Anyone who has used TL Audio valve outboard equipment knows how it can transform the sound of recording. Whether it's our preamps, equalisers, voice processors or compressors, the feedback we have had over and over again is "If only I had a console wh#ch could deliver this kind of sound!"

Well, now you can have it.

The VTC (Valve Technology Console) is a fully modular in-line multitrack mixer that offers all the benefits of the compact 8 buss / multiple tape output format but with the supreme advantage of TL Audio's critically acclaimed valve circuitry - which forms an integral part of the channel, monitor, group and master section signal paths. Available in configurations from 16 channels to 56 channels, with optional bar graph meterbridge, the VTC combines the classic warmth of valves with the functional demands of modern music production.

There are hundreds of consoles on the market. But none that sound, feel or look like this one. - Believe us - the VTC simply has no competition!

The M4 is the perfect solution for the modern day studio. Anyone who has used or heard our outboard equipment, will be familiar with its ability to create a warm, smooth, and clean sound that can inject wonderful ‘feel’ into your recordings.
Our acclaimed VTC console has also now been accepted as a great sounding must have in the professional recording environment, with many high profile users.

The M4 offers you the quality of our outboard, in a desk that is more compact and affordable than the VTC – but still offers you the same great sound.

It has been designed to maximise today’s recording techniques, with the addition of an optional ADAT output for easy digital connection to your recording device and software. It makes the perfect front end to any digital recording set up, taking away that ‘clinical, sterile’ sound whilst adding warmth and depth to your recordings – giving you the sound that you have been longing for.

Everything about the M4 has been designed to give you maximum pleasure, from the unbelievably great sounding 4 band sweepable EQ section, to the numerous valve stages and digital output options. You can be sure that the desk is not only a fantastic piece of engineering, it is also great eye candy!

Available in 16, 24, 32, 40, and 48 channel options, the M4 combines that classic valve sound with modern functionality.

The Fat Track Tube Production Suite is a complete solution for tracking, summing and monitoring!

Designed to be the centrepiece of any home, project or semi-professional studio, it combines some of the best-loved features of TL Audio products into one compact unit, adding warmth and sonic pleasure to all recordings and mixes!

Use the Fat Track to capture your recordings with premium TL Audio tube preamps and 3 band swept EQ, or use for mix down and summing with up to 4 stereo and 2 mono returns.

Fully featured master and monitor section with alternative loudspeaker mode, 2 headphone outputs with level control, effects return, balanced insert on stereo bus and channels, tape out, and I/O switchable between +4 / -10.

All connectors are handily placed at the rear top of the unit for quick, easy cable changes and the unit can also be fitted with the TL Audio DO-8 ADAT interface for easy digital connectivity.

Designed for the producer, musician, singer/songwriter, engineer or general enthusiast, this product caters for every requirement, is easy to use and produces fantastic, professional results.

In recent years, the analogue voice processor has become an indispensable direct link between microphone and multitrack recorder, enabling engineers to capture the highest quality vocal sound on tape or hard disc - without the compromises in sound quality that most mixing consoles impose. Going straight to multitrack through a well designed voice processor has unlocked the true potential of microphones and transformed the sound of modern vocal recordings.

At TL Audio we’ve long recognised the benefits of this approach, having included high quality mic preamps on every Valve Classics product since the original EQ-1 Dual Valve Equaliser was launched in 1993.

The new VP-1 is the latest addition to the Valve Classics range, and combines all the best elements of the PA-1 pentode preamp, C-1 compressor and EQ-2 parametric equaliser to create a truly flexible and spectacular sounding valve front end for any audio system.

The VP-1 features seven valve stages, run from a stabilised 250v DC supply. The first stage is a Siemens EF86 pentode in the front end of the preamp, followed by six Sovtek ECC83/12AX7A stages - one in the secondary stage of the preamp, one in the compressor and four in the EQ section.

No other high end equaliser can offer the same degree of power and flexibility as the new TL Audio EQ-2. Like the C-1 and PA-1, the EQ-2 features a raven blue 6mm CNC milled aluminium front panel, General Electric US military specification valves and high retention gold plated ceramic valve bases, but we've also added two much-requested features: a peaking/shelving switch on the LF and HF bands, and drive/peak LEDs. The internal circuit design has also been refined quite significantly to produce an even fatter, smoother sounding equaliser.

