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TL Audio VP-1 Mono Tube Vocal Processor

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In recent years, the analog voice processor has become an indispensable direct link between microphone and multi-track recorder, enabling engineers to capture the highest quality vocal sound on tape o... Click To Read More About This Product

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In recent years, the analog voice processor has become an indispensable direct link between microphone and multi-track 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.

TL Audio has long recognized the benefits of this approach, including high-quality mic preamps on every Valve Classics product since the original EQ-1 Dual Valve Equalizer was launched in 1993. The 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 equalizer 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 stabilized 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.

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.


Valve and class A preamp stages
Valve and optical compression circuits
High quality de-esser
Optical peak limiter
Optional 24/96 digital output
Preamp Input gain: variable between +5dB and +65dB (including +/-15dB trim)
Variable high pass filter: 25Hz to 1kHz (12dB/octave)

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?

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

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 kg.
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