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.

Page 3 Page 5
Page 4
Image 4
TC electronic SDN BHD CL 1B manual Foreword by Frank Filipetti, Biography
Page 3 Page 5

CL 1B specifications

TC Electronic SDN BHD CL 1B is a notable product in the realm of audio processing and studio equipment. This innovative device is designed to meet the needs of sound engineers and musicians who demand high-quality sound in their productions. Built with advanced technologies, the CL 1B provides a comprehensive set of features that enhance its usability and performance.

One of the key features of the CL 1B is its superior audio processing capabilities. It utilizes high-precision audio conversion and processing mechanisms that ensure clarity and fidelity in sound reproduction. The unit is equipped with advanced algorithms that intelligently manage dynamics, allowing for intricate control over compression and expansion processes. This makes the CL 1B highly versatile for different audio applications, from live performances to studio recordings.

The device also boasts an intuitive user interface, designed to make it easy for professionals to navigate through its various features. The layout includes a bright, clear LCD display that provides real-time feedback, making it easy to monitor and adjust settings on the fly. This is particularly beneficial in live environments, where quick adjustments are often necessary.

In terms of connectivity, TC Electronic SDN BHD CL 1B offers multiple input and output options that accommodate a wide range of audio setups. It supports both analog and digital formats, providing flexibility for users who work in various formats. The implementation of high-quality connectors ensures minimized signal degradation, which is critical in maintaining sound integrity.

Another standout characteristic of the CL 1B is its compatibility with other devices and software. It integrates seamlessly with prevalent digital audio workstations and can be controlled remotely, allowing for greater convenience during both recording and live sessions. This feature showcases TC Electronic's commitment to innovation and user-centric design.

The build quality of the CL 1B also deserves mention, as it is engineered to withstand the rigors of professional use. The robust chassis and components ensure longevity, making it a reliable choice for touring musicians and studio professionals alike.

In summary, TC Electronic SDN BHD CL 1B is a powerful audio processing unit that combines advanced technology with a user-friendly design. Its exceptional audio quality, extensive connectivity options, and durable construction position it as an indispensable tool for anyone serious about sound production. Whether in a high-pressure live setting or a controlled studio environment, the CL 1B delivers performance that meets the highest standards of the industry.
Top Page Image Contents