Chandler TG Microphone Type L [Pre-order item, first shipment sold out] *Delivery date will be notified separately

★The official condenser microphone of Abbey Road Studios in the UK, designed with simplicity in mind.

The TG Microphone Type L is a simpler, more affordable version of the TG Microphone, which was developed jointly by Abbey Road Studios in the UK and Chandler Limited in the US.

The TG Microphone inherits the core circuitry, large diaphragm capsule, and dual tone system of the TG Microphone, preserving its historic sound character. Meanwhile, the swivel mount and 48V phantom power provide even simpler operation.

This is an extremely flexible microphone that can be used in situations where traditional microphones such as the C414, FET47, U87, U67 and C12 have been used, as well as in situations where a dynamic microphone and a ribbon microphone are placed on a guitar cabinet.


◎ Sound that inherits the legend of Abbey Road Studios

Created in 1967 by Abbey Road engineers and EMI's technical team, the EMI TG12345 console brought flexibility and revolutionary changes to recording from 1968 onwards. This solid-state recording console featured a modular design with 12 dual-channel microphone cassettes, extensive EQ and a compressor/limiter per channel.

Era-defining recordings such as The Beatles' final album, Abbey Road, Pink Floyd's The Dark Side of the Moon, and George Harrison's All Things Must Pass were recorded on this console.

The TG Microphone, which inherited the legendary "TG" name, has been installed in many professional studios around the world.

The TG Microphone Type L inherits the TG Microphone's basic circuit configuration, large diaphragm capsule, and dual tone system, but has been improved to appeal to a wider range of users. Additionally, the Type L's unique voicing delivers the proud TG sound.


Dual tone system with two sound characters

The "Dual Tone System" is a system that modifies the input stage of the TG Microphone Type L, expanding the versatility of the microphone.

"System A" delivers the sound you've come to expect from the traditional TG series: rich overtones, punch, and a more forward-looking character (color).

System B delivers a cleaner, more uncolored sound and, thanks to its ability to handle higher SPLs, can be used in situations where you would typically use a FET47, such as miking a kick drum, bass, or guitar cabinet.


◎48V phantom power and swivel mount for more efficient studio work

The TG Microphone Type L is a cardioid FET condenser microphone with 48V phantom power, which produces a sound with a larger sound image than typical solid-state microphones.

In addition, the microphone holder is now a swivel mount and is smaller in size, making it easier to incorporate the TG sound into studio work.

The TG Microphone Type L is a solid-state condenser microphone that combines the historic TG sound with the flexibility and ease of use of the Dual Tone system.

■Product Specifications Microphone Type: Large Diaphragm Condenser Transducer: Gold, Custom Spec Circuit Type: TG, Solid State, FET
Dual Tone System: A/B Voicing Pattern: Cardioid
PAD: -10dB
Output impedance: 200Ω
Power supply: 48V phantom power Microphone holder: Swivel mount (included)
Case: Dedicated case (included)


[Developer & User Comments]


◎Wade Goeke (Founder/Designer, Chandler Limited)
"The focus with the Type L (Little) was to achieve an extraordinarily fat sound while still being an affordable flagship product. This microphone is the culmination of my 15 years of microphone research and development.

At the heart of its versatility is a dual-tone system inspired by both the Drive switch on the REDD microphone and the System A/B on the TG microphone. System A is a versatile setting with a rich timbre, while System B has a rounder, warmer, and smoother sound that some beta testers described as being similar to a ribbon mic.


Mirek Stiles (Head of Product, Abbey Road Studios)
"Wade and I had been toying with the idea of a more user-friendly microphone for some time. Our primary focus was to create the TG sound in a more compact design. The end result is a totally unique and versatile sonic powerhouse.

"I was blown away by its performance, even compared to other microphones in the Abbey Road collection. I believe this microphone has the potential to become an instant classic, and I'm sure it will inspire the next generation of producers, engineers, and artists looking for a unique studio microphone."


◎Butch Walker (Producer, Songwriter)
"It was amazing! I played it through a 112 cabinet with Weber speakers, a Two-Rock Bloomfield Drive and a Telecaster, mic'd it with a TG Microphone Type L and recorded it through the limiter of an RS660 compressor. No manipulation, not even EQ.

The sound was amazing. The big sound image and midrange are what I love most about the record. It's a rock and roll sound. Without the midrange, the guitar sound is gone. The guitar lives in those frequencies. That's why it's so important that the microphone has a great midrange. Ribbon microphones are good for mid-range sounds without a top end or low end, but the sound of the TG Microphone Type L is more three-dimensional than a regular ribbon microphone!"


◎Howard Willing (Producer, Engineer, Mixer)
"It was absolutely mind-blowing. When I used the TG Microphone Type L on drums, in position A it had a lot of air, it was super harmonic and dense. In position B it emphasized both the bottom and the top, creating a really beautiful sound.

It also works great with acoustic guitars. Position A is great for that 1960s rock 'n' roll acoustic sound, and position B adds weight to the guitar. The great thing about this microphone is that if you want someone to double on an acoustic, you can easily change the sound by switching from 'A' to 'B'.


◎Bobby Holland (Producer, Engineer, Mixer)
"One of the instruments that really struck me as amazing when using the TG Microphone Type L was the piano. The A setting had great color and rich harmonics, and it sounded really big in a good way. Switching to B reduced the color, but made the sound perfect. I just loved the piano sound, and it was amazing!"

I don't normally use condenser microphones with electric guitars, but after hearing this sound, I'll probably mic my electric guitar with this TG Microphone Type L more than any other microphone."


◎Ryan Hewitt (Producer, Engineer, Mixer)
"I used the TG Microphone Type L on a recording of Cody Jinks. This microphone has a much bigger sound than I expected. The first time I used it, I was miking a loud guitar amp. I had a Marshall 100-watt amp, another 100-watt amp, and a Chandler GAV19T amp in front of the Marshall cabinet, testing the SPL handling capabilities of the condenser mic. To my surprise, the TG Microphone Type L accepted it all and perfectly balanced what the amp was sounding like in the room. It was really loud, but I was able to get all of that low end and punch with just this one mic. It's pretty amazing that you can do that."


◎Kevin Kadish (Producer, Songwriter)
"I think everyone should own a TG Microphone Type L. It sounds amazing on piano and electric guitar, and I can't wait to try it on acoustic guitar. The A and B modes sound so different it's like having two different microphones in one."

Mode A feels thicker and warmer, while Mode B is more precise (yet still very analog tape-like!). I'm not sure how Wade does this kind of sound design, but when he creates something, it always sounds like what my ears want to hear. I think the TG Microphone Type L will appeal to everyone. It's amazing for piano and electric guitar, and for a microphone this versatile to be available at this price point...it's crazy!"


◎Vance Powell (Producer, Engineer, Mixer)
"The TG Microphone Type L sounded exactly like I wanted it to. It sounded exactly like the amplifiers I tried it with, and exactly like I wanted it to sound. I think the same can be said for all great microphones."