engaged (illuminated
“IN”), narrows the bandwidth of the Hz
To calibrate meter: Wait about 30 mintues
high-mid band selected, from a Q of approxi-
affter switching the unit on allowing compo-
mately 0.2 to 0.85.
nents to sufficiently warm up to opertating
temperature. While there is no signal going 30 Hz (HIGH MID)
into the Vt-737sp, press in the METER switch
Sets center frequency of high mid filter sec-
and make sure the compressor is bypassed
tion. Continuously variable from 200Hz to
(non-illuminated). Adjust so that the needle on
2k8Hz (or 2kHz to 28KHz in X10 mode).
the VU meter lines up with zero.
31 FREQUENCY X10 (HIGH MID)
24 RELEASE
When engaged (illuminated X10), multiplies
Engages the preamp high pass frequency
the normally covered frequency band (200Hz
filter. When the FILTER switch is not engaged,
to 2k8Hz) by ten (2kHz to 28kHz).
the filter is hard wire bypassed.
32 HZ (TREBLE)
25 Hz (BASS)
4-position switch selects shelving frequency
4-position switch selects shelving frequency
of the passive TREBLE band. Setting selec-
of the passive BASS band. Setting selections
tions are 10kHz, 15kHz, 20kHz, and 32kHz.
are 15Hz, 20Hz, 60hz, and 150Hz.
33 AC Power Switch
26 HI-Q (LOW MID)
Turns the power on and off. Allow approxi-
When engaged, narrows the bandwidth of the
mately 60 seconds from the time you turn on
low-mid band frequency selected from an
the power switch for the Vt-737sp to complete
approximate Q of 0.2 to 0.85.
the entire soft start turn on procedure. For
more details on the soft start procedure please
refer to Chapter 3.5 Turn-on Procedure (page
4.3 Unbalanced Operation 1. Turn the INPUT selector switch to the desired
input source (MIC, INSTRUMENT or LINE) and
The Vt-737sp can also be used in unbalanced plug in to the corresponding input.
system by grounding the unused input or 2. Set all knobs to unity (center 0) and disen-
output pin. For mic or line input, tie pin 3 to gage all push button switches. When the VU
pin 1 (ground). For output from the Vt-737sp meter is disengaged it measures output signal
to an unbalanced input leave pin 3 floating. level.
Either the high or low pins can be used to 3. Turn the PREAMP control fully counterclock-
carry the unbalanced signal. wise (minimum level).
4. Set the OUTPUT control to unity “0” position.
5. If you are using a condenser mic which
4.4 Using the Vt-737sp requires phantom power, engage the +48V
button (illuminates “ON”)
The Vt-737sp features a combination of Class 6. Slowly turn PREAMP control clockwise while
A tube preamplifiers (mic, line, and instru- sending signal through the Vt-737sp. You should
ment), tube opto-compressor, and discrete begin to hear signal and see slight VU meter
parametric equalizer perfect for controlling indication. Adjust the incoming signal level so
and enhancing your signal in many ways. that the maximum peak is approximately zero on
the VU meter (or until desired sound is
achieved).
8. Fine tune controls for desired effect. 4.4.4 Using the Equalizer
9. THRESHOLD is interactive with the PREAMP
GAIN control; boost or cut the PREAMP GAIN
level if the THRESHOLD control becomes out
of range (swapping the equalizer before the
compressor may also necessitate re-adjusting
the threshold level).
When engaged, the frequency band selected is The Bass and Treble controls are still active
multiplied by a factor of ten. This means that the while the side chain is engaged. Also the
frequency is shifted upward by a multiple of ten. EQUALIZER does not need to be engaged to
In the case of the LOW MID, this shift is from the use the side chain. However it is easier to
range of 30Hz- 450Hz to the frequency range of focus on the desired frequencies by using the
300Hz-4.5KHz and in the case of the HIGH MID, equalizer.
the shift is from the range of 200Hz-2.8KHz to
the range of 2KHz-28KHz. Try experimenting with
these different range settings to see how effec- 4.4.6 De-essing Vocals
tive they are at covering the full audio spectrum.
