7/21/2023 0 Comments Tb audio vu meter![]() The different component options in the TB12 are subtle, but when driven into saturation are noticeable and can make a big difference to the way your final mix will sound. ![]() ![]() Have no fear of hurting the Beast, you can push it very hard into full-on distortion if you wish, and these can sound quite nice on electric guitar, bass or anything else that likes some grit. The TB12 "Tone Beast Black" is a fully discrete, high-voltage microphone preamplifier, utilzing CineMag USA Transformers. ![]() When designing the TB12 Tone Beast Black our goal was to make a microphone preamplifier affordable and jam packed full of options, without compromising the quality and design parameters that make this type of microphone preamplifier so desirable. The output control on the TB12 allows you to limit the signal exiting the preamp even when pushing the gain to really hot levels, giving you maximum control. The Tone Beast Black is customizable and allows users to source and swap in their own opamps. The 2 opamps and 2 output transformers at the flip of their switches won't appear to be much different, but as one drives the pre into harmonic distortion, the unique character of each of these components becomes apparent. The Tone Beast Black is a mic pre that likes to be pushed and when pushed will colorize your signal ever so sweetly. With top notch CineMag transformers and multiple discrete signal paths, it's hard to beat the Tone Beast's big, bold, fully-professional sound at this price. It is a swiss army knife full of options and tones. Spent $1,700 on the thing plus thousands more for the plugins, and now it sits as paperweight.The TB12 Tone Beast Black is a fully professional preamp design with loads of gain that can effortlessly capture an array of sources very well. Had one of the nicest multibands I've ever used. One thing I don't like about TC is them just killing off the Powercore platform. So for audio this is what the patterns will mean - from Larry Boden's bible on disc mastering: All due to the 1960's desire to make it compatible with old black and white TV's. Since the demoding of the chroma phase was done using the color burst on the front porch of the vid signal. It was a joke with engineers that NTSC actually stood for: You'd use a timebase corrector to get the chroma correct. once you see an NTSC Vectorscope it'll make sense, since the targets on it represent the colors: If you've ever seen colorbars and wondered what they were for: The "Cloud" TC mentions is actually a vectorscope using the horizontal and vertical for measuring phase - Old TV broadcast/production studios and dowstream had them they were used for setting the color since the chroma is phase modulated on the baseband video. Lissajous displays were critical in vinyl mastering. ![]() The Tek on the far right is also in Lissajous/XY mode. The red thing next to the right speaker is the Winkie Blinkie - basically a Lissajous (what TC calls ". It does one of the best spectragrams I've ever seen. Really nice for looking at things like kick drums. With 3D waterfall you can see spectral shapes (things like attack, sustain, decay,etc) over time. I currently use a really expensive suite that was designed for rotating machinery. ![]()
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