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Inward Connections TSL-1

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Page last updated Feb 16, 2026

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The Inward Connections TSL-1 is a vacuum tube limiter that brings a touch of analog warmth to any studio setup. Designed for professional audio environments, this effects processor is renowned for its ability to deliver smooth, musical compression, making it an essential tool for engineers who value precision and depth in their sound. The TSL-1 is built with hand-selected components and features all-tube circuitry, which ensures that your audio retains its natural dynamics while adding a layer of character that only tubes can provide.

This signal processor is highly versatile, making it an excellent choice for a wide range of applications, from vocals to drums, and even mastering projects. The TSL-1 features a dual channel design, allowing for simultaneous processing of two separate audio signals or stereo linking for cohesive sound shaping. Its intuitive front panel layout includes input and output gain controls, threshold settings, and a bypass switch, offering straightforward operation even in the most demanding studio sessions.

Key Features:

Vacuum tube limiter with smooth, musical compression
Dual channel design for independent or stereo-linked processing
All-tube circuitry for rich, analog warmth
Hand-selected components for optimal sound quality
Intuitive front panel with input/output gain, threshold, and bypass controls
Ideal for vocals, drums, and mastering applications
Renowned for adding depth and character to any audio signal

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Josh Kiszka

Singer, Keyboardist

Greta Van Fleet

Verified via Soundonsound

Used on the vocals for "When the Curtain Falls", as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"The main lead vocal, track 48, has the Opticom for some compression, and I'll always have a parallel lead vocal channel next to it, called 'smash', again for parallel compression, and it'll have tons of plug-ins and I'll just crush it to pieces, almost to the point of distortion, and tuck that underneath the main vocal. The plug-ins on the 'smash' channel include the Waves SSL Channel, Waves CLA-76, Waves DeEsser, Waves H-Delay, and the Soundtoys PhaseMistress. The latter is to get the choruses to sound wider, and the track has some automated delays. For vocal reverb I use the Echoplate 2 [plate reverb] with a Delta Labs Effectron II for pre-delay, and depending on the song either a Lexicon Primetime II or Fulltone Echoplex for slap-back delay.

"Finally there are the backing vocals, on which I had again the Waves SSL-Channel, CLA-76 and DeEsser, and then the Waves SuperTap delay, for stereo delays in the choruses, also to get them to sound wider. I do the vocal blend in Pro Tools and, depending on the parts, will send the blends out on one of the two stereo outs. In this case I had two sets of stereo outs to the API and I compressed each pair lightly with the Inward Connections TSL3 and TSL1."

To glue everything together, Al Sutton once again employs parallel compression. "The API Legacy has an A bus and a B bus, and I'll put a Shadow Hills compressor on the B bus. I'll blend that back in with the A bus, and I'll print that back on as a stereo track in the session. I'll print a brickwalled track as well so we can hear the mix really loud, and get some idea of where we'll end up. But I'll send my mix uncompressed to mastering, which for this album was done by Ryan Smith at Sterling Sound. I leave loudness up to the mastering engineer, because I don't want to play that game any more. It just ruins your mixes. If you can get at a competitive volume without having all the dynamics smacked out of your mixes, I think it will resonate more with people."