The following explains how to adjust your
The HI-Q buttons toggle between two pre-select- Vt-737sp to “focus-in” and get rid of the sibi-
ed values of a measurement called “Q”. “Q” lance or annoying “sss” sounds on vocals
stands for “quality factor”, a technical term called de-essing.
which defines the bandwidth of the equalization
filter. When HI-Q is engaged, a narrower band- 1. Plug in microphone and adjust to required
width of the specified frequency is affected. levels.
2. Push in EQUALIZER switch to activate EQ.
3. In the HIGH MID section push in the X10
and HI-Q switches.
4.4.5 Using the Side-Chain 4. Boost the HIGH MID level +10dB to +15dB
to hear the “sss” sounds.
Iserting an equalizer into a compressor’s gain 5. Slowly sweep the HIGH MID Hz frequency
reduction control path is commonly known as control between the 5kHz and 20kHz while
side-chaining. This allows for spectral control of singer is singing. This will increase the “sss”
the effect of compression at specified frequen- sound at the exact frequency that it is occur-
cies. The most frequent application of this tech- ring.
nique is known as de-essing vocals (technically 6. Push in the COMPRESSOR and METER
called sibilance control). De-essing derives its switches.
name from the often needed task of removing 7. Adjust compressor controls to:
excessively pronounced “S” sounds from vocals COMPRESSION RATIO: 10:1
or, “de-essing” them. THRESHOLD: -25dB
ATTACK: fast
To insert the equalizer into the side chain: RELEASE: fast
1. Set the compressor to full compression to 8. Adjust COMPRESSION and THRESHOLD
begin with. (described in previous section) so that you are reading approximately 3dB of
2. Engage the SC < MIDS switch the LOW MID gain reduction during singing.
and HIGH MID Frequencies are routed into the 9. Now press in SC->MIDS. This switch grabs
control circuit for the compressor. The amount of the two mid bands and takes them out of the
gain in the mid bands represents the amount of audio path and into the side-chain path. This
side chain compression for the selected frequen- means that now you have boosted the “sss”
cies.
Output Vt-737sp
11. You can leave the EQUALIZER switch in,
this leave the TREBLE and BASS bands in the
Input
audio path for extra sweetening. You can also
press in the EQ->COMP switch to put the Tape Machine
TREBLE and BASS bands before the compres- or
sor for extra effects. DAW
Outputs
Inputs
Mixing Console
for Monitoring
Figure 5.1.2 - Mixdown Tape Based Figure 5.1.5 - Mastering Tape Based
Link
Line Input Line Input
Line Inputs
Input Output DAW
or Monitoring System
CD Burner
Figure 5.1.3 - Mixdown on DAW The following are a few example settings for
the Vt-737sp to be used as starting points for
DAW specific applications. You will most likely need
to adjust the settings given here for your
One channel or Input - Record recordings because of the many variables
Submix Outputs New Track
which depend on a recorded sound. Variables
such as choice of microphone, microphone
Line Input Vt-737sp Output placement, recording room, recording media,
mixing console, the musician, etc. can greatly
alter and change the sound of your recording.
TRUST YOUR EARS!
