TC Electronic Tube-Tech CL 1B TDM - Manual (Page 3)

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Tube-Tech CL 1B / 5 4 / Tube-Tech CL 1B
Foreword -
by Frank Filipetti
As an engineer/producer I am constantly amazed by the sheer number of new (and
vintage) equipment available to us. And yet, more often than not, I find myself
returning to those few trusted pieces of gear that in a certain sense define our
individual sound. One of those pieces that I would never want to be without is my
Tube-Tech CL 1B. Sometime in the mid 80’s, I was contacted by John Petersen and
offered a chance to play with a prototype of their first compressor – the CL 1A. I
remember at the time being very impressed, but I had a few reservations and
suggestions about the product. While not suggesting my recommendations led to the
final CL 1B, I was very impressed to find that, not only was every one of my thoughts
addressed, but a great deal more as well.
Since the introduction of the CL 1B it has been an essential element in my
recordings. While exhibiting the characteristic warmth of tube equipment, it is by no
means soft or slow. The fixed and variable attack and release knobs as well as variable
threshold and ratio give me all the flexibility left wanting in vintage
compressor/limiters. With quick attack and release at a ratio of 1.5:1 or 2:1 it is my
number one choice for vocal recording. With longer attack and release times at higher
ratios I use it for everything from bass drum to acoustic guitar to piano to bass. In
fact, about the only thing I don’t use it for is mix buss compression as that is handled
by my indispensable Tube-Tech SMC 2B.
Frank Filipetti.
Biography:
Frank Filipetti came to NY as a singer songwriter in 1971. Ten years, two publishing,
and three record deals later, he decided to try his hand at engineering and production.
He had his first number one single in 1983 with Foreigner’s “I Want To Know What
Love Is”. Since then he has worked on projects with artists as varied as James Taylor,
Kiss, Luciano Pavarotti, Courtney Love, Barbra Streisand, Dave Grusin, Korn, Carly
Simon, Elton John, Mariah Carey, Rod Stewart, and Paul McCartney; on film
soundtracks for directors Mike Nichols and Nora Ephron. In 1998 he won two
personal Grammy’s for his engineering and production work on James Taylor’s
“Hourglass”, and in 2000, 2004, and 2005 he won Grammy’s for his engineering and
production work on the Original Cast albums of “Aida”, “Wicked” and “Spamalot”.
Recently he has been at the forefront in 5.1 surround mixing. The N2K album “Dave
Grusin – West Side Story”, which he recorded and mixed with producer Phil Ramone
in 1997, was one of the first commercially available 5.1 recordings. Since then he
has done numerous 5.1 mixes for artists such as James Taylor, Meatloaf, Billy Joel,
Five For Fighting, Elton John, Polyphonic Spree, Paul Simon and Frank Zappa.
Global Plug-In Controls
Keyboard Commands
In most host applications, the TUBETECH CL 1B supports keyboard commands for
certain functions. The following key commands are available for all plug-in parameters:
Key Commands in Mac OS X:
Fine Adjust = Apple key + mouse movement
Reset To Default = Option + mouse click
Key Commands in Windows:
Fine Adjust = Ctrl + mouse movement
Reset To Default = Alt + Control + mouse click
Automation
Please beware that automation of certain parameters can cause audible artifacts.
In case you experience such problems with automated parameters you should take
care that changes only take place in parts where no audio is sent to the plug-in.
SYSTEM REQUIREMENTS
OS X:
Mac OS X 10.4.x (PPC or Intel) or higher.
Pro Tools 7.3 software or higher.
Pro Tools HD, HD Accel or VENUE system.
iLok USB key and Pace Interlok version 5.4.1
Windows:
Windows XP.
Pro Tools 7.3 software or higher.
Pro Tools HD, HD Accel or VENUE system.
iLok USB key and Pace Interlok version 5.4.1
Compatible with Digidesign VENUE.
Compatible with Apple Logic Pro (but automation is not supported).
DSP USAGE
Pro Tools|HD Core Pro Tools|HD Accel
44.1 kHz 1 instance per DSP 2 instances per DSP
48 kHz 1 instance per DSP 2 instances per DSP
88.2 kHz - 1 instance per DSP
96 kHz - 1 instance per DSP