The latest little dual-voiced, more affordable EMI-inspired microphone
Review by: Paul Vnuk Jr.
Recording Magazine
February 2024
For 25 years, Wade Goeke and Chandler Limited have been crafting high-end audio processors and more in Shell Rock, IA, including the company‘s EMI/Abbey Road offerings that recreate and innovate rare classic recording gear from the famed studio‘s arsenal. The latest collaboration between Wade and EMI is the Chandler Limited TG Microphone Type L.
Chandler Mic History
Seven years ago, Chandler Limited released the large diaphragm multi-pattern REDD Microphone (reviewed February 2017)—the first microphone to bear the EMI/Abbey Road name since the 1930s. It was not simply a tube mic but commingled a tube-based microphone preamp into its design inspired by the famed REDD.47 tube-preamp topology.
Two years later, we saw the release of the large diaphragm multi-pattern TG Microphone (reviewed February 2019) based on the circuit topology of the solid-state Abbey Road TG series consoles. Despite being a solid-state mic, the TG Microphone used an external power supply and featured a unique 5-position “Tape Equalizer” borrowed from the TG series transfer (mastering) desks. It also included a dual-voice A/B System switch.
Little TG Number Three
The TG Microphone Type L is again based on the TG topology or, as Chandler states, is “descended from“ the TG Mic. It is also the most affordable microphone in the line at less than half of the price of the TG Mic and less than a fifth of the REDD.
However, the “L“ in Type L stands for little, not “lite.“
The Type L is much smaller than the TG and REDD models. Rather than being housed in a sizable custom-made, “U47-Style“ body with a large chrome over brass head basket illuminated with internal red glowing LEDs, the Type L makes use of a standard variety aluminum mic body and chrome-plated head-basket measuring 6.25″ top to bottom with a 1.8″ maximum diameter.
The Type L is the first phantom-powered mic in the line. The body is finished in TG series dark gray, and its capsule does not glow. Two switches on the rear of the mic are for a -10dB pad and the A/B System switch.
Type L Tech
The Type L is a single-pattern cardioid condenser and uses the same custom dual-diaphragm, gold-sputtered edge-terminated capsule found in the TG Mic, although voiced differently.
Chandler Limited does not publish plots, graphs or specs, nor does it give details about component choices and such. For Wade, it‘s more important that you enjoy how the meal tastes rather than being too concerned with the ingredients in the recipe.
The Type L does make use of a large custom transformer wound to impart a different flavor than the TG Mic. The meticulously laid out circuit board is fitted with through-hole soldered components with zero ICs or modern trickery.
The Package
The price is made possible thanks to the more petite standard mic body, zero glowing LED, no external power supplies, no multi-pattern circuitry and an accessory package that includes a swivel-style mic mount in a bamboo presentation box.
The System
Like the TG Mic, the Type L employs a dual voice System switch. To get my bearings, I compared both voicings to an AKG C414 XLS, C414 XLII and a Peluso P-47—a Neumann-inspired FET47-style mic.
I found the Type L just a touch clearer and more dimensional than the C414 XLS, which almost sounded a tad “congested“ in comparison and not as bright as the C414 XLII. The Type L differed most from the FET-style Peluso P-47, except each mic offered a similar low-mid punch.
A or B
Starting with the System A setting, two words keep coming to mind to describe the Type L—rich yet open. The mic is spacious, warm, glassy and smooth in the A setting, with a gentle hint of upper-mid presence and a firm yet unimposing low-mid range.
The System B tone is a touch more open yet simultaneously richer—think more “pretty” and relaxed. There is also a 5–6dB drop in level when moving to System B.
All in the Family
Overall, I find that Wade tends to voice his microphones more in the C12/ELA M 251 families than any classic U series mics and the Type L continues in this vein. There are familial similarities when placed side by side with the REDD and TG microphones.
Comparatively, I found the top-end of the Type L to lean closer to the REDD Mic than the TG, with the REDD mic‘s open clarity reaching just a touch higher. I found the lows and low mids of the TG and Type L more similar, and yet overall, I found the TG Mic (flat EQ setting) to be a touch more hard-edged in both A and B voicing compared to the Type L, which was a bit smoother and softer.
The exciting part is that the Type L hangs comfortably with both mics despite the price difference, and never once did it sound “cheap.“
Axis, Proximity, Plosives and Sibilance
The Type L has a firm yet smooth proximity effect and roll-off. Like the REDD and TG mics, it sounds full and rich up-close, as well as at a healthy distance. Its off-axis rejection is tight yet well-balanced tonally.
The mic is prone to plosives on up-close vocals, so a good pop screen is recommended. On the flip side, I found it did well to gently smooth out vocal sibilance.
Sources for Courses
This smoothness works well on cymbals, making the Type L a great choice on drum overheads or as a depth-filled mono front-of-kit mic.
One of my favorite uses was on a baby grand piano behind the hammers, just a few inches above the strings. Here, the A system was well voiced for more forward pop and rock tones, while the B setting was best in a more folky setting alongside acoustic guitars, violin and gentle percussion.
I found similar results on acoustic guitar, where the A setting focuses more on the string jangle, while the B setting seats the guitar as a whole more in the mix.
On vocals, again, do you want a touch of forward presence? Choose A. Should the vocal sit more smoothly in the mix? If so, choose B.
The Type L is also a stellar choice on an electric guitar cabinet. Again, the two voices let you fit the style of the song. While its smoothness allows it to play nicely with a dynamic mic like a Shure SM57, I was thrilled with just the Type L alone in the mix much of the time—something I can’t say with most condenser mics on guitar cabinet. In a way, the Type L combines the clarity of a condenser, the low thrust of a dynamic, and the overall smoothness of a ribbon mic all into one, and this doesn’t just apply to use on a guitar cabinet.
Regarding the above descriptives, it‘s easy to read them with more weight than intended, and I need to highlight that the difference between the A and B System settings is on the subtle side, unlike the 5-position EQ on the TG Mic.
One trick I quite enjoyed on guitars (electric and acoustic) and vocals was to use the A setting on one pass and the B setting on overdubs, backing parts and doubles. The rest is a coherent sound with just the right amount of perceptible differences.
Final Thoughts
The Chandler TG Microphone Type L is a smart design on multiple levels. Like every mic in the Chandler line, it has its own voice (or voices) rather than being a copy or clone of anything else. It offers a versatile, clear and rich sound that complements a broad range of sources, and most of all, it is the most affordable EMI microphone to date. Nicely, it plays beautifully with its upscale siblings.
Price: $789