5.2.1 Vocals
Preamplifier Equalizer
Preamp Gain: +38 Bass (level): 0 (Center Detent)
Input Selector: Mic Bass Hz: N/A (not applicable)
High Gain: Out Low Mid (level): Center Detent
Phase: Out Low Mid Hz: N/A
48V: If needed Low Mid Hi-Q: Out
Filter: In Low Mid x10: Out
High Pass Frequency: 80 High Mid (level): 0
High Mid Hz: N/A
Compressor High Mid Hi-Q: Out
Threshold: -5dB High Mid x10: Out
Compression Ratio: 4:1 Treble (level): +6dB
EQ->Comp: Out Treble Hz: 32kHz
Meter: In SC->Mids: Out
Compressor: In Equalizer: In
Attack: 10 O’clock
Release: 10 O’clock
Preamplifier Equalizer
Preamp Gain: +38 Bass (level): +3dB
Input Selector: Mic Bass Hz: 150Hz
High Gain: Out Low Mid (level): 0
Phase: Out Low Mid Hz: N/A
48V: If needed Low Mid Hi-Q: Out
Filter: In Low Mid x10: Out
High Pass Frequency: 80 High Mid (level): +15dB
High Mid Hz: 9kHz
Compressor High Mid Hi-Q: In
Threshold: -5dB High Mid x10: In
Compression Ratio: 4:1 Treble (level): +10dB
EQ->Comp: Out Treble Hz: 32kHz
Meter: In SC->Mids: In
Compressor: In Equalizer: In
Attack: 7 O’clock
Release: fast
Preamplifier Equalizer
Preamp Gain: +35 Bass (level): +4dB
Input Selector: Instrument Bass Hz: 60Hz
High Gain: Out Low Mid (level): -5dB
Phase: Out Low Mid Hz: 350Hz
48V: Out Low Mid Hi-Q: In
Filter: Out Low Mid x10: Out
High Pass Frequency: N/A High Mid (level): +4dB
High Mid Hz: 1k6Hz
Compressor High Mid Hi-Q: Out
Threshold: -10dB High Mid x10: Out
Compression Ratio: 5:1 Treble (level): 0
EQ->Comp: Out Treble Hz: N/A
Meter: In SC->Mids: Out
Compressor: In Equalizer: In
Attack: fast
Release: fast
Preamplifier Equalizer
Preamp Gain: 0 Bass (level): 0
Input Selector: Mic or Instrument Bass Hz: N/A
High Gain: Out Low Mid (level): +4dB
Phase: Out Low Mid Hz: 240Hz
48V: If needed Low Mid Hi-Q: Out
Filter: In Low Mid x10: Out
High Pass Frequency: 100Hz High Mid (level): 0
High Mid Hz: N/A
Compressor (by-passed) High Mid Hi-Q: N/A
Threshold: N/A High Mid x10: N/A
Compression Ratio: N/A Treble (level): +4dB
EQ->Comp: N/A Treble Hz: 32kHz
Meter: Out SC->Mids: Out
Compressor: Out Equalizer: In
Attack: N/A
Release: N/A
Preamplifier Equalizer
Preamp Gain: +35dB Bass (level): +3dB
Input Selector: Mic Bass Hz: 30Hz
High Gain: Out Low Mid (level): +4dB
Phase: Out Low Mid Hz: 200
48V: Out (dynamic mic) Low Mid Hi-Q: Out
Filter: Out Low Mid x10: Out
High Pass Frequency: N/A High Mid (level): +5dB
High Mid Hz: 14kHz
Compressor (by-passed) High Mid Hi-Q: Out
Threshold: N/A High Mid x10: In
Compression Ratio: N/A Treble (level): +8dB
EQ->Comp: N/A Treble Hz: 20kHz
Meter: Out SC->Mids: Out
Compressor: Out Equalizer: In
Attack: N/A
Release: N/A
Recording note: To obtain these settings, a
dynamic microphone was placed off center,
three inches from the speaker of the guitar
amplifier.
Preamplifier Equalizer
Preamp Gain: +38 Bass (level): +3dB
Input Selector: Mic Bass Hz: 150Hz
High Gain: Out Low Mid (level): 0
Phase: Out Low Mid Hz: N/A
48V: In Low Mid Hi-Q: Out
Filter: In Low Mid x10: Out
High Pass Frequency: 40 High Mid (level): -3dB
High Mid Hz: 5kHz
Compressor High Mid Hi-Q: Out
Threshold: -10dB High Mid x10: In
Compression Ratio: 3:1 Treble (level): +4dB
EQ->Comp: In Treble Hz: 20kHz
Meter: In SC->Mids: Out
Compressor: In Equalizer: In
Attack: 12 O’clock
Release: 12 O’clock
Recording note: To obtain these settings, a
large diaphram condenser microphone was
VU Meter Gain Reduction: -2dB placed 3 feet from center of piano strings.
