DUAL-MONO CLASS A PREAMP
by Walt Szalva
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Avalon Design AD2022 (click for larger image). |
The most obvious improvement over the M5 is the inclusion of an output gain control that is controlled by an additional pot on the front of the unit, but the most drastic change in design is less obvious: The AD2022 uses two signal amplifiers per channel, as opposed to one per channel in the M5. According to Avalon, the change “improves transient response and doubles the internal bandwidth” of the amplifiers.
Another improvement is the positioning of the two hi-Z instrument inputs on the front of the unit. (The hi-Z instrument input is on the back of the M5—terribly inconvenient.) Further improvements include selectable microphone source loading, an improved power supply and double-plated circuit boards for superior low-level signal transfer.
Over the past several years, I’ve come to love using my M5s in a variety of situations, especially for vocals. The first test I took the AD2022 through was with a female vocalist, a real screamer. One similarity between the M5 and the AD2022 is the unit’s ability to take an exceptionally high sound pressure level before distorting—definitely an important feature with loud vocalists. As I expected, I also found the AD2022 to have the same overall characteristics as the M5: smooth, with a well-defined top end and tight low end, and very present, or, as our test vocalist called it, a real “in your face” sound. The unit is also very quiet, even with the gain cranked up.
The addition of the second amplifier and gain stage to the AD2022 allows the user to control the “color” by varying the ratio between the two amplifiers. Also, the addition of the selectable microphone source-loading switch (50, 150 and 600Hz) adds even more control options—a definite plus over the M5.
I tried the AD2022 with various microphones in a range of situations. These configurations included a pair of Neumann U67s used as drum overheads, a U47 set up as a room mic and a Royer 121 ribbon mic on a tenor sax. The AD2022 was exceptional in all of these situations, but I was especially pleased with the drum overheads. The tune I used it on was a roots-rock song with a lot of cymbal and hi-hat. The drummer, who was a session pro, was quite impressed with the clarity of the kit and definition of the cymbals.
As far as the DI goes, the AD2022 is the same animal as the M5. As expected, the DI has a very “in your face” quality, too—very clear and present. Synth pads, sampled drums and synth bass all benefit from the unit’s fast transient response, and if you’re looking for a clean but extremely gutsy bass guitar DI, then this is one to put at the top of your list. I also had a lot of fun running some drum loops out of a sampler into the unit with the gain cranked up pretty high; the AD2022 added a bit more color than a Countryman, but not as much as a racked Neve 1073. Positioning the instrument inputs on the front of the unit has reduced the hassle factor to zero—extra kudos to Avalon for this improvement.
With the AD2022, Avalon has improved on an already successful design witout adding nonessential features. The unit is an extremely low-noise/high-power unit, and it is an exceptional piece of gear that would do well in a wide variety of situations. If you’re looking for a stand-alone preamp/DI combo within this price range ($3,000), then the AD2022 is an excellent choice.
Avalon Design, PO Box 5976, San Clemente, CA 92673; 949/492-2000; fax 949/492-4284; www.avalondesign.com.
Walt Szalva was born and raised in America.
Reprinted with permission from
Magazine, February, 2001© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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