Audio Media - September 2008 - (Page 41) Chandler | tg1 got muddy like some compressors do on guitar tracks. Inserted on your mix, the keyword for the TG1 is caution. Although subtler settings are easily achieved, be careful to avoid hitting the front end too hard or allowing too quick a release. If you are looking for some bite or edge, just watch the relationship between input and release times; their interactive nature will allow success to the patient. Fairchild 660/670, but at a fraction of the price – whether lending your mixes subtle sheen, some aggressive rock ‘n’ roll grit, or pumping your overheads in a way that would make Ringo long for the throne again. In the age of digital production, it’s nice to have such a ‘retro’ piece that’s not virtual, not looking at obsolescence, and permanently desirable. ∫ I N F O R MAT I O N > mode, signals run through all the TG1’s circuitry except the threshold of the compressor/limiter, imparting anything from a subtle hi-fi sheen (à la the transformers) to a maximum of 2% distortion (reportedly double that of analogue tape) by driving the input hard. £ US$4,080.00 (list price) A Chandler Limited, PO Box 38, Shell Rock, Iowa 50670 With a hopping schedule and no time to waste, I had to jump right in with the TG1 on a critical tracking date, applying it to my stereo drum overheads (using a Sennheiser MKH 8040 pair, ORTF configuration, and Earthworks 1024 mic preamps with thick Monster cables) directly to my multi-track. This gorgeous signal path picked up ridiculous amounts of drum detail and realism, but the TG1 proved to be the ‘colour’ of the rig. I was hoping for just a little grit and saturation, so I hit the front end hard, selected the limiter, and got about 9dB of gain reduction. However, the release was pumping too much so I slowed it, but the slowest release setting reduced some of the colour and excitement factor. I backed off on the input a touch and settled on a release of four; that got me some pleasant aggressiveness without audible pumping. I also tried a number of parallel processing tasks with the TG1 using the subgroup inserts of my Soundcraft Ghost mixer, with mostly great results. A stereo subgroup of drums was subtly enhanced with the TG1 set for THD – bypassing the working parts, but gaining a little extra presence that could be helpful. Set on compression, the TG1 could simply do no wrong no matter how I set it up; whether hitting it hard with a slower release for rock ‘n’ roll aggression, or lightly tapping the front end and allowing a faster release, this is simply a dream compressor for drums and vocals. Set up as a limiter, I had much less pleasing results, too much of that trademark pumping was easily achieved; you’d have to watch input and release to get usable limiter settings. Don’t get me wrong, I found a wealth of sounds here, too, but I’m just pointing out that care is required. Bass guitar and synths are massaged by the TG1 in ways that are so good they’re almost sexual. I tried every setting the TG1 can do with bass guitar, and I found merit with nearly all of them. Whether compressing or limiting – dirtily with fast releases or cleanly with slower ones – this box screams ‘bass guitar’. This much flexibility in dynamic and tonal shaping is a mixer’s delight; just be prepared to tweak around for a while as you’ll probably enjoy the myriad of combinations she can grant the curious. The TG1 can do some very nice guitar things in this parallel manner as well. I found myself using it gently as a compressor with moderate release as a nice glue that held my guitars together without tearing at their delicate balance. Already distorted guitars will prefer compressor settings over limiter ones, but either way the TG1 never I n Use There’s no doubt about it: the TG1 is the real deal, and is flexible enough to accomplish most of all dynamic control tasks. Fact is, every studio needs one, but the list price will be a barrier for many Orpheusrock122x173.qxd 28/05/2008 users. The TG1 may be expensive, but it sounds expensive – much like the aforementioned Conclusion T +1 319 885 4200 W www.chandlerlimited.com A UK Distributor: Unity Audio, The Elms Barn, 10:15 AM Page 1 Essex CO9 4AB Baythorne End, Halstead, T +44 (0) 1440 785843 prismsoundrecording Orpheus - the ultimate professional FireWire audio interface by Prism Sound THE ULTIMATE PERFORMER With unbeatable sound quality, state-of-the-art clock technology, low-latency, flexible monitoring for control room or foldback Orpheus by Prism Sound is the professional’s choice. +44 1223 424988 +1 973 983 9577 www.prismsound.com/orpheus Email: sales@prismsound.com Contact us now to arrange your demo audio media september 2008 41 http://www.chandlerlimited.com http://www.prismsound.com/orpheus http://www.prismsound.com/orpheus
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