(adjust preamp gain, threshold and compres-
sion to get more or less gain reduction)
Preamplifier Equalizer
Preamp Gain: 0 Bass (level): 0
Input Selector: Mic Bass Hz: N/A
High Gain: Out Low Mid (level): +4dB
Phase: Out Low Mid Hz: 250Hz
48V: Out (dynamic microphone) Low Mid Hi-Q: In
Filter: Out Low Mid x10: Out
High Pass Frequency: N/A High Mid (level): +10dB
High Mid Hz: 14kHz
Compressor High Mid Hi-Q: Out
Threshold: -7dB High Mid x10: In
Compression Ratio: 3:1 Treble (level): +10dB
EQ->Comp: Out Treble Hz: 20kHz
Meter: In SC->Mids: Out
Compressor: In Equalizer: In
Attack: fast
Release: fast
Preamplifier Equalizer
Preamp Gain: +38 Bass (level): +5dB
Input Selector: Mic Bass Hz: 30Hz
High Gain: Out Low Mid (level): +4dB
Phase: Out Low Mid Hz: 100Hz
48V: Out (dynamic mic) Low Mid Hi-Q: In
Filter: In Low Mid x10: Out
High Pass Frequency: 55 High Mid (level): +10dB
High Mid Hz: 5k5Hz
Compressor High Mid Hi-Q: Out
Threshold: -10dB High Mid x10: In
Compression Ratio: 8:1 Treble (level): +6dB
EQ->Comp: Out Treble Hz: 10kHz
Meter: In SC->Mids: Out
Compressor: In Equalizer: In
Attack: fast
Release: fast
Preamplifier Equalizer
Preamp Gain: 0 Bass (level): 0
Input Selector: Mic Bass Hz: N/A
High Gain: Out Low Mid (level): -4dB
Phase: Out Low Mid Hz: 200Hz
48V: In Low Mid Hi-Q: Out
Filter: In Low Mid x10: Out
High Pass Frequency: 40Hz High Mid (level): -2dB
High Mid Hz: 1k6Hz
Compressor High Mid Hi-Q: In
Threshold: -7dB High Mid x10: Out
Compression Ratio: 4:1 Treble (level): +2dB
EQ->Comp: Out Treble Hz: 32kHz
Meter: In SC->Mids: Out
Compressor: In Equalizer: In
Attack: 7 O’clock
Release: slow
Low impedance microphones are preferred in Unbalanced connections are used for
recording and sound reinforcement, since high-impedance microphones and pickups,
when properly connected, they are far less and sometimes for low impedance mics in
susceptible to extraneous noise pickup in the consumer equipment. The unbalanced
cable. Low impedance mics can drive cables system is more susceptible to noise pickup,
hundreds of feet long, whereas high imped- and is generally not preferred in professional
ance mics are limited to about 20 feet. work. The most common unbalanced con-
nector is the 1/4-inch phone connector.
A compressor is one of the most widely used Most compressors are controlled by four
signal processors in the recording studio. main functions: Threshold, Ratio, Attack,
Compressors are used during the recording and Release.
process as well as during mixdown and mas-
tering. During the recording process com- Threshold: Defines the level where compres-
pressors are used to control the dynamic sion begins. If the sound level coming into
range or volume of a signal. For example, a the input is below the threshold, the com-
singer may vary his volume level from a pressor won’t do anything. When a louder
whipser to a scream during a particular song. signal rises above the threshold, the com-
A compressor will control the volume is con- pressor starts working, automatically reduc-
sistent whether the singer is whispering or ing the output gain by the amount set with
screaming. During mixdown compressors are the ratio control.
used to “tighten up” the tracks so that noth-
ing pops out of the mix uncontrollably. During Ratio: The ratio control is the amount of
the mastering process compressors are used volume reduction relative to the original
very slightly to tighten up the entire mix and signal level. A 1:1 (one to one) ratio is the
can give the mix a bigger sound. lowest compression ratio. This means that
the volume that goes into the compressor is
exactly the same as the volume that comes
The way a compressor works is like an auto- out. A 2:1 ratio means that the compressor
matic fader. When the input signal exceeds a will only allow the output level to rise 1dB for
predetermined level called the threshold, the every 2dB that the input is over the thresh-
gain is reduced by the compressor and the old. This way the compressor allows the
signal is attenuated. By attenuating the signal to be louder than the louder than the
louder signal levels, you are in fact, reducing threshold, but only by half as much. This is
the program’s overall dynamic range. typical moderate compression. A 4:1 ratio
Because the range between the loudest and means that if the input signal is 4dB over the
softest signal is “compressed” by increasing threshold, the compressor only allows an
the signal’s overall gain, the average level will output 1dB over the threshold.