The EQ-2 boasts two channels of fully parametric 4 band valve equalisation - which in conjunction with variable high and low cut filters offers unlimited control of any audio source. But that's not all - unlike many valve equalisers, the EQ-2 provides continuously variable frequency controls, so choice of frequency is not limited to switched selections. It also features a pair of the acclaimed TL Audio mic preamps (with phantom power), to enable high quality direct-to-tape microphone recording, and a pair of front panel auxiliary inputs enable a guitar or keyboard to directly access the EQ-2.

Another brilliant refinement is the "stereo mode" switch - when activated, the EQ controls of channel A automatically process the signal on channel B in an identical fashion - thus the audio signals through both channels have the same EQ applied to them: ideal for precise equalisation of stereo sources and overall mixes. Quite simply we believe that the EQ-2 is one of the best sounding and most versatile equalisers currently available!

The EQ-2 employs a total of six valve stages per channel: one in each of the four EQ bands, followed by a pair in the output stage. General Electric US military specification valves are used throughout, run from a stabilised 250v DC supply.

The new C-1 compressor maintains its position as the most flexible, polished sounding high end compressor on the market today. Now featuring a spectacular raven blue 6mm CNC milled aluminium front panel, General Electric US military specification valves, high retention gold plated ceramic valve bases and circular back-lit VU meters, the new C-1 is even fatter sounding and more rugged than its legendary predecessor.

All controls are continuously variable (unlike some other units with switched parameters) and high quality onboard mic preamps allow direct-to-tape recording of microphone sources. Stereo front panel instrument inputs mean a keyboard or guitar can feed straight into the C-1 and down to tape with a minimum of fuss. Whether the C-1 is tracking vocals and instruments or adding roundness and warmth to a complete mix, it will become an indispensable part of your signal path within hours.

The C-1 features a low noise solid state preamp followed by two valve stages per channel. The valves are General Electric ECC83/12AX7A types, run from a stabilised 250v DC power supply. The first valve stage acts as a voltage amplifier, with the second stage forming part of the gain control element. The gain control is performed by our own unique transconductance stage which avoids the use of VCAs - thus improving transparency and minimising distortion, which is virtually constant at 0.05% over the full bandwidth. The frequency response of the C-1 is virtually flat between 20Hz and 40kHz, and measured between -3dB points, the C-1's bandwidth is a staggering 5Hz to 70kHz!

In recent years, the analogue voice processor has become an indispensable direct link between microphone and multitrack recorder, enabling engineers to capture the highest quality vocal sound on tape or hard disc - without the compromises in sound quality that most mixing consoles impose. Going straight to multitrack through a well designed voice processor has unlocked the true potential of microphones and transformed the sound of modern vocal recordings.

At TL Audio we’ve long recognised the benefits of this approach, having included high quality mic preamps on every Valve Classics product since the original EQ-1 Dual Valve Equaliser was launched in 1993.

The new VP-1 is the latest addition to the Valve Classics range, and combines all the best elements of the PA-1 pentode preamp, C-1 compressor and EQ-2 parametric equaliser to create a truly flexible and spectacular sounding valve front end for any audio system.

The VP-1 features seven valve stages, run from a stabilised 250v DC supply. The first stage is a Siemens EF86 pentode in the front end of the preamp, followed by six Sovtek ECC83/12AX7A stages - one in the secondary stage of the preamp, one in the compressor and four in the EQ section.

The 5001 preamp offers four top quality valve mic preamps in a single 2U package, and now boasts extra features including a discrete mic preamp stage, 30dB pad, instrument DI inputs, improved metering and optional 24 bit digital output. The 5001’s combination of sound and facilities is guaranteed to bring out the best in any microphone - from a low cost dynamic to a vintage large capsule condenser. Separate input and output level controls allow the valve stages to be driven harder if necessary for increased warmth, while still allowing the overall output level to be regulated - absolutely essential if recording direct to tape. The output fader permits anything from complete attenuation through to +15dB of extra output gain - making it ideal for driving today’s high level digital recorders.

Each channel of the 5001 employs one half of an ECC83/12AX7A Sovtek dual triode valve, run from a stabilised 150V DC supply. The valve stage is positioned just after the initial discrete mic preamp stage.

This unit without doubt possesses the finest combination of performance and affordability of any equaliser that we have yet produced. There is simply no equaliser in this price bracket to touch it: and now the 5013 features a peaking/shelving option on both LF and HF bands plus a ‘Fat’ contour switch on both channels. Like all TL Audio equipment, the interfacing options couldn't be more flexible - separate input and output level controls allow easy level matching with any other equipment, and a choice of balanced and unbalanced line inputs/outputs plus instrument DI inputs means you can get yourself up and running in seconds. Once you have experienced high quality equalisation then you won't want to record without it - so if you've always thought that your console EQ is good enough, then just try the 5013.

