Recording - February 2018 - 42

The Low band of the 500 Series module
offers two fixed choices, selectable with
the lower right button. It's a shelvingonly band with ±10 dB of gain at 90 or
150 Hz. The EQ is finished off with a
button for true bypass. One note about
the curves of the EQ: they are wide and
gentle at smaller boosts or cuts, and get
tighter and bolder at the center frequency
at heavier boosts or cuts.
While taking away the dedicated
High band of the TG Cassette may seem
like a limitation, I quite like the expanded
Presence controls and find the Abbey
Road 10 kHz to be pretty magical. The
engineers in the 1960s found "10 at 10"
to be an often-applicable setting, and I
can concur that it's great on drums and
vocals. It's not so much an "air" sound,
but more of a glassy sheen that helps
things pop, but not harshly. I also like the
added Low band choice, both for boosting
and for gently cleaning out mud.
For many, this EQ might seem simplistic
in today's age of 4-band parametrics

and beyond, but I actually prefer the
simplicity of vintage EQ designs such
as this. They're especially handy during
tracking and printing "to tape", usually
at minimal sweetener settings. During
mixdown, I also like the forced focus that
comes from limited band choices; it avoids
the "choice paralysis" that can come from
having too many bands and parameters.
The only downside to the MKIV
TG12345? This is yet another Chandler
module where you will need, or at least
want, a pair of them.

TG Opto Compressor

The TG Opto Compressor is an
EMI-inspired Chandler creation. In its
500 Series version, it's a 2-slot mono
device. Its center is dominated by a
miniature vintage-style VU meter, the
same as the one found on the Chandler
Little Devil 500 Series compressor.
Styled as a vintage opto compressor, its controls are minimal but highly

effective and reactive. It starts with the
only deviation from the Opto section
in the TG Cassette: where the Cassette
utilized the vintage-style Hold control
found on original EMI compressors,
here Wade returned to a more "modern" continuous input like that found
on the company's TG-1. Truth be told,
for some the Hold style input-threshold
control was confusing, although there is
a tutorial available on Recording's YouTube channel as part of my TG Microphone Cassette review. In that video, I
walk through the gain reduction meter
Hold control, complete with audio samples... but I suppose not everyone has
seen the video, so I'll give Wade the
benefit of the doubt on simplifying this
module's operating mode!
On the 500 Series version, it's as
simple as turing the Input level up. That
sends signal into the unit and brings
the threshold down on the signal, with
the VU meter reacting accordingly and
showing gain reduction in decibels. The


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Table of Contents for the Digital Edition of Recording - February 2018

Contents
Recording - February 2018 - Intro
Recording - February 2018 - Cover1
Recording - February 2018 - Cover2
Recording - February 2018 - 1
Recording - February 2018 - 2
Recording - February 2018 - 3
Recording - February 2018 - 4
Recording - February 2018 - 5
Recording - February 2018 - 6
Recording - February 2018 - 7
Recording - February 2018 - Contents
Recording - February 2018 - 9
Recording - February 2018 - 10
Recording - February 2018 - 11
Recording - February 2018 - 12
Recording - February 2018 - 13
Recording - February 2018 - 14
Recording - February 2018 - 15
Recording - February 2018 - 16
Recording - February 2018 - 17
Recording - February 2018 - 18
Recording - February 2018 - 19
Recording - February 2018 - 20
Recording - February 2018 - 21
Recording - February 2018 - 22
Recording - February 2018 - 23
Recording - February 2018 - 24
Recording - February 2018 - 25
Recording - February 2018 - 26
Recording - February 2018 - 27
Recording - February 2018 - 28
Recording - February 2018 - 29
Recording - February 2018 - 30
Recording - February 2018 - 31
Recording - February 2018 - 32
Recording - February 2018 - 33
Recording - February 2018 - 34
Recording - February 2018 - 35
Recording - February 2018 - 36
Recording - February 2018 - 37
Recording - February 2018 - 38
Recording - February 2018 - 39
Recording - February 2018 - 40
Recording - February 2018 - 41
Recording - February 2018 - 42
Recording - February 2018 - 43
Recording - February 2018 - 44
Recording - February 2018 - 45
Recording - February 2018 - 46
Recording - February 2018 - 47
Recording - February 2018 - 48
Recording - February 2018 - 49
Recording - February 2018 - 50
Recording - February 2018 - 51
Recording - February 2018 - 52
Recording - February 2018 - 53
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Recording - February 2018 - 55
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Recording - February 2018 - 58
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Recording - February 2018 - 60
Recording - February 2018 - 61
Recording - February 2018 - 62
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Recording - February 2018 - 65
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Recording - February 2018 - 68
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Recording - February 2018 - 70
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Recording - February 2018 - 76
Recording - February 2018 - 77
Recording - February 2018 - 78
Recording - February 2018 - 79
Recording - February 2018 - 80
Recording - February 2018 - Cover3
Recording - February 2018 - Cover4
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