be greater. Thus the signal will be perceived
as being louder than it otherwise would be. Attack: The very beginning of a sound is
usually the loudest and most difficult to
record smoothly (for example, vocals, slap
Compression is measured by the ratio of the bass, guitar, etc.). In many cases you want to
change in output level (in dB) to the change in let these initial transients pass through
input level, called the compression ratio. If a before pulling down the gain, other times you
compressor is set to 8:1 compression then an want the compression to start right away. To
8 dB increase in the input level will result in a help make adjustments to this specific event,
1 dB increase in the output level. the attack control adjusts the length of time it
takes for the compression to begin.
Horns - Fullness at 120 to 240Hz; shrill at Q: How often will I need to change the
5kHz to 8kHz. tubes?
A: The vacuum tubes on the Vt-737sp are mili-
Strings - Fullness at 240Hz; tary spec tubes rated for over 5,000 hours.
scratchiness at 7k5Hz to 10kHz Avalon recommends changing the tubes
approximately every 2 years or so on a unit that
Kick Drum - Depth at 60 to 80Hz; click attack is used regularly. Avalon recommends that you
at 2k5Hz to 8kHz replace tubes with exact make and model of the
tubes that Avalon specifies. You may purchase
Snare Drum - Fullness at 250Hz; a spare set of tubes for your Vt-737sp directly
attack/crack at 5kHz from Avalon.
Hi-hat and cymbals - Gong at 200Hz; shim- Q: What is the difference between the
mer at 8kHz to 15Hz; Vt-737sp and the Vt-747sp?
Air at 20 to 32kHz; A: The Vt-737sp is a mono Mic, Line, and
Use High Pass Filter at 140Hz to remove kick Instrument level preamplifier with compressor
drum middiness and bleed through. and parametric equalizer. It is great for record-
ing one channel at a time and for mixdown on
Rack toms - Fat at 200 to 250Hz; the most important channel.
crack at 5kHz
The Vt-737sp is a dedicated stereo line level
Floor toms - Fullness at 80 to 120Hz; attack compressor and graphic equalizer. It has no
at 5kHz microphone preamplifier. The Vt-747sp is great
for stereo keyboards, synthesizers, drum
Conga/Bongo - Resonance at 200Hz to machines, stereo submix or mix buss applica-
240Hz; presence/slap at 5kHz tions and mastering.
Q: Can I damage the Vt-737sp by turning Q: Will the Vt-737sp continue to work when
the preamp gain up too high? I travel to different countries?
A: No. The Vt-737sp has enourmous head- A: Yes. The power supply on the Vt-737sp has
room (+36dB on Line Input). Crank it up and selectable voltages: 100V, 120V, 220V, and
check it out. 240V. It is very easy to change the voltage.
See Chapter 3 (page 13).
Q: Why does Avalon use opto-compres-
sors? Q: Why does the needle in the VU meter
A: Avalon uses opto-compressors because drift to the left of 0dB after the Vt-737sp
they are the most musical of all compressor warms up?
types. A: As the unit warms up, after approximately
30 minutes, the resistance of the meter coil is
Q: Can I do mastering with a pair of increased with heat and the needle then
Vt-737sp’s? settles into its opening 0dB position (just like
A: Yes. The Link jack in the back enables you the old LA2A’s). To calibrate the VU meter to
to link the compressors of two Vt-7337sp’s. 0dB see page 44.
You will have to adjust the EQ controls sepa-
rately on each unit. The noise floor is low Q: Will the Vt-737sp work with my unbal-
enough for mastering and EQ is definitely anced inputs on my recording device?
sweet enough. Avalon recommends either the A: Yes. You need to make sure that the cables
AD2044 compressor and AD2077 (or AD2055) you are using are wired the same (pin 2 hot).
equalizer for professional mastering. Also the You can get a cable that has XLR on one side
Vt-747sp is wonderful for project studio mas- and RCA or 1/4” on the other. This will work
tering since it is a dedicated stereo unit. fine for the unbalanced system, as long as the
cables are not over 10ft in length.
