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TL Audio Ivory 5051 Mono Tube Voice Processor
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The TL Audio 5051 is a single channel voice processor format that has become the accepted way of getting the most out of any sound source. The Ivory ...Click To Read More About This Product
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Complete vocal recording front end with preamp, compressor, EQ, and noise gate.
The TL Audio 5051 is a single channel voice processor format that has become the accepted way of getting the most out of any sound source. The Ivory 5051 provides the perfect front end for any system by offering a combined preamp, compressor, equalizer, and noise gate, all in one easy-to-use package. There is also now 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 equalizer section is modeled 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 TL Audio 5051 voice processor features six valve stages, supplied by three twin triode ECC83/12AX7A valves running from a stabilized 150V DC power supply. One valve stage is located in the preamp, one in the compressor gain control circuit, and four in the equalizer section.
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 re-selling 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 re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to 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.
The Ivory Series
With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio's best selling range of products to date. The Ivory Series satisfied all the criteria that we knew customers were looking for: a great sound, flexibility and user friendliness, all with a smaller price tag!
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.
- New Preamp stage provides Input Gain, 48V, 90Hz filter and 30dB pad
- Compressor section with control of: Threshold, Ratio, Gain Make-Up and Output Gain
- New Hard/soft knee compression modes
- Four switchable Attack times from Fast (0.5mS) through to Slow (40mS)
- Four switchable Release times from Fast (40mS) through to Slow (4S)
- New Optical gate with variable control of Threshold (from -10dB to off)
- Switchable VU metering of input level, output level or gain reduction
- Drive and Peak LEDs to indicate internal signal level
- Front panel instrument input (for guitar, keyboard, etc.)
- Balanced XLR mic input
- LF EQ band gives ± 12dB shelving at 60Hz, 120Hz, 250Hz or 500Hz (12dB/octave)
- LM EQ band gives ±12dB peaking at 250Hz, 500Hz, 1kHz or 2.2kHz (Q=0.5)
- HM EQ band gives ±12dB peaking at 1.5kHz, 2.2kHz, 3.6kHz or 5kHz (Q=0.5)
- HF EQ band gives ±12dB shelving at 2.2kHz, 5kHz, 8kHz or 12kHz (12dB/octave)
- EQ Pre switch allows the EQ section to be placed ahead of the compressor section
- Link switch allows two 5051s to be connected for stereo operation
- Balanced XLR line input/output duplicated on unbalanced jack connectors
- Sidechain insert point
- New Optional 24 bit digital output
- Mic Input: Mic Noise (EIN): -127dBu (150 ohm source, 22Hz to 22kHz)
- Line Input (Balanced): Maximum level: +26dBu
- Line Output (Balanced): Maximum level: +26dBu
- Frequency Response: 10Hz to 40kHz, +0, -1dB
- Noise: -80dBu (22Hz to 22kHz)
- Dynamic Range: 106dB
- Power Supply: Consumption: 20VA typical
- Dimensions: 483 x 200 x 88mm
- Shipping Weight: 6kg