WARM TB 12 Tone Beast Tone Shaping Microphone Preamp User Manual

: June 6, 2024
: WARM

Table of Contents

WARRANTY STATEMENT
- NON-WARRANTY SERVICE
NOW LET’S GET STARTED!
TECHNICAL SPECS
- Hi-Z Instrument input
- Hi-Z Switch
HOOKUP DIAGRAMS
SPECIFICATIONS
Read User Manual Online (PDF format)
Download This Manual (PDF format)

WARM TB 12 Tone Beast Tone Shaping Microphone Preamp User Manual

THANK YOU!

Thank you for purchasing the Warm Audio TB12 ”Tone Beast” Black tone shaping mic preamp and DI. We feel this product offers the best in terms of the sound, function, and vibe from the classic era of analog recording. We don’t cut corners when it comes to what goes into our products, and the TB12 Black is no exception. The Tone Beast uses the highest quality custom input and output transformers made by Cinemag Transformers USA. The TB12 Black also features our own custom reproductions of discrete op-amps from the classic recording console era, and features a discrete, class A signal path throughout, with an all through-Role component topology, built by hand. We are confident you will love recording with the TB1 2.

WELCOME BACK TO THE WORLD OF ANALOG

Though digital technology and solfware have made great strides in their performance in recent years; we still feel that nothing compares to the level of articulation, depth, realism, and responsiveness of a well-built piece of analog gear. When you hear the bottom end presence and top end detail of quality analog gear, the difference can be astounding.

The cost of most boutique analog equipment is financially out of reach for many recording artists. Our mission is to change this, and introduce as many people as we can to recording and mixing with real, dedicated hardware. Whether this is the first piece of outboard gear you‘ve ever purchased outside of a recording interface, or merely the first in a long time; we thank you, and welcome you back to the world of analog.

Bryce Young
President
Warm Audio
Liberfy Hill, Texas USA

REGISTER YOUR TB12 BLACK!

Before we begin, please take the time to visit www.wormoudio.com to register your product. To ensure you receive proper and uninterrupted warranty support for your product, please register your unit within1d days from purchase.

WARRANTY STATEMENT

Warm Audio warranties this product to be free from defect in materials and workmanship for one year from the date of purchase, for the original purchaser to whom this equipment is registered. This warranty is non-transferrable.

This warranty is void in the event of damage incurred from unauthorized service to this unit, or from electrical or mechanical modification to this unit. This warranty does not cover damage resulting from abuse, accidental damage, misuse, improper electrical conditions such as miss wiring, incorrect voltage or frequency, unstable power, disconnection from earth ground (for products requiring a 3 pin, grounded power cable), or from exposure to hostile environmental conditions such as moisture, humidity, smoke, fire, sand or other debris, and extreme temperatures.

Warm Audio will, at its sole discretion, repair or replace this product in a timely manner. This limited warranty extends only to products determined to be defective and does not cover incidental costs such as equipment rental, loss of revenue, etc. Please visit us at www.wormoudio.com for more 1nformation on your warranty, or to request warranty service.

This warranty applies to products sold in the United States of America. For warranty information in any other country, please refer to your local Warm Audio distributor. This warranty provides specific legal rights, which may vary from slate to state. Depending on the stale in which you live, you may have rights in addition to those covered in this statement. Please refer to your slate laws or see your local Warm Audio retailer for more information.

NON-WARRANTY SERVICE

If you have a defective unit that is outside of our warranty period or conditions; we are still here for you and can get your unit working again for a modest service fee. Please visit us at www.wormoudio.com to contact us about setting up a repair or for more information.

With the proper care, your Warm Audio gear should last a lifetime and provide a lifetime of enjoyment. We believe the best advertisement we can have is a properly working unit being put to great use. Let’s work together to make it happen.

NOW LET’S GET STARTED!

The Warm Audio TB12 Black is one of the h1ghest quality microphone preamplifiers on the market in its price range. It uses quality USA made components found in preamplifiers with much higher price fags. In addition to its unparalleled quality and pr1ce, the Tone Beast has unique lone-shaping features that give users flexibility usually only found by acqu1ring an assortment of different preamps. Home-based musicians and professional studios alike will find the Tone Beast to be an extremely powerful, versatile and fully professional piece of gear that is capable of warming and shaping both input signals and mixes in a way that is very pleasing to the ear.

The information contained in this manual is written to help you get quickly started with using your TB12. Because of the endless combinations of DAWs and Microphones, we encourage you to read through this manual then experiment with your unit until you find the settings you like.