Q: Is the Vt-737sp durable enough for the
road? Q: Will the Vt-737sp work if it is going into a
A: Yes. The Vt-737sp as well as all Avalon recording device that is designed for -10dB
equipment is literally “built like a tank”. Steel operation?
chassis, metal faceplate, metal knobs, all A: Yes. The Vt-737sp will work however the
circuit boards are screwed to chassis, etc. signal coming from the Vt-737sp may be too
hot of a signal and you may need to turn down
Q: Should I power down the Vt-737sp? the output control so that the signal more
A: The Vt-737sp is equipped with a “soft-start” closely matches the -10dB machine. If you
procedure that slowly brings the unit to life have a choice, you should always run at +4dB.
without damaging the tubes. Avalon recom-
mends that you turn the unit off if not being Q: Can I try using different types of tubes in
used for more than 4 hours. This procedure the Vt-737sp to get different or better
will also save on your electric bills. sounds?
A: Avalon has selected the tubes in your
Vt-737sp for optimal sonic performance.
Avalon does not recommend that you exper- Q: What are the main difference between the
iment with different types of tubes because Vt-737sp’s mic preamp and Avalon’s AD2022
it can lead to extreme damage to your or M5 mic preamps?
Vt-737sp. A: The Vt-737sp is a vacuum tube preamp with
compression and equalizer. The AD2022 (dual
Q: If I am using a digital recording system, channel), and M5 (mono) are traditional
is it worth going out of my digital system ultra-high performance mic preamps made with
for mixdown and mastering even if I don’t discrete electronics and not tubes. All Avalon
have to? Design preamps run in Class A mode and
A: Yes. The Vt-737sp is known to breath life feature enormous headroom and wonderful
into digital recordings. It will add air to the musicality. Sonically, the Vt-737sp has a more
highs and open up the bottom end. This pro- “close-up” sound whereas the AD2022 and M5
cess is very effective if you have high quality have a large and deeper sound stage giving a
A to D and D to A converters. If your con- three dimensional image. The type of preamp
verters are not of the highest quality it will you choose is a matter of taste.
still be beneficial. Try it.
Q: What’s the main difference between the
Q: What kind of microphones work best Vt-737sp’s compressor and the AD2044 com-
with the Vt-737sp? pressor?
A: The Vt-737sp was designed to work with A: The Vt-737sp is a single channel, mono com-
all types of microphones. (ie condensers, pressor that is loaded with many different tones
dynamics, etc.) It works great with FET con- and color. The Vt-737sp has vacuum tubes, four
densers as well as tube condensers. Micro- band parametric EQ and built in side-chain. The
phone choice and selection is a matter of AD2044 is an ultra high performance traditional
taste. dual mono compressor using all discrete pure
Class A electronics (no tubes). It features
Q: Can I use the Vt-737sp live as a micro- extreme dynamic range, low noise and traspar-
phone preamp? As a DI box? ent compression, perfect for tracking, mixing,
A: Yes. Many touring artists are currently and mastering.
using the Vt-737sp as vocal mic preamp as
well as a preamp for bass and guitars. And Q: What’s the main difference between the
since it is literally built like a tank it will with- Vt-737sp’s EQ and the AD2055 EQ?
stand the rough conditions of the road. A: The four-band parametric equalizer on the
Vt-737sp is similar in operation to one channel
Q: Will the Vt-737sp help to warm up the on the AD2055 equalizer. The dual channel
signal going to a digital recorder? AD2055 is a line level EQ with variable Q control
A: Yes. The Vt-737sp will give the signal a in the mid-bands, greater lower frequency con-
richer warmer sound. The bottom end will trol, ultra-smooth highs and low noise. The
open up and your recorded signal will sound AD2055 has been labeled as arguably the best
bigger. It works wonderfully on digital sounding equalizers ever built.
recordings that would otherwise sound thin
and lifeless.
