MusicRadar

The Fat Track can make your mixes sound better - simple as that.

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• Review

It's no surprise that high-quality microphone preamps and top-end audio interfaces are returning to the shopping lists of producers everywhere.

TL Audio has a long-standing reputation for producing high-quality audio hardware. The Fat Track could be the solution for anyone who's seeking to put analogue warmth and flexibility at the heart of their digital studio.

So, what precisely does this rather attractive blue wedge offer? Well, it's billed as a 'Tube Production Suite' and provides a range of features designed to deal with a number of simultaneous signals received directly from your audio interface.

Overview

For starters, it offers a pair of tube-based input channels that can be used on a variety of input source types. Next come four independent, 2-track stereo inputs, which are designed to receive inputs from multi-channel audio interfaces or as tape returns, each with independent level controls and output routing options.

In the main output section, there's a comprehensive set of monitoring choices and the tube-driven signal path returns. This enables you to get a high-quality signal back into your DAW or directly to your stereo mastering machine of choice.

In short, this is a box for recording, summing a number of audio feeds, monitoring and doing a little mixing if the mood takes you.

To the left of the top panel lie the two mono preamp channels, which can accept levels from mic, line and instrument sources. Physical connections for all inputs are made at the back of the top panel and once you're connected, you can make appropriate settings for your chosen source.

Accordingly, phantom power is provided for mic inputs and a pad button gives a generous 30dB of gain reduction for loud input sources.

Below these switches, each channel has gain input, FX send and pan control rotary knobs. The fader is also a rotary design and sits at the bottom, with a 'Drive' LED to indicate signal presence and a further red 'Peak' light if levels are a little on the fiery side.

Each channel also has a dedicated EQ, with High, Low and sweepable mid-tone controls. There's also a high-pass filter button that can be used if you want to roll off frequencies below 90Hz, while an EQ bypass button can be used to miss this stage out altogether. You'll even find a dedicated Phase Reverse button on each channel input.

Without question, the single biggest sonic feature of working with this box is the now famous TL Audio Tube.

This adds boundless warmth and character; even passing a stereo mix from your DAW through these inputs and recording the result back into the computer provides an immediate sonic width and depth, all of which is rather glorious.

The top section of the front panel provides the patchbay through which all signals come and go.

The top row concerns itself primarily with outputs, featuring unbalanced outs, two sets of studio monitor outs, the effects send and return system and two independently driven headphone feeds. The full balanced outputs appear directly above the main output and monitor sections.