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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 expander/gate all
in one easy-to-use package. The inclusion of separate
microphone, line and instrument inputs means that the 5051 can
process absolutely any signal you care to throw at it. The
5051 compressor section is based on that of the 5021, but with
the extra advantage of four switched attack and release times.
A four band equaliser section modelled on that of the
legendary TL Audio EQ-1 yields superb results instantly, and a
simple but effective expander/gate is perfect for removing
unwanted source noise. So whatever your sound source, let the
5051 unlock its true potential!
The 5051 features six valve stages, supplied by three twin
triode ECC83 / 12AX7A valves running from a stabilised 150v DC
power supply. One is located in the preamp, two in the
compressor gain control circuit, and three in the eq section.
- Preamp stage provides Input Gain, 48v and 90Hz low
cut filter
- Compressor with variable Threshold, Ratio, Gain
Make-Up & Output Gain
- Four Attack times from 'Fast' (0.5mS) to 'Slow'
(40mS)
- Four Release times from 'Fast' (40mS) to 'Slow' (4S)
- Expander/Gate with variable control of Threshold
(from -20dB to ‘off’)
- Four band EQ section
- LF band gives +/-12dB shelving at 60Hz, 120Hz, 250Hz
or 500Hz (12dB/octave)
- LM band gives +/-12dB peaking at 250Hz, 500Hz, 1kHz
or 2.2kHz (Q=0.5)
- HM band gives +/-12dB peaking at 1.5kHz, 2.2kHz,
3.6kHz or 5kHz (Q=0.5)
- HF band gives +/- 12dB shelving at 2.2kHz, 5kHz, 8kHz
or 12kHz (12dB/octave)
- 'EQ Pre' switch places EQ ahead of the compressor
- 'Link' switch for stereo operation
- Switchable VU metering of input level, output level
or gain reduction
- Drive and Peak LEDs
- Instrument input
- Balanced XLR mic input
- Balanced XLR line input/output duplicated on
unbalanced jack connectors
- Sidechain insert point
Microphone Input: Electronically balanced. Input impedance
greater than 2Kohm. Gain range +16dB to +60dB. Noise -127dBu
(EIN with 150 ohm source, 22Hz - 22KHz and maximum gain). 3
pin female XLR connector. Phantom Power: +48V at 10mA maximum.
High Pass Filter: -3dB at 90Hz, 12dB per octave. Balanced Line
Input: Electronically balanced, unbalanced compatible, with
input impedance greater than 5Kohm. Gain range -20dB to +20dB.
Nominal input level +4dBu. Maximum input level +26dBu. 3 pin
female XLR connector. Unbalanced Input: Input impedance
greater than 5Kohm. Gain range -20dB to +20dB. Nominal input
levels -10dBu. Maximum input level +12dBu. 2 pole 0.25"
jack socket. Input Level Switch: Converts the balanced and
unbalanced line level inputs to +18dBu and +4dBu nominal
respectively. Instrument Input: Gain control range 40dB.
Maximum input level +12dBu. 2 pole 0.25" jack socket.
Compressor: Threshold -20dBu to +20dBu, Attack 0.5msec to
40msec, Release 40msec to 4 seconds, Ratio 1:1.5 to 1:30, Gain
Make-Up 0 to +20dB. VU Meter: Switchable to: Input level, (0VU
= +4dBu), Output level, (0VU = +4dBu), Output +10dB, (0VU =
+14dBu), Gain Reduction (Compression). Output Fader: Rotary
fader, 0dB at centre, +15dB maximum gain. Balanced Output:
Electronically balanced, unbalanced compatible. Output
impedance 47 ohms. Maximum level +26dBu. 3 pin male XLR
connector. Unbalanced Output: Output impedance 47 ohms.
Maximum level +18dBu into 10Kohms. 2 pole 0.25" jack
socket. Frequency Response: 10Hz to 40KHz, +0, -1dB. Noise:
-80dBu, 22Hz to 22KHz, line input selected at 0dBu input and
output gain, Compressor on, and EQ on and flat. Dynamic Range:
106dB (Line input @ 0dB gain). Sidechain Insertion Points:
Unbalanced, switched 3 pin jack socket, tip = send, ring =
return. Nominal level -2dBu. Output impedance 47 ohms. Return
input impedance 10Kohms. Power Requirements: Rear panel
selectable for 220-240V 50Hz or 110-120V 60Hz operation. Rear
panel fuse 20mm, 1AT, 250V. Power consumption 20VA typical.
