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TL Audio Fat Funker Guitar and Bass Tube Preamp

Product 184012
Product Price $0.00
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Designed to be the perfect tube front end for guitarists and bassists, the Fat Funker valve preamp will add that special something to your performanc...Click To Read More About This Product

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Six-tube-stage front end with preamp, EQ, and compressor.

Designed to be the perfect tube front end for guitarists and bassists, the Fat Funker valve preamp will add that special something to your performance. Whether used in a small rig before your amp or in a large gig feeding the output to front of house, with six valve stages, the Fat Funker will fatten up your sound by delivering depth, warmth and clarity. This TL Audio valve preamp is also ideal for the home and project studio” and with the optional DO-2 digital output card, interfacing is easy.

The TL Audio Fat Funker is the result of feedback and demand from customers, industry professionals and leading musicians. The Fat Funker is based on the respected Ivory 5051 unit, it features balanced inputs and outputs, optional digital output; a smooth, fat sounding compressor; gate sidechain; variable impedance input; VU meter; and a specially enhanced EQ section to ensure it will respond to guitar and bass notes in the best possible way. Get ready, because the TL Audio Fat Funker is sure to deliver a sound that is fat and funky!

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.

  • Tube preamp stage with input gain control
  • Front panel guitar input Balanced XLR input on rear
  • 4 band EQ with wider Q settings in the Low Mid section to add depth and prevent problem frequencies emerging
  • 30dB pad and 48V phantom power
  • 90Hz High pass filter
  • Line inputs selectable to take -10dB to +4dB (unbalanced) and +4dB to +18dB (balanced)
  • Optical gate with variable threshold (10dB ” off)
  • Sidechain insert point
  • Variable compressor with switchable attack (05 ” 40ms) and release (40ms - 4s) times
  • Hard and soft knee mode
  • 'EQ pre' switch to allow the EQ section to be placed in front of the compressor within the signal chain
  • 3 twin triode valves (ECC83/12AX7A) running from a stabilized 150V dc power supply, providing 6 valve stages
  • VU metering and drive and peak LED's
  • Balanced inputs and outputs
  • Easy digital interface via the optional DO-2 card
  • Can be used with lead, electro acoustic and bass guitars
Microphone Input:
  • Gain range +16dB to +60dB,
  • Noise -127dBu (EIN with 150 ohm source, 22Hz - 22KHz and maximum gain),
  • Switchable 30dB pad,
  • Maximum input level +4dBu (+30dBu with pad)
Phantom Power:
  • +48V at 10mA maximum
Line Inputs:
  • Balanced XLR, switchable +4dBu/+18dBu nominal level.
  • Unbalanced jack, switchable -10dBu/+4dBu nominal.
  • Gain range +/-20dB.
  • Maximum input level +26dBu
Instrument Input:
  • Via front panel 0.25" jack socket.
  • Input Impedance 1M ohm,
  • Gain range -2dB to +38dB,
  • Maximum input level +10dBu
High Pass Filter:
  • -3dB at 90Hz, 12dB per octave, Active on all inputs
  • Balanced XLR, nominal level +4dBu, Unbalanced jack, nominal level -10dBu.
Output Gain Control:
  • Rotary fader, +15dB maximum gain
Maximum Output Level:
  • +26dBu (XLR), +12dBu (Jack)
  • Threshold variable -60dBu to -10dBu.
  • Threshold: -20dBu to +20dBu, Attack 0.5msec to 40msec,
  • Release: 40msec to 4 seconds, Ratio 1:1.5 to 1:30,
  • Hard/Soft Knee switch, Gain Make-Up: 0 to +20dB
  • LF Band: +/-12dB at 60Hz to 500Hz
  • Shelving response
  • LM Band: +/-12dB at 250Hz to 2K2Hz
  • Peaking response, Q = 0.5
  • HM Band: +/-12dB at 1K5Hz to 5KHz
  • Peaking response, Q = 0.5
  • HF Band: +/-12dB at 2K2Hz to 12KHz
  • Shelving response
Drive LED:
  • Increasing intensity to reflect valve drive, commencing at +4dBu to full brightness at +14dBu (Output level control at 0dB)
Peak LED:
  • +20dBu. Monitors Input and Output Levels
VU Meter:
  • Switchable to Input level, (0VU = +4dBu),
  • Output level, (0VU = +4dBu),
  • Output +10dB, (0VU = +14dBu),
  • Gain Reduction (Compression)
Frequency Response:
  • 10Hz to 40KHz, +0, -1dB
  • Predominately second harmonic, increasing with "Drive" level. Typically 0.2% @ 0dBu
  • -80dBu, 22Hz to 22KHz, line input selected vat 0dBub input and output gain, Compressor and EQ on at 0dB
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

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