TECHNICAL SPECS

Microphone level input (XLR)

This input is designed for dynamic, condenser and ribbon microphones. Other instruments or devices that put out a low level microphone signal can also be plugged into this input. The 1nput impedance can be set to either Ó00 or 150 ohms, via the tone button (more on this later).

Hi-Z Instrument input

The front panel 1/d” input sends the instrument’s signal through the entire preamp circuit including the input transformer, discrete op amp (operational amplifier) and output transformer.

The thorough layout of the Hi-Z’s signal path ensures that instruments are
subject to the same robust pre-amplification as microphones. You can connect a variety of instruments via the Hi-Z input on the front panel of the Tone Beast including: acoustic and electric guitars, bass guitar, keyboards, synths and drum machines.

Hi-Z Switch

This feature engages the front panel 1/d“ input and turns off both XLR inputs. Line Input Switch.

This feature engages the TRR line input on the back of the Tone Beast and disconnects the XLR microphone inputs.

Line Input Switch

This feature engages the TRR line input on the back of the Tone Beast and disconnects the xlr microphone inputs.

+48V Switch

The d8 volts feature provides power for condenser mics and any other devices requiring continuous phantom power through the XLR input. This power is supplied at a constant level to prevent any degradation of audio quality.

-20db Pod Switch

Engaging this feature applies -20db to the incoming signal. This is a very useful feature for reducing the level coming into the Tone Beast and thus preventing the signal from clipping or distorting. This may occur due to high output level from a microphone or other device. Padding the input serves to provide increased “headroom” for the operator while lessening the likelihood of signal overload.

Polarity Switch

This feature inverts the polarify of the signal. Use the polarity switch when recording with more than one open microphone to combat phase cancellation between microphones.

Hi-Pass Filter

Removes unwanted low frequencies from your source signal below 80kz.

Discrete Op Amp Switch

This switch allows you to choose between 2 completely different discrete analog operational amplifiers.

One of the op-amps we provide is built to the schematic of the classic Melcor 173 1 style discrete op-amp, a predecessor to the popular 2520-style op-amp. The other socket houses a reproduct1on of the Jensen 918, a more modern and linear type of op-amp. The 173 1 las a more noticeably vin- tag tone with an earlier and more characterful breakup when overdriven; while the 918 is more linear and transparent at any setting, though it can be driven into saturation as well. Both op amps are socketed and use the classic 2520 Ó pin footprint. This allows users to remove the op amps easily (without soldering), and replace them with their own op amp(s) of choice. There are a plethora of available discrete (and even non-discrete or hybridized) op-amps on fie market, in a variety of flavors, from fie extremely clean and High performance Io the very rick and characterful. As long as the op-amp conforms to the standard 2520 pin-out configuration and can operate at the standard +/-1óv, then it should do well in the TB12. It’s also worth noting that our discrete op-amp reproductions are quite good.

You should never feel that you need Io ’upgrade’ the TB12. Chang1ng op-amps is more about experimenting w1th different tonal options or perceived levels of realism.

Tone Switch

The control switches the input transformer configuration from a 1 :d (step up) turns ratio Io a steeper1 :8 (step up) turns ratio, drawing out a greater degree of coloration and impact from both the input transformer as well as the discrete op-amp. When engaged, the input impedance of the Tone Beast is 150 ohms. When disengaged, the input impedance of the Tone Beast is Ó00 ohms. The 1NO ohm (switched-in) setting will increase the gain of the Tone Beast by +ódb, changing the maximum gain from +Ó5 to +71db. This feature will make a noticeable tone change to most microphones and instruments.

The Microphone, Line and Hi-Z inputs are all altered by this feature; as every input source ultimately will pass through the affected components. The Ó00 ohms impedance setting is recommended for condenser and dynamic microphones, and 1 J0 ohms is recommended for ribbons. This switch is labeled “Tone” for a reason though; most listeners will final the normal setting to be more open and natural, with the engaged setting to be more punchy, aggressive, or thick. The engaged selling is very much akin to how vintage console pre- amps such as those that inspired the TB12 Black have always been wired; however the disengaged setting is more akin to how most other types of solid-state preamps are normally wired. We strongly suggest you experiment with both settings on all sources to final the best possible tone for your recordings. As with all things, let your ear be the final judge on which setting to use for any given situation.

Capacitor Switch

This switch changes 2 capacitors in the circuit from lantalum to electrolytic. The “vintage” sehing is for tantalum capacitors, the “clean” setting is for electrolytic. Of all the tone features provided in the Tone Beast this option is the most subtle but still noticeable to many ears depending on the source being treated.

