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Product 184013

TL Audio Fat Track Tube Preamp and EQ   

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Designed to be the centerpiece of any home, project, or professional studio, the Fat Track combines some of the best-loved TL Audio features into one...Read More

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OVERVIEW

Two fully featured channel strips with 3-band EQ taken from TL Audio's M1 console.

Designed to be the centerpiece of any home, project, or professional studio, the Fat Track combines some of the best-loved TL Audio features into one compact and professional unit, adding warmth and sonic pleasure to all recordings and mixes. Drawing on TL Audio's larger and highly acclaimed M series consoles, the Fat Track offers you that unrivaled big desk sound in a more compact, intuitive and affordable package.

The Fat Track captures your recordings with two premium TL Audio tube preamps as used on TL's M Series consoles contained within two fully featured channel strips with a 3-band swept musical EQ taken from TL Audio's M1 console. Use the Fat Track for summing and mix-down with 4 stereo and two mono returns. You will be astounded by the richness and clarity you gain when summing your audio analog via the Fat Track. You can even bring your entire mix back via the 2 mono channels to add some EQ or final warmth. Patch in a compressor to the master inserts and suddenly you have a complete audio mastering solution!

The monitor section also comes packed with features including separate return solo and selection buttons, effects return, alternative loudspeaker mode, loudspeaker mute, and 2 headphone outputs with individual rotary control. Headphone output 1 (producer) follows your selections in the master section while headphone output 2 (artist) stays fixed on the stereo bus.

The multitude of inputs and outputs available within easy reach on the top panel makes for a flexible and intuitive workstation where quick cable changes are made easy. Space for fitting a TL Audio DO-8 ADAT interface is also provided allowing easy digital connectivity.

Designed for the producer, musician, singer/songwriter, engineer or general enthusiast, the TL Audio Fast Track caters to every requirement. It's easy to use and produces fantastic, professional sound results.

About TL Audio
TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years.

By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).

The EQ-1 was the first of what became known as the 'Classic' range, and was followed by what has become possibly TL Audio's best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel's mixdown compressor on Alanis Morissette's multi-million selling Jagged Little Pill album.

Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. According to designer David Kempson, "Our hybrid design approach was not chosen to cut costs: we created it because we genuinely believe it is a better way of producing valve processors. It makes them consistent, reliable, quiet, and - best of all - it means that by gearing ourselves up for large-scale production we can make the products affordable as well. Every studio deserves to benefit from the advantages of valve signal processing - with our products, we make that possible."

TL Audio ” Plug in the real thing.

FEATURES
  • Mic, Line and Instrument inputs
  • 3-band swept EQ on input channels
  • 2 tube stages
  • Balanced insert points on channels and master
  • Effects send/return
  • Phantom power, 30db pad, phase reverse
  • 4 stereo returns (DAW / tape returns) switchable +4 / -10
  • 2 Headphone outputs with independent level control
  • Alternative loudspeaker mode
  • Main volume large knob control
  • Balanced I/O +4 / -10
  • Compatible with DO-8 ADAT interface
  • Dimensions:
  • Width = 383mm
  • Depth Top Plate = 280mm
  • Depth Side = 300mm (+ Transformer at Rear = 45mm)
  • Height Back = 143mm

Fat Track — the cure for anorexic audio. Order yours today!

SPECIFICATIONS

Fat Track Tube Preamp and EQ

  • 2 Input Channels (figures quoted to Direct Outputs with Fader at maximum):

    Line Input:
    Balanced, via 3 pin TRS jack
    Nominal Level: +4dBu, Gain range: +/-20dB
    Frequency Response: 10Hz to 40KHz, +/-0.4dB
    Maximum Input Level: +22dBu
    Noise: -83dBu unweighted, 22Hz to 22KHz

    Mic Input:
    Balanced, via 3 pin XLR
    Gain range: +16dB to +60dB (-14dB to +30dB with pad)
    Input Noise (EIN): -127dBu, 22Hz to 22KHz @ 60dB gain, 150R
    Frequency Response: 10Hz to 40KHz, +/-0.5dB, @ 40dB gain
    Maximum Input Level: +6dBu (+36dBu with pad)
    Switchable 48V Phantom Power

