ProAudio Review - July 2008 - (Page 47)

beyond its gain reduction “raison d’etre” — a mode called THD. In this 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 two percent distortion (reportedly double that of analog tape) by driving the input hard. | IN USE 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 multitrack. This gorgeous signal path picked up ridiculous amounts of drum detail and realism, but the TG1 proved to be the “color” 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 9 dB of gain reduction. However, the release was pumping too much so I slowed it, but the slowest release setting reduced some of the color and excitement factor. I backed off on the input a touch and settled on a release of 4; 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 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. SUMMARY 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 users. The TG1 may be expensive, but it sounds expensive — much like the aforementioned 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. Rob Tavaglione is owner of Catalyst Recording in Charlotte, N.C. Please contact him with your questions or comments at rob@catalystrecording.com. Anyone who has heard it knows . . . Already distorted guitars will prefer compressor settings over limiter ones, but either way the TG1 never got muddy like some compressors do on guitar tracks. 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 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 VT-2 Vacuum Tube Microphone Preamplifier (VT-1 Single channel version also available) D.W. FEARN w w w. d w f e a r n . c o m 610-793-2526 West Chester • PA • U.S.A. www.proaudioreview.com July 2008 | ProAudio Review | 47 http://www.dwfearn.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - July 2008

ProAudio Review - July 2008 Contents Publisher's Page: Inside Broadcast Production Studio News and New Products Steinberg Nuendo 4 Digital Audio Workstation Developments & Trends: Digital Audio Workstation I/O JZ Microphones Black Hole BH-1 Apple Logic Studio Behind The Scenes: JBL Professional – A 60-Year Legacy Broadcast News and New Products WLOY: Real World Facilities For An On-Campus Radio Station Post News and New Products Hot Gear InfoComm 08 Chandler Limited TG1 Abbey Road/EMI Series Limiter/Compressor Live News and New Products Cerwin-Vega! Professional Active Series CVA-28 and CVA-118 Speakers QSC Audio Model GX5 Power Amplifier From The Road: A Week In The Life — Gear Essentials Contracting News and New Products Taming The Driving Factor — Drums UpSampler: sE Instrument Reflection Filter Buyer’s Guide: Live Sound Amplifiers Single Slice: Roger Powell “Fallout Shelter”

ProAudio Review - July 2008

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