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It contained a 3-position Voltage Gain switch with settings for 34, 40 or 46 dB output levels, and it also had additional Fine Gain control for the precise balancing of its many possible tasks on the desk. Unlike the V72 - which was self-powered, hot swappable, and had a fixed output level with no front side controls - the REDD.47 drew its power from the desk and needed the desk to be powered down to be changed.
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The REDD.51 desk contained up to forty REDD.47 amplifiers! They popped into the sides of the REDD desks, where they controlled gain levels for every input and output on the desk, from the microphone inputs to the reverb sends and more.
#Chandler abbey road plugins series#
Unlike today’s rackmount mic preamps, the modular styles used by AMS Neve, or the ubiquitous 500 Series API modules that offer all of their controls on the front panel, the line amplifiers in the REDD desks were small rectangular selfcontained modules with few to no controls on them at all. While it was created as a replacement for the V72, the REDD.47 was a from-scratch design Chandler’s Wade Goeke explains, “they share no similarities other than they both use tubes.” For the full, fascinating story, I recommend Recording The Beatles by Kevin Ryan and Brian Kehew.īefore we move on to Chandler’s take on this mythological beast, let’s look back at the original modules. The REDD.47 was developed and built by EMI’s “Record Engineering Development Department” or REDD for short. It was built to replace the modified Telefunken/Siemens-made V72 amplifiers used in the previous REDD.37 desks, the ones used for the Beatles’ first album and part of the second. The REDD.47 was/is the line amplifier component of the REDD.51 desk.
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Thanks to its ongoing partnership with Abbey Road, Chandler Limited is now moving into recreating the earlier tube-based fare, and it all starts with the Chandler REDD.47 tube microphone preamp. With the birth of the Abbey Road plug-in line a few years back, we were able to get part of the way there and roleplay that we were dressed in white lab coats, wandering the halls of EMI Studios and pushing up our virtual Painton Quadrant faders, but the sound of the hardware remained largely elusive save for a few small defunct boutique and DIY companies… until now!Īs we described in our October 2014 review of the TG2-500, Chandler Limited of Shell Rock, Iowa, has a 13-year history building and releasing microphone preamps, EQs, and compressors based on the aforementioned Abbey Road/EMI TG Series desk. Since REDD desks were built in house and only for use in EMI-owned facilities, for the last 45 years engineers young and old could merely dream of tracking and mixing through a REDD of any sort. That run ended in 1969, when the studio installed the new solid-state TG Series desk used on the band’s final opus, Abbey Road.
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From the last few sessions for With The Beatles in 1963 through 1968’s White Album, every Beatles session at Abbey Road was tracked and mixed on the REDD.51 desk. Only three were ever built, and only one is known to exist today it’s housed in Mark Knopfler’s British Grove Studios in the UK. Two of these valve-based desks were used in Abbey Road Studios in the 1960s. In the history of recording consoles, few other audio desks are as shrouded in romance, mystery, and desire as the Abbey Road/EMI Studios REDD.51.