Chandler Limited TG Microphone

A Microphone in the Lineage of the Legendary EMI TG Chains from Abbey Road Studios

The TG Microphone is part of a tradition directly linked to the EMI TG equipment that marked the history of studio recording: a sonic aesthetic that is dense, precise, and musical, designed to "sound record-ready" even before opening any plugin. Here, the idea is not to offer just another large-diaphragm condenser microphone, but a recording tool that incorporates concepts from vintage mastering consoles and puts them at your fingertips... on the microphone body itself.

This approach positions it as a creative alternative in fields usually dominated by major studio references (FET47, C414, U87, U47): vocals, guitars, drums, overheads, room mics, and high-energy sources. The originality of the TG Microphone lies in combining large-diaphragm capture with a genuine "tone shaping" logic at the source, designed to speed up artistic decisions.

Who Is It For and What Studio Uses?

The Chandler Limited EMI Abbey Road Studios TG Microphone is aimed at sound engineers, producers, and studios seeking a main microphone capable of switching from refined to aggressive takes without changing microphones or multiplying external processing. Thanks to its cardioid pattern, it naturally fits close vocal takes and solo instruments, with good control over room ambiance.

In omnidirectional mode, it becomes an excellent choice for capturing room air, ensembles, or achieving a more open and natural image on certain vocals and acoustic instruments. Add to this the high-pass filter (50 Hz or 90 Hz) and the -10 dB pad, and you have a solid setup for quickly moving from intimate takes to very dynamic sources while maintaining a consistent sonic signature.

Key Features: A Microphone That Thinks Like a Processing Chain

"Tape Equalizer": Sculpting Before the Preamp, with an EMI Color

The built-in "Tape Equalizer" section is adapted from the NAB/IEC band equalizations found on vintage EMI TG mastering consoles. Historically, these curves were used to compensate tape playback according to different standards. In the TG Microphone, they become a musical tool: you can shape the tone right at capture, without relying on an external equalizer.

Combined with the selectable 50 Hz or 90 Hz high-pass filter, this equalization goes beyond simple "cleaning": it helps place a vocal in the mix, refine brightness, control intrusive low end, or give a more controlled density sensation to the source. This is an obvious time saver in sessions and a real advantage when you want to imprint a sonic direction from the recording stage.

Dual Tone System: Two Voicings, Two Behaviors

The "Dual Tone System" acts on the microphone input and greatly extends its versatility. Voicing A is described as "TG mid-forward": a pronounced mid presence that helps a source stand out in a dense arrangement, very useful on vocals, guitars, or instruments that need to maintain intelligibility.

Voicing B is designed for extreme SPLs and will perform where one would traditionally choose an FET47: a relevant option for powerful takes (drums, kick drum depending on placement, amps, brass, very close sources) while maintaining the aesthetic and coherence of the same sonic family.

Real-World Control: Polar Patterns, Pad, and High-Pass Filter

In the studio, flexibility is not just a spec sheet: it's the ability to quickly solve recording issues. The cardioid/omnidirectional switch allows adapting the amount of room and proximity feeling. The -10 dB pad secures the chain on very loud sources, while the 50 Hz or 90 Hz high-pass filter helps reduce vibrations, rumble, or low-frequency buildup right at recording.

Dedicated Power Supply: A Performance-Oriented Design

The TG Microphone relies on a dedicated power supply (PSU) rather than 48V phantom power. This architecture aims to get the best out of the TG transistor circuit and deliver a wide and stable response, particularly appreciated when recording vocals or sources rich in transients and dynamics. The package also includes a shock mount, a Mogami microphone cable of about 7.5 m, and a wooden case, for immediate integration into a professional environment.

Technical specifications

Category	studio microphone	Connection	XLR
Directivity	omnidirectional, cardioid	Color	Black
Capsule	Large Diaphragm

Switchable high-pass filter

50 Hz or 90 Hz