Output Transformer Bypass Switch

This feature removes both the nickel and steel core transformers from the circuit. Use this option when seeking for less character or a more transparent signal. The signal will experience a loss of -8db when this switch is engaged.

Output Transformer Selector Switch

This feature allows the user to switch between 2 CineMag output transformers of different tone/make. The steel core transformer sounds more “vintage” with a fairly “mid-forward” tone. The 50% nickel core transformer has a “cleaner” lone than the steel and was custom designed by CineMag specifically for the Tone Beast. The nickel version uses a unique laminat1ng method that gives the signal a more linear response than the steel option but still treats the signal slightly, and gives it a smoothness that‘s hard not to fall in love with.

Gain Knob

The gain control is variable and ad| Usts the Tone Beast’s gain from +29db to +Ó5db or from +35db to +71 db when the “Tone” switch is engaged. The “Pad” feature lowers the minimum and maximum ranges by -20db when engaged.

Output Control Knob

This knob controls the signal exiling the Tone Beast. It ensures that the amplified signal doesn’t exit the TB12 Black too loud and overload the inputs on the user’s interface or the next device in the signal chain. It also gives the user greater ability to drive the gain of the preamp harder resulting in greater colorization and tone shaping within the various settings.

Power Switch

The power switch is used to power the unit on and off. To extend the life of the electronics please turn the Tone Beast off when not in use.

Microphone level input (XLR)

This input is designed for dynamic, condenser and ribbon m1crophones. Other instruments or devices that put out a low level microphone signal can also be plugged into this input. The 1nput impedance can be set to either Ó00 or 1CO ohms.

Line Input

This TRR input is padded -2Jdb’s and is designed for line level instruments or sources that put out line level signals such as keyboards, electric instruments or audio interface outputs.

Insert (Send & Receive) This input and output are designed to allow another device such as a compressor or EQ to be inserted in the middle of the Tone Beast’s circuit. These connections insert the secondary device into the circuit after the input transformer, PAD, POL, TONE and DISCRETE AMPLIFIER select1ons, bul before the output transformer. The send and return connections for the TB12 Black are separated, but unbalanced, and operate at +ddb line level. We recommend unbalanced 1/d patch cables.

Balanced Output (XLR & TRS)

+4db balanced output is provided on an XIX and 1/4” TRR connection for convenience. Unbalanced operation is possible via 1/4” TRR output using an unbalanced 1/4” cable. We do not recommend using both outputs simultaneously.

IEC AC Power Inlet

Connect the included power cord to the IEC AC power inlet. For complete power severance, disconnect the IEC cord from the TB12 Black unit

HOOKUP DIAGRAMS

HOOKUP DIAGRAMS
Recording interface

In this example, a microphone is feeding into a TB 12 Black, which feeds in to the WA-2A via a balanced XLR patch cable, which feeds in the LINE LEVEL input of your recording interface/recorder.

Note: it is important to use a line level input on your recording device as opposed to a microphone or instrument level input.

**Recording interface

**

In this example, the TB1 2 Black is being routed as an insert into a recording device. This is useful for using the TB12 Black as an “analog plug-in” or insert for mix-down.

The recording device is feeding the TB12 Black with a balanced 1/4″ cable via a line output. Then, the recording device is capturing the TB1 2 Black via a LINE LEVEL input.

The TB1 2 Black may be used as a line level processor to ‘warm up’, saturate, or intentionally distort a line level signal creatively. It may also be used after any other line level device or another preamp for a similar effect.

SPECIFICATIONS

Utilizes premium grade CineMag USA Transformers.
71db of gain.
Transformer selection provides both Steel and 50% Nickel CineMag output transformers for varying character.
Transformer bypass switch allows for removal of the output transformer from the circuit.
Discrete Opamp selection allows for choosing between a 1731(vintage) and 918(cleaner) style opamp. These are socketed/swappable with your choice of 2520 6 pin footprint opamps.
Impedance switch labeled TONE to switch between 150 and 600 ohms input impedance.
2 Meg Ohm True HI-Z input on front panel sends instrument signal through entire circuit including both Cinemag Transformers and the discrete operational amplifier. Great for guitars, bass, key-boards and other instruments that have a 1/4″ output jack.
Capacitor selection between Tantalum and Electrolytic for different characters.
80hz hipass filter.
Polarity Reverse.
+48V phantom power.
Output attenuation allowing for saturation flexibility of both the opamps and transformers.
1/2″ insert for the use of inline compressors, eq’s etc.
Balanced XLR mic (front and back), balanced TRS line, and 1/2″ instrument inputs.
Balanced XLR and TRS outputs.
-20db Pad.
LED VU Meter.
19″ rack mountable.