Lights dim / Improper AC voltage setting Check AC voltage setting (page 13)
no sound
No sound Input selector set in wrong position Make sure input selector switch is set to
the physical input that you are using (Mic,
Instrument, Line)
No sound XLR cable not in correct input on Check that input cable is plugged into
back of unit (Microphone, Line) intended input
No sound +48v not on for a microphone that Press in +48v to supply microphone
requires phantom power with phantom power
Hum or Bad cables or ground loop Check all cables and grounding system;
buzzing noise lift ground on Vt-737sp (page 13)
Distorted sound Microphone or input source Try a different microphone or input source;
overloading adjust input preamp gain
Distorted sound Vt-737sp may be overheating Make sure Vt-737sp has proper
ventalation (page 14)
Overloading Recording device is -10dB device, Turn down output control on Vt-737sp
recording device Vt-737sp is +4dB device to adjust to usable recording level
4. Distorted sound
Email: ado@avalondesign.com
Website: www.avalondesign.com
10.0 Technical Information Hi-cut filter: Variable 6dB per octave 40Hz to
200Hz
Your Vt-737sp is built to withstand many years
of high performance music making. If you expe- Compressor type: optical passive attenuator
rience any malfunctions or problems, please incorporating twin vacuum tubes and stereo
contact the dealer where your unit was link
purchased. If your Vt-737sp has outlasted your
dealer, please contact Avalon. Compression ratio: Variable 1:1 to 20:1
Threshold: Variable -30dB to +20dB
Specifications Attack: Variable 2mS to 200 mS
Release: Variable 100mS to 5 seconds
Circuit Topology: Four dual triode vacuum
tubes, high-voltage discrete Class A Equalizer type: Discrete Class A, variable
active and switched passive design
Gain Range:
Microphone: Transformer balanced, 850 Frequency bands (4):
ohms input impedance, 0dB to+58dB Treble - switched 10kHz, 15kHz, 20kHz,
Instrument: Unbalanced 1 meg ohm 32kHz, +/-20dB range, shelf
input impedance, 0dB to +30dB High Mid - variable 200Hz to 2k8Hz, and
Line: Balanced, 20k ohms input 2kHz to 28kHz, +/-16dB range, hi-low Q
impedance, -27dB to +18dB Low Mid - variable 30Hz to 450Hz, and
3kHz to 4k5Hz, +/-16dB range, hi-low Q
Maximum input level and connectors: Bass - switched 15Hz, 30Hz, 60Hz,
Microphone: +16dB @ 25Hz, +30dB @ 150Hz, +/-24dB range, shelf
1kHz balanced XLR, pin 2 hot
Instrument: +30dB unbalanced front AC power: Internal toroidal 100V to 240V,
panel jack socket 50-60Hz selectable, 60 watts maximum,
Line: +36dB balanced XLR, pin 2 hot enclosed in separate steel chassis
As of Jaunary 1999 the original Vt-737 was Avalon Industries, Inc. warrants this product
discontinued and is no longer in production. against deflects in material or workmanship as
follows:
There are three main differences between the 1. For a period of time (1) year from the date of
original Vt-737 (purple knobs) and the Vt-737sp purchase Avalon will pay the labor charges to
(Special Performance). All other components are repair the defective product. After this one (1)
identical including the circuit boards. year period, all labor charges will be paid by the
customer.
Knobs 2. Avalon will supply at no charge, new or rebuilt
Vt-737: Purple Plastic replacements for any defective mechanical
switches, potentiometers or moving parts for a
Faceplate period of one (1) year from original date of
Vt-737: Purple and black printing purchase.
Vt-737sp: Black photo-etched, more detailed 3. Avalon will supply at no charge, new replace-
ment for any defective vacuum tubes for a period
Mic input transformer of ninety days (90) from the original date of purh-
Vt-737: quality mic input transformer case.
Vt-737sp: larger mic input transformer 4. This warranty is void if the product has been
found to be subjected to misuse, abuse or una-
Upgrades from Vt-737 to Vt-737sp are available. thorized service.
Please call your local dealer or Avalon at 5. This warranty does not cover cosmetic
949-492-2000 for details. damage, and damage due to acts of God, acci-
dent or transit damage.
6. Proof of purchase in the form of a bill of sale or
invoice to provide evidence that the unit is within
the warranty period must be presented to obtain
warranty service.
