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Chandler Limited TG2 Microphone Pre-Amp
by: Barry Rudolph
EQ Issue #2, 2003
Introduction
The single rack space TG2 microphone preamp uses the same circuit design and
components of the TG12428 amplifier from EMI's TG Series mixing and mastering
consoles. The 1970's TG Series was EMI's first transistorized equipment designed
to replace their tube gear in use since the 1950's. Although the TG desk was used
for The Beatles' Abbey Road, many other seminal records of the early seventies
through 1983 were recorded on TGs including Pink Floyds' Dark Side of the Moon.
The two-channel TG2 is hand-made in the USA and features an all-discrete Class-AB
circuit with balanced transformer inputs and outputs. The Carnhill/St. Ives
microphone input and output transformers, like most of the TG2's components, are
made in England. Typical of the entire Chandler Limited product line, the TG2 is
beautifully crafted in a rugged nickel-plated steel box ready for the road or
studio. The hand-soldered Elma controls and switches are mounted to an internal
frame (not directly on the front panel) and handsomely wired to two, solidly
mounted circuit boards. The half-rack space PSU-1 external power supply powers up
to two TG2 units.
Unique Sound Quality
As "homage" to a bygone era, the two-channel TG2 doesn't disappoint with a
wide-open sound mostly due to the same "tailored" frequency response found on
original TG Series gear. A kind of "personality", the preamplifier's frequency
response curve is flat from 20Hz to 3kHz and then slowly begins rising for a very
subtle boost of 1.5dB by 16kHz. I found the preamp's sound quality somewhere
between an API 512 mic preamp and Neve's 1272 amplifier as used in the 1073/1084
modules. You'll find a whole new sonic world here: higher dynamic range than the
Neve combined with API's "harder, punchier" sound character. The TG2 has a more
desirable gain selection range than either Neve or API with a fifteen-position
gain switch starting at 5dB and going up to 75dB in 5dB repeatable steps. This
update of the original TG circuit is perfect for accommodating modern condensers
that have higher output levels than older mics. Vintage pre-amps (generally)
start with more gain at their lowest setting (both Neve and API modules start
with 20dB of gain) sometimes necessitating use of the mic's pad when close-miking
loud sources.
The Output control is before the final output stage circuit and acts as a fine
gain adjust. Both the Gain and Output knobs are old-fashion black radio pointer
knobs that fit the vintage British battleship gray front panel. The TG2's mic
input is able to accept line levels allowing for interesting overloading and
coloration treatments by cranking up the Gain control and turning down the
Output--like using a guitar amp with a master volume control. All fun, this
effect on a vocal track sounds a little like John Lennon singing "Polythene Pam"
with loads of third harmonic fizz.
Microphone input impedance is 1200 ohms and the review unit has an additional
unmarked switch that changes the input impedance to 300 ohm--a $150 option I
recommend ordering. Front panel locking Neutrik 1/4-inch, 100k impedance input
jacks are provided for direct instrument recording. I liked that the DI switch
toggles between the rear panel mic XLR and front panel DI jack. If you don't use
the DI, then the switch works as a mute button--good idea! The unit also has
phase reverse and +48volt phantom on/off switches. I'd like to see an output clip
LED and phantom power on/off indicator on the front panel.
In The Studio
I first tried the TG2 for recording acoustic guitars for both strumming and
fingerpicking parts. I used a Swedish Milab DC 96B cardioid condenser, an API
550B equalizer (also Class-AB design) followed by an 1176LN limiter. This signal
chain produces an aggressive acoustic rock sound and I found the TG2 very quiet
with more than enough gain. I also ended up NOT using the equalizer because proper
mic positioning and the open sound of the TG2 was all I required. For an inveterate
knob tweaker like me, I loved that rotating the gain switch produce no clicks or
pops--even with audio present. I did discover that the PSU-1 power supply (as well
as some other gear) must be located well away from the preamp chassis otherwise
noise and hum was introduced into the audio.
Next came vocals with the TG2 again providing clear and accurate sounding
preamplification. Unlike the Neve 1084 module I had used the night before, there
was no "collapse" or preamplifier compression or distortion on peaks when my singer
sang loudly into an Røde NTK condenser mic. I also didn't feel a big need to
equalize and the smooth output control was perfect for riding down loud vocal
moments to avoid over-squashing by the following TubeTech CL-1A compressor.
Finally, I tried the high impedance input for recording direct bass guitar. Plenty
of gain for the passive pickups of the Fender P-Bass and there was no hum or noise.
I was concerned that the 100k ohm impedance might load the pickups but the sound
was great--exactly the way that particular bass sounds. An extremely useful and
versatile unit that's easy to get great sounds instantly, the two-channel TG2 sells
for $1,849 while the PSU-1 power supply is $125.
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