| TL Audio VP-1 Mono Valve Processor
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.
Features
Specifications:
Preamp Input gain: variable between +5dB and +65dB (including +/-15dB trim) Variable high pass filter: 25Hz to 1kHz (12dB/octave) Expander/Gate Threshold: variable between -40dBu and -10dBu Attack: variable between 0.5mS and 10mS Release: variable between 30mS and 300mS De-esser Depth: variable between 0 and +20dB Frequency: variable between 700Hz and 7kHz Bandwidth: variable between ‘narrow?and ‘wide?Compressor Threshold: variable between -20dB and +20dB Ratio: variable between 1:1.5 and 1:30 Attack: variable between 0.5mS and 50mS Release: variable between 40mS and 4S Gain Make-Up: variable between 0 and +20dB Equaliser LF band: +/-15dB shelving @ 60Hz, 120Hz, 250Hz and 500Hz (12dB/octave) LM band: +/-15dB parametric, variable between 30Hz and 3kHz (Q variable between 0.7 and 7.0) HM band: +/-15dB parametric, variable between 1kHz and 18kHz (Q variable between 0.7 and 7.0) HF band: +/-15dB shelving @ 2.2kHz, 5kHz, 8kHz and 12kHz (12dB/octave) Limiter Peak Threshold: variable between 0 and 20dB Digital Output (optional) Bit rate: 16, 20 or 24 bit Sample rate: 44.1, 48, 88.2 or 96kHz AES/EBU, SPDIF and optical outputs, Wordclock input Connections Mic input: Balanced XLR Line input: Balanced XLR (+4dBu), Unbalanced jack (-10dBu) Insert point (post preamp): Unbalanced jack (tip=send, ring=return) Sidechain insert: Unbalanced jack (tip=send, ring=return) Stereo link: Unbalanced jack Line output: Balanced XLR (+4dBu),Unbalanced jack (-10dBu) AES/EBU output (optional): XLR SPDIF output (optional): RCA phono Optical output (optional): Toslink Power: 110-120V or 220-240V AC @ 35VA Dimensions: 483mm x 250mm x 132mm (3U full rack width) Shipping Weight: 9 kgs
Optional Extras
Downloads
Reviews
Studio Sound
VP-1 : Magazine Review
"The VP-1 is everything you’d hope it might be. These are the circuits and features - and the sounds - that TL Audio has built its reputation, and they haven’t been compromised to cram them into this all-in-one box. The trademark combination of real controllable valve warmth, low noise and distortion, simple operation and understated processing power is there in spades, and there are many who will need no persuading that this is a box worth having. If you haven’t yet experienced what TL represents, then it’s all here in one convenient package that’s much more than a taster.”
Pro Audio Review
VP-1 : Magazine Review
"I tested out the VP-1 with a wide variety of signals - kick, snare, drum overhead, bass, guitar, percussion, vocals etc. The VP-1 turned in a stellar performance on every one. This is easily one of the most versatile tube processors I have ever had the pleasure to use?. The VP-1 serves up a full buffet of tonal flavours, and every dish is delicious. Consider the menu: tube or Class A solid state mic preamp, voltage or optical gain control circuit, soft or hard knee compression, EQ pre- or post- compressor. That’s a lot of combinations, and this list does not even include the high pass filter, expander, de-esser, EQ or limiter. With so much flexibility and tonal variety, the VP-1 has the ability to deliver virtually any sound you desire. Its price tag is not cheap, but just consider all the gear it can replace in your rack.”
Future Music
VP-1 : Magazine Review
"This is like the TVR of recording channels: it costs a fortune, looks great, oozes style and yet delivers where it counts most. The audio quality is second to none, and unlike a lot of recording channels, the VP-1 also has bags of flexibility. You can get almost any sound out of this box if you want, the only common factor those sounds will have is quality. This quality comes at a price. I’m not going to recommend the VP-1 to everyone, because it’s just too expensive for most of us, but TL Audio know that, which is why the Ivory and FAT ranges are doing so well. This is for the pro, or at least the wannabe pro. If you can’t get a good sound with this then either your mics are broken or you don’t know what you’re doing. For top quality, no-nonsense recording at any price, this is the ultimate way to do it. Damn, I wish I could keep it!”
Audio Media
VP-1 : Magazine Review
"I wanted to really try all the input variations to gain a good idea of the tonal variations possible. The instrument input gave a good rounded sound with whatever I used. Keyboards and guitars sounded full without the usual brittle high end you can often expect with a DI. Bass guitar, as you would guess benefited most with this input option. In all cases, this was without any other processing being applied. The mic inputs were especially nice. Very different sonically of course, but utilising a wide range of microphones with both inputs, an almost bottomless pit of sound options were available. So much flexibility just through the pre-amp.
The gate and de-esser sections functioned as you expect. Doing the job with minimal fuss. When you get to the compressor and equaliser sections, once again the flexibility seems endless. Both sections have a sweet, smooth quality to them. The compressor in both modes of operation was kind and musical in its treatment of the source signals. The equaliser, equally so. It would take some time to learn how to really exploit the VP-1, but achieving what you need is always an easy, and pleasant undertaking.
With the VP-1 TL Audio are continuing to deliver great flexible and high sonic quality. I would love to have heard the output of the VP-1 digitally, but I would not doubt that it is in keeping with the quality shown throughout the VP-1. Among its competitors the VP-1 really shines. With the DO-1 digital board fitted, the VP-1 would be the perfect audio path into just about any MTR or DAW. TL Audio are going to do very well with this unit. I strongly recommend you take a listen very soon."
EQ
VP-1 : Magazine Review
"The VP-1, in a word, rocks. It sounds great, and the ability to switch the preamp from tube to class A is a wonderful. In the tube mode, the sound has more presence, with a rounder upper midrange, and fatter sound. In class A mode, the sound has a harder attack, a less-colored midrange, and a clearer high end. Both modes are eminently usable; having access to them in one box is pretty cool.
The compressor likewise sounds great, and is quite versatile with hard and soft knee operation and solid-state and optical modes; when driven hard it fattens up nicely. The EQ, with a separate tube stage for each of its four bands, somehow manages to be clean and fat at the same time. I really liked the sound of the high shelf in particular; it seemed to round out and warm up the tone even when boosting high end significantly. The limiter, like most such devices, is best used sparingly as a protection device. Nice to have it to prevent accidental overs, but too audible to be used all the time.
In addition to mic-level signals, don’t forget that the VP-1 can handle instruments ?it has a round, natural DI sound with both electric and acoustic guitars and with bass ?as well as line level signals. This means that you can use it to EQ, compress, de-ess, and gate tracks during mixdown. All in all, a very versatile box that should see use in your studio from tracking all the way through final mixdown.
At nearly $3k, you might think the TL Audio VP-1 is a pricey box ?especially for a single channel ?and by most standards, you’d be correct. But if you look at what you’d pay for a collection of similar-quality separate components, you’ll find that the value you’re getting for your dollars is excellent. Combining a multi-flavored preamp stage with gating, de-essing, solid-state or optical compression, tube EQ, and output limiting, the VP-1 is an all-in-one solution for just about any single-channel application ?and you can chain two units if you’re working in stereo.
The audio quality is excellent, the functionality is exemplary, and having multiple “sounds?available in the preamp and compressor is a great bonus. TL Audio has hit it right on the mark for digital recordists with the VP-1."
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