7. This warranty is only valid if the serial number
appears on the product.
amplitude - The distance above or below the compressor - In effect, an automatic fader.
centerline of a signal’s waveform. The greater the When the input signal exceeds a predeter-
distance from the centerline, the larger the pres- mined level, called the threshold, the gain is
sure variation or electrical signal. reduced by the compressor and the signal is
attenuated.
attack - The initial transient or first part of the
envelope of a signal. The beginning of a note. compression ratio - The ratio of signal
dynamic range between the compressor input
attenuate - To reduce the signal level. and the outupt above the device’s set thresh-
old point (such as 2:1, 4:1, 20:1).
balanced - In a classic balanced audio circuit, the
two legs of the circuit (+ and -) are isloated from condenser - Refers to a type of microphone
the circuit ground by exactly the same imped- that uses a capacitor as the sound pickup
ance. Additionally, each leg carries the signal at element. Condenser mics require electrical
exactly the same level but with opposite polarity. power to run internal amplifiers and maintain
Balanced input circuits can offer excellent rejec- an electrical charge on the capacitor. They are
tion of noise and grounding loops. typically powered by internal batteries or
“phantom power” (48v) supplied by an external
balanced line - A cable having two conductors source, such as a preamplifier or mixing con-
and a ground connection and often surrounded sole.
by a shield. With respect to ground, the conduc-
tors are at equal potential but opposite polarity. console - A term for a sound mixer, usually a
These lines are often used in professional setting large desk-type mixing board used to mix
to reduce or eliminate induced noise and interfer- together multiple track musical material.
ence from external electromagnetic sources.
crosstalk - The unwanted leakage of a signal
bandwidth - The band of frequencies that pass from one channel or track onto another.
through a device with a loss of less than 3dB,
expressed in hertz or in musical octaves. decibel (dB) - A unit of audio measurement of
sound pressure level (SPL), signal level, and
cardioid - Refers to the shape of the sensitivity changes of difference in signal level. The deci-
pattern of certain directional microphones. bel is a logarithmic (log) mathematical function
that reduces large numeric values into smaller,
channel - A single functional path in an audio more manageable numbers. Decibel is calcu-
circuit. lated as 10 times the log of the ratio of two
powers, and 20 times the log of the ratio of two
voltages.
overload - The distortion that occurs when an resistance - The opposition to the flow of DC
applied signal exceeds a system’s maximum current in a wire or circuit.
input level.
ribbon microphone - A microphone that uses
parametric EQ - A parametric EQ allows contin- a diaphragm of extremely thin, aluminium
uous control of each of the three primary EQ ribbon suspended in a strong field of magnetic
parameters (frequency, gain and bandwidth) flux. As sound-pressure variations displace the
independently. metal diaphragm in accordance with air-particle
velocity, the ribbon cuts across the magnetic
peak amplitude - The maximum instantaneous lines of flux. This induces a current in the ribbon
amplitude of a signal. of proportional amplitude and frequency to the
acoustic waveform.
phantom power - Power for a condenser mic
from a preamplifier supplying a positive DC shelving filter - A rise or drop in frequency
supply voltage of +48V through a balanced XLR response at a selected frequency that tapers off
mic cable. to a preset level and continues at the level to
the end of the audio spectrum.
phase - The degree of progression in the cycle of
a wave, where one complete cycle is 360 side chain - A function on a compressor where
degrees. Phase is measured in degrees of a a specified frequency range is compressed
cycle (divided into 360 degrees) and will result in more than the overall compression of a musical
audible variations of a combined signal’s ampli- program. Many compressors have a jack so
tude and overall frequency response. that an equalizer can be inserted into the com-
pressor so that whatever frequency bands are
phase shift - The difference in degrees of phase boosted on the equalizer, the compressor com-
angle between corresponding points on two presses the boosted bands more than the over-
waves. all compression.
potentiometer (pot) - A rotary gain, pan, or spectral control - The use of a side chain in a
other type of continuously variable signal control. compressor to compress selected frequencies
of a musical program. One example of spectral
preamplifier - A piece of equipment that boosts control is removing the “sss” sound of a vocal
the signal level so that the signal operates at a (de-essing).
higher and more desired level enabling greater
frequency and dynamic range. sweet EQ - An equalizer that allows you to
“sweep” or continuously vary the frequency of
release time - Once compression has begun, one or more sections.
the time taken for the attenuated signal to return
to 63% of its original (uncompressed) level.