Warm Audio TB12500 500 Series TB12 Tonebeast Discreet Microp

Wow, didn't even hear any mention of this anywhere. This one snuck up on us.


Lots of buttons on a small footprint but cool nonetheless.

Yeah - what's the claim to fame? You can change transformers?

would it be possible to have the 2 output trannys and still fit in one slot?

More expensive than the rack version if you account for the cost of your 2 slots too...even at Lindell 500 rack prices.

I specifically meant more expensive than the rack version of the TB12 when accounting for the 2 x 500 series slots in your rack (minimum $50 each).

that looks bitchin! but how exactly is it advantageous over 2 single space pre's?

sure but that is  typically true of  all 500 series stuff ( kush or seven circle); you can't play if you don't have the chassis, so I think people who are into 500 have that as a sunk cost or do the DIY larger chassis for the voltage and extra spaces ?

Martin John Butler has a tone beast so maybe he'll chime in.
Looks beautiful!!

Subtle, only in the sense that whatever your putting into it isn't changing, so it inherently sounds similar, and can can fool the ear for a little while. I kinda differ with you here kidvybes, the difference to me is clear and obvious, and a major selling point. With the "WA12" side you get some API style vintage tone, with the 918 side, modern and clean. Then, you can shape either tone with all sorts of options. So, to me, it's two preamps in one.

I changed the Dean Jensen 918 opamp to a John Hardy 990 in mine, and that's such a wonderful aspect of the TB, to be able to easily try out the tone of a different opamp. The jury's still out for me regarding the opamp switch. The Hardy sounds hi-fi, euphonic and rich. It's reputation is that it's very clear, but that's not been my experience at all. To me, it's highly colored, better in the lows than the 918, but not necessarily better overall, just different.

Man, I wish I could put two more opamps in there and switch as needed, it's that cool to do. In my next session, I plan to experiment with the settings to try to get the Hardy to sound a little cleaner. It's a tough call to make though. When listening "solo" the warmer settings like vintage and nickel sound better, but put into a track, they're too gritty. I'll figure it out soon.

I can see what you mean Tony, and you make good points. Perhaps Bryce from WARM can pop in here. I'm certain he intended the TB to easily allow opamp changes. I don't think it's trying to be both an API style and say... something like a Neve style in the same box. I think it simply adds more options to the basic circuit, so it might better be described as 1 1/2 preamps. One side warm, one cleaner. I seriously prefer the clean side to the warm side for vocals, so it's really handy being able to turn the knob for that. I call that tremendous bang for the buck, and don't think being able to switch between opamps compromises it electronically.

Now, as for the 990 not being completely satisfying, it could be my fault. I'm open to trying some other things, and the Scott Lieber seemed like a great choice when I googled it a few weeks back. I'm not averse to going back to the original 918 either, it was quite good, but before I bother with that, I need to get a better grip on the tonal options I already have. There's the "Tone" button, vintage or clean capacitor button, steel or nickel transformer switch, and then finally, the gain and saturation knobs, which affect the sound a lot. Where the 990 fell down was that for some strange reason, there wasn't nearly as much gain as with the 918. I asked Bryce, and John Hardy about it, and it didn't make sense, as the 990 is basically just a newer version of the 918.

Again, I'll play with the options a little more, and then if I'm still not as happy about it as I want to be, I'll try the Scott Leiber. Thanks for sharing that tip Tony, it's really appreciated. These things really can make a huge difference in the quality I can get at home on a low budget.

RealGear's much more than chit chat or typical gear forum vitriol, it can be an important asset in helping me improve my recording skills. All from my desk with a good cup of coffee!

I've just been building and playing with the variety of cheap DIY 2520 style op-amps this week and if there's one thing I have learned by comparing them all (including some new and Melville API branded 2520s) is that there is a whole lot of tonal variation from these different gain blocks. It's hard not to see these pres as "API Style" but keep in mind the formula for the aforementioned topology is simply an input and output transformer with a discrete gain block in between. Each of these elements are going to add character to the sound, especially where voltage gain is derived. Consequently, varying the specification of each will yield different colors that will become more an more apparent in regular use. Keep in mind you don't just swap two op-amps back and forth and note the difference in sound. Part of the magic is how these parts interact, especially when you start interchanging mics and mic technique. That said, yes, some might find the tonal variations subtle, but no more subtle than the differences between any two preamps. Where the TB12 might show it's limitations is on the clean side. Even with the 50/50 nickle/steel transformer and the 918 op-amp there is still plenty of coloration, but nobody is buying the Tonebeast for clean tone.

Also, the included op-amps and transformers do not mimic API spec, and as such this thing doesn't really feel like an API to me. At least not like my SCA A12s which were built with original output steel and Melville era 2520s. The Melcor 1731 is mellower than the 2520, fatter on bottom and a little timid up top. It's a great solution for taming harsh sources when you've done all you can at the mic. The 918 is an op-amp I have never had experience with before, but couple with the 50/50 output transformer it almost feels opposite of a 312 - mellow in the middle and open up top. There's still the bottom heft, but that may be more characteristic of the tonebeast more than the op-amp itself. I tried out some ML918's from Whistle Rock and did find them to be a little more open. Consequently, the GAR1731 I built (from CLAPI) was actually darker than the included one. I left both in since I felt the contrast between the extremes was increased.

That said, the GAR2520 coupled with the steel output does sound killer, and with the ability of driving up the saturation by overdriving the gain block I can see it being great for guitars, bass, and yes, snare.

I really dig what WARM did with the TB12. They built a self modding pre, and it really does take some time to get to know the interactions between the options. It does so much for a single rack unit. I'd not hesitate to give up double spaces in the 500 rack. You also really owe it to yourself to experiment with the different gain options out there. 2520 op-amps are plentiful, cheap, and can really give some different results.

Also, for the extra crafty, you can wire up a different input transformer since everything is wired to molex connectors and there is even an empty space for a PCB mounted input transformer parallel to the wired one. A low ratio Lundahl or Jensen input transformer, 990 op-amp and the existing 50/50 or even a high nickel output transformer would get you into Hardy territory I imagine. Definitely a box designed to adapt and excel in many situations.