    Instrument Input:
    Unbalanced: 0.25" jack
    Nominal input: -16dBu, Gain range: +/-20dB
    Maximum Input Level: +8dBu
    Frequency Response: 10Hz to 40KHz, +/-0.5dB
    Noise: -83dBu unweighted, 22Hz to 22KHz

    Direct Output:
    Post EQ and Fader, Pre Mute Switch
    Balanced, via 3 pin TRS jack
    Nominal Level: +4dBu
    Maximum Level: +22dBu

    All Inputs:
    Phase Reverse Switch
    Switchable High Pass Filter, -3dB @ 90Hz, 2nd order

    Equaliser:
    High: +/-15dB @ 10KHz
    Mid: +/-15dB, swept 150Hz to 7KHz, Q =0.7
    Low: +/-15dB @ 80Hz

    Tube Stage: Pre EQ

    Drive LED:
    Variable intensity, from 0dBu to +12dBu, indicating increasing
    Tube drive.
    Distortion is predominately 2nd Harmonic, increasing with Drive LED from 0.5% to 3% (typical)

    Peak LED:
    Illuminates at +19dBu
    Multiple point monitoring at Input stage and post EQ

    Insertion Point:
    Post EQ, Pre Fader
    Semi-balanced Send, balanced Return, on separate 3 pin TRS jacks
    Bypass switch
    Nominal Level -2.7dBu

    FX Send:
    Post EQ, Fader and Mute switch
    Variable send level

    Routing: To Main L+R stereo mix, via pan pot (-3dB at centre) and mute
    switch

    Four 2-Track Returns:

    Fader: Rotary, 0dB maximum gain

    Inputs:
    Balanced, via 3 pin TRS jacks
    Nominal Level individually switchable +4dBu/-10dBu
    Maximum Input Level +22dBu

    Routing: To Main L+R stereo mix, via Fader and routing switch

    Main Outputs:
    Fader: Rotary, +10dB maximum gain

    Tube Stage: Post Mix Amps

    XLR Outputs:
    Balanced, nominal level: +4dBu
    Maximum level: +26dBu
    Noise, all faders @ 0dB, -80dBu, 22Hz to 22KHz
    Noise, Main Fader @ minimum, -95dBu, 22Hz to 22KHz

    Jack Outputs: Unbalanced, nominal level -10dBu
    Tape Output: Combined TRS jack, nominal level -16dBu

    Insertion Point:
    Pre Fader
    Semi-balanced Send, balanced Return, on separate 3 pin TRS jacks
    Bypass switch
    Nominal Level -2.7dBu

    FX Send:
    Output:
    Mono, semi-balanced, via 3 pin TRS jack
    Nominal level -6dBu
    Noise -87dBu, channel sends @ maximum
    Noise -100dBu, channel sends @ minimum

    FX Returns:
    Inputs:
    Stereo, Right Input normalled to Left Input for Mono compatibity
    Balanced, via 3 pin TRS jacks
    Nominal level +4dBu
    Maximum Input Level +22dBu

    Monitoring:

    Source:
    Normally follows Main Output, overridden by 2-Track AFL selection
    Level controlled by large diameter knob
    Main / Alt LS switch
    LS Mute switch

    LS Outputs:
    Main and Alt LS, balanced on 3 pin TRS jacks
    Nominal Level +4dBu
    Maximum Level +26dBu
    Noise -80dBu, all faders @ 0dB
    Noise -100dBu, Monitor Fader @ minimum or LS muted

    Phones Outputs:
    2 stereo outputs, with separate level controls
    Phones 1 follow Monitor selection, for Engineer/Producer
    Phones 2 follow Main Output at all times, for Artist
    3 pin TRS jacks
    Minimum Impedance 32 ohms

    Digital I/O:
    Optional DO-8/Firewire cards available, to fit slot on rear panel

    Dimensions: 381mm W x 330mm D x 150mm H. (15" x 13" x 6" approx)

    Power Requirements:
    Voltage: 230V 50Hz or 115V 60Hz, internally wired
    Consumption: 37VA, without digital I/O
    41VA, with DO-8 option fitted
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