EDB-2 VAP: “This is a winner”
Søren Korsgaard
The EDB-2VAP, as the catchy name is, is solidly built in a metal case.
The layout requires you to spend a bit of time understanding how it works, because there are A LOT of buttons, switches, and options. So, let’s start from the beginning.
At the top, there’s a three-way switch that determines whether the XLR DI-output should send the signal from channel 1, channel 2, or both combined. Next to it is a LIFT/Ground switch. Then, there’s a phase invert switch and another switch that allows you to choose whether the DI signal should be Pre EQ from channel 1, Post channel 2 Pre, or both channels Post. This is really smart and provides great options for the sound engineer to work with the signal you send them.
Below that is the power on/off button. It can get a little lost among the many buttons, but there is a bright green LED that lights up when it’s on.
The next buttons are grouped in boxes to make them easier to operate and to show which group they belong to.
The first box is an enhancer that operates at 1 kHz. There’s a rotary knob that goes from 1 to 10, and again, you can choose whether to apply it to channel 1, channel 2, or both.
Next to it is a very well-sounding and effective Notch filter. Here, you select which channel it should affect—either channel 1 or 2. Two rotary knobs for Width and Frequency, and then a switch to turn the circuit on and off.
Under this is the EQ section—a four-band EQ with presence for each channel. The EQ has a good range and sounds great.
Next to the EQ is the master. Here, you can turn the channels on and off and adjust the volume up to 10. Two red LEDs show when it’s overdriven.
Below, we have gain with separate gain controls for each channel, and under these, you can choose which pickup system you’re using. You can select from Active, HI, or HI+.
Next, we have the tube section. You can choose whether it should work on channel 1, both channels, or be turned off. When you think about the signal chain an acoustic instrument typically goes through before it reaches the speaker, it’s actually very smart to offer the option to add some “warmth” from a 12AX7 tube. And I think it works excellently. The tube was, of course, new when the pedal arrived and needed to be played in, and I definitely believe it gets better sonically the more I use it. In the long run, you could experiment with NOS tubes, but I actually think the factory-installed Sylvania tubes work very well.
One thing John Littler has always excelled at is tailoring the preamp to the instrument being amplified. So, next to the tube section, there’s the “Range” section where you can select the frequency range the preamp should cover. It’s also a kind of low-cut filter, and you can select from 40 Hz and upwards.
Lastly, there’s the Phantom power section where you can choose between 10 and 48 volts, select impedance, choose between ring and tip, and turn the input on and off on channel 1.
Headway Music Audio has delivered superb and great-sounding products for many years. From their pickups to the legendary Shireking amplifier. Recently, they have entered the preamp market. When you want to amplify an acoustic instrument, it has always been good practice that it should sound like the instrument itself, just louder. There haven’t necessarily been many adjustment options. For example, Caveman audio has NO adjustment options, so you get one sound; if it works, great, but if you don’t like it, you’re stuck with it because you can’t change it.
John Littler, with his latest preamp, has addressed this and even taken it a step further by incorporating a tube circuit with a 12AX7 preamp tube, something I believe has never been seen before. I became aware of this pedal last year at the Tønder Festival, where suddenly a lot of artists were using it. After talking to several of them, it became clear that this was a breakthrough in the preamp world. So, I wrote to John and joined the queue to receive one when it was my turn, and now it has arrived.
Let’s take a look and, not least, hear how it works.
Inputs and Outputs
At the top, there are two DI-outputs, a line out, and a USB charging port (thanks for that). Now, one of my pet peeves: When you make a fully professional product designed for professional musicians, why not integrate the power supply into the pedal so you don’t need a separate external power supply?
On the front, there are both jack and XLR inputs on each channel. A mini-jack allows you to input an aux signal. This is a mono signal that passes through channel 1 to the master. This signal is Post-EQ.
On the side, there’s an effects loop with a tuner output, and you can make an insert on channel two.
On the bottom, there’s a threaded insert so you can mount the preamp on a microphone stand, a cover for changing the tube (note that it uses Torx screws, so you’ll need to bring your bit set), and two battery holders for 9-volt batteries. Note that with battery operation, the tube will not work.
The pedal comes securely packaged, and a nice little leather bag is included for transporting it more safely than in a plastic bag.
So, how does it sound?
The test was conducted with a Martin D42 Koa, Mörch custom bass, double bass, and Levin concert classical guitar.
First, everything was set to 0, and the tube section was turned off. Already, a lot happens here. The sound becomes larger and fuller. It feels as though the instruments are closer to the paper in the speakers. Then, when you start fiddling with the many settings, you really realize what a Swiss Army knife this preamp is. Holy crap, there are so many possibilities! I tried to make it sound bad with completely wrong EQ, wrong range, and sensitivity, and even though I really tried (yes, it didn’t sound great with “reverse EQ”), the general sound was still good.
When you start tweaking the sound and really get into the different settings, you get a great sound for all the money. The enhancer works really well for my acoustic guitar, and combined with the tube, you get a big sound that isn’t overwhelming and fills the room in a very pleasant way.
I’m CRAZY about the tube circuit. I think it’s really a stroke of genius. It’s usable both for guitar and bass. Especially my double bass got a fullness I hadn’t heard before.
My old Levin concert guitar is notoriously difficult to amplify, so I was very curious about how it would perform with this. I avoided the feedback even at low volumes, and with a bit of EQ, some enhancer, and a little tube warmth, I got a big, warm, and full sound that will definitely become my “go-to” sound both in the studio and live.
I haven’t tested it with mandolin and violin, but I can’t see why they wouldn’t sound great through it.
The microphone inputs work as they should, and with two inputs and battery operation, you can actually take it to the street with an active speaker and achieve a great street sound.
In a Quadro test where it was up against Caveman, LR Baggs, and Carl Martin, I think it wins. Partly because of the many options, and also because of the tube section. It has more output and clarity than the Caveman, but with Caveman, you’re stuck with the sound it delivers and have NO way to change it.
SWISS ARMY KNIFE
The EDB-2VAP is probably the most complete and advanced preamp on the market right now. You get two channels, a four-band EQ, enhancer, tube, notch filter, advanced routing options, and great inputs and outputs.
BUT there is a learning curve. You need to sit down and figure out how the different circuits work, how they affect each other, and how it affects your sound. If you do that, the EDB-2VAP is a very competent and high-performing companion that will deliver great sound night after night, both on stage and in the studio.
I can only give Headway EDB-2VAP my warmest recommendations.