We guarantee that there will be no going back!

The 5013 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve. One stage is positioned pre the EQ filters, and one is post EQ: both are run at 150V DC from a fully stabilised PSU.

Valve compression is now universally recognised as one of the essential tools for today’s recording engineer. The Ivory 5021 provides everything you would expect from a TL Audio compressor - first class audio quality, bags of flexibility and a price tag so modest you'd be forgiven for thinking it was a printing error! Now the new 5021 features hard and soft knee modes, four attack and release times, an improved optical gate design and an optional digital output. Like the C-1 compressor, the 5021 uses our own special transconductance amplifier design that avoids the use of VCAs - ensuring maximum audio transparency. So whether you’re hitting the end stops or just providing gentle dynamic control, the 5021 delivers super-smooth results every time!

The 5021 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve run from a stabilised 150V DC supply. One stage is in the preamp, and the other is in the gain control element of the compressor.

The Ivory 5050 came directly from user requests for a simple yet great sounding valve front end and boasts the winning combination of a mic/line/instrument preamp and mono compressor: making it the most cost-effective way of processing your sources. The new 5050 now features extras including a 30dB pad, hard/soft knee compression modes, a fully balanced line output and an optional digital output.

The 5050 features two valve stages, one in the preamp circuit, and one in the gain control element of the compressor.
These Sovtek valve stages are run from a stabilised 150V DC power supply.
So whether it's your best microphone, your vintage Strat or your latest sample, don't trust it with anything less than the TL Audio 5050.

The single channel voice processor format has become the accepted way of getting the most out of any sound source. The 5051 provides the perfect front end for any system by offering a combined preamp, compressor, equaliser and noise gate all in one easy-to-use package: now with an optional digital output. The 5051 compressor section is identical to that of the 5021 and includes hard/soft knee modes, and the four band equaliser section is modelled on that of the legendary TL Audio EQ-1 - yielding superb results instantly, with an improved optical gate for removing unwanted source noise. So whatever your source, let the 5051 unlock its true potential!

The 5051 features no less than six valve stages, supplied by three twin triode ECC83/12AX7A valves running from a stabilised 150V DC power supply. One valve stage is located in the preamp, one in the compressor gain control circuit, and four in the equaliser section.

The TL Audio 5052 Stereo Valve Processor is the latest addition to the best-selling Ivory 2 series. The 5052 provides everything you would expect from a high quality ‘channel strip’ product, and then doubles it - making it the ideal system front end and the perfect stereo mixdown and mastering device. While most channel strip products provide a single mono channel made up of preamp, dynamics and EQ stages, the 5052 provides two channels of each with independent stereo linking of the compressor, EQ and limiter sections. Recording a mono or stereo source to multitrack through the 5052 becomes simplicity itself, yet when it comes to mixdown the 5052 comes into its own by offering full stereo linked EQ and dynamics - allowing unparalleled processing of the stereo buss while mixing.

Couple this supreme flexibility with TL Audio’s class-leading valve circuit design, and the 5052 represents the ultimate tracking and mixing tool for today’s digital
environment.

The 5052 utilises six triode valve stages shared between the two channels, run from a high quality internal 150V stabilised DC supply.

The TL Audio 5060 is the latest product to join the acclaimed Ivory 2 series. Using the same high quality discrete microphone preamp as other Ivory 2 products the 5060 also has stereo line level or stereo instrument inputs. The 5060 is equally versatile as a “front-end” tracking device or as the final stage mixdown or mastering compressor. One set of controls operates both the channels for quick and easy setup. The compressor section has 15 expertly programmed presets designed to work with a typical selection of vocal and instrumental sources as well as a manual mode for self adjustment of the compressor. The output section includes a “Fat EQ” switch for adding some “presence” or “weight” to your signal.

As with all the mono or stereo Ivory 2 units it is possible to fit the optional D0-2 converter card into the 5060 for premium quality 24-bit SPDIF analogue to digital conversion. This allows you to connect to your Hard Disc Recorder, Mixer or Soundcard in either an analogue or digital format.

The combination of flexibility, ease of use and the renowned warmth of the TL Audio valve circuit design makes the 5060 unbeatable for value and performance.