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Digital Subscriptions > MusicTech > Oct 17 > CHANDLER REDD Microphone

CHANDLER REDD Microphone

Chandler has teamed up with Abbey Road Studios to create a microphone worthy of the EMI badge and heritage. Mike Hillier finds out if it lives up to the hype…

Chandler’s collaboration with Abbey Road Studios has already resulted in designs inspired by the classic REDD.51 and TG12345 consoles – originally built by EMI’s in-house technicians at Abbey Road – as well as the EMI RS124, itself based on the Altec 436B. Chandler’s designs aren’t exact clones of the original hardware, but instead take inspiration from them, using the same basic circuit design but adding functionality to bring the designs up to date.

However, until now, all of these designs had a predecessor that the new model could be considered to be the offspring of. The latest of these collaborations, however, sees Chandler and Abbey Road innovating with a completely fresh microphone design. The REDD Microphone doesn’t have an obvious ‘parent’ product, but it does borrow some circuitry from the REDD.47 preamp.

It’s a formidable package. The microphone itself is just short of a foot long, with a simple, vintageinspired aesthetic that evokes classics like the Neumann U 47 or Telefunken ELA M 251. This is exactly the kind of microphone aesthetic that can inspire a great performance. At the top of the body, by the grille, are two switches: one for engaging the 10dB pad, and another for switching the polar pattern. These are recessed into the body, and so allow the microphone to be positioned easily inside the shockmount without being knocked. However, they are also a little difficult to switch, and we had to use a 2mm precision screwdriver to reach inside and engage the switches. Further down the body are two more rocker switches, for inverting the polarity and selecting between Normal and Drive gain settings, and a nine-position rotary switch on the rear for selecting the amount of gain – from +4dB to +33dB.

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About MusicTech

The new issue of MusicTech is on sale from Thursday 21st September where this month we go all out and show you how to record EVERYTHING! Across 12-pages we cover the best ways to position your microphones and accurately capture the vast majority of instruments you’ll ever need to record. To help you along the way, our Beginner’s Guide this month takes an extensive look into the world of dynamic, condenser and ribbon mics. Elsewhere we sate our inner geek with our in-depth interview with the pioneering Radiophonic Workshop, whose rich history begins way back in the early 60s, where they painstakingly created innovative soundtracks for the BBC, most notably the theme for Doctor Who. As if that wasn’t enough we’ve also assembled a special 24-page supplement full of our favourite reader and pro studio interviews, free with this issue.
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