Detachable 3 pin IEC connector, mating cable supplied. Front
panel On/Off switch with green LED. Dimensions: 19" rack
mounting, 2U high. 483mm wide x 88mm high x 200mm deep.
Weight: 2.5Kg.
(The above specifications are subject to change without
notice)
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The
new FAT 1 is the first valve compressor to combine fully
adjustable controls with fifteen preset compression programs,
allowing you the choice of creating your own unique settings or
opting for our wide selection of factory programmed presets. Now
at last you have instant access to professional sounding high
quality valve compression for both tracking and mixing.
Designed and produced by TL Audio - acknowledged leaders in the
field of valve technology - the FAT 1 is the most instant,
user-friendly and fattest sounding compressor in its class!
- Good
compression is essential for controlling the dynamics of a
source or a mix. The FAT 1 will:
- Help
get the maximum level to tape or hard disc
- Make
vocals and instruments easier to mix
- Fatten
sounds up and create a more exciting and professional
sounding recording
- Add
warmth and presence, making it ideal for digital recording
systems
ANDY JACKSON CHOOSES FATMAN
Long standing Pink Floyd engineer Andy Jackson has become the
very first user to get his hands on the new Fatman FAT 1
stereo valve compressor by TL Audio.
 Andy's
association with Pink Floyd started back in 1981 with The Wall
movie, and has since included engineering The Final Cut, A
Momentary Lapse of Reason and The Division Bell albums, as
well as solo albums for both Roger Waters and David Gilmour.
The latter two Floyd albums both yielded Grammy nominations
for Andy's engineering work.
Describing his first encounter with the FAT 1, Andy commented:
"I was initially sceptical about whether a compressor
with preset programs would actually work in practice, but I
have to say the unit simply blew my socks off! It sounds
astonishingly good in manual mode, and the presets work
incredibly well. I found the mix programs particularly
impressive, and overall the FAT 1 made everything I put
through it sound huge. How it can be done at this price I'll
never know."
RAVE REVIEWS FOR FAT 1
The first magazine reviews are just out for the FAT 1 and the
response has been superb! Here's what The Mix and Sound on
Sound had to say:
"Overall, TL Audio appear to have done it again. The FAT
1 is a great little compressor that could hold it's own
against more expensive models. The idea of putting presets on
a compressor may not be new, but until now we've mainly seen
it on plug-ins. As anyone who uses these knows, the ability to
get a mix up and running quickly using presets is a real
asset, and you can always come back later and tinker with the
settings. For someone who knows they need a compressor, but
doesn't know how to use one, this would appear to be the
perfect solution. The FAT 1 is sure to find favour among the
thousands of home studio owners and especially those using
computer-based recording, as this could be the first and last
link in the recording chain to fatten up your tunes. At this
price, you can't really argue with the FAT1. There's no real
competition for it right now, so its fate lies in whether
recordists will like the idea of cheap valve compression with
the bonus of preset programs."
Sean Vincent - The Mix, June 2000
"In subjective terms, the compression is smooth: it has a
flattering, thickening effect on the majority of sounds, and
when you do push it hard the side-effects are more musical
than annoying. For overall mix treatment, FAT 1 is nicely
transparent providing you don't overdo it, whereas when you
use it as a DI you can compress electric guitar fairly heavily
to create a liquid, effortless sustain. What's more, it
doesn't seem to suffer from that annoying popping that
sometimes occurs with lesser compressors when treating picked
guitar.
FAT 1 must be considered a success, especially at the modest
asking price of under £300. It is very easy to use, it sounds
supremely classy and it looks the part. I wouldn't be
surprised to see it being joined by some Fat chums in the near
future."
Paul White - Sound On Sound, June 2000
Look out for more FAT 1 reviews in the pro audio press soon!
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