Chandler TG Mic...and I’m living on the elliptical

It’s not in the audio path and can be removed/clipped easily.

Roxanne

Ah, the light, once I started setting up the levels and the preamps, I barely noticed it.

I actually like the idea. Easy way to see if the mic is on.

In any event, sounds like the red light makes the TG a great Kitty play laser! (for those of you with cats in the studio)
Guess we'll get the "canine report" soon enough from John K.

Ragan,

I ALWAYS dig your stuff. You have such a profound sense of emotion that haunts all of the vocal takes that I've heard you publish in recent years. I could listen all day.

Saying that...

I don't love the TG on your voice. The TG mic runs a tad sibilant and "digital" sounding to my ears.

I love the MK67, though. A LOT. That combo is perfect for your voice. The MK67 sounds retro and classic to my ears. Rounded, smooth, slightly "tape-ish" even? (Whatever that means... Shooting from the hip right at this moment.)

Thanks so much for sharing,

Chad

PS: I love that "Tom Petty" thing happening on your voice in the MK67. Really puts you in that "classic hit-maker" category for me. Again... TG may be an incredible fit for someone else, but for my taste, and being familiar with your voice, MK67 takes it.

You sound great. On my phone the TG sounded fine. Actually kind of sounded like a live broadcast! Then I got in the car it sounded fine too. But then I remembered that I had rolled off the bass all the way in the car while checking a mix, lol! I flattened the EQ and the MK67 stole the show, perfectly balanced. And the TG lost the vibe it had. Phone is like total high pass.. So I’m thinking keep the high pass on, see how that does for you? I do this for my Rode Classic lately, highest high pass I’ve been enjoying. I think the tube highs on the 67 probably will always win. But the forward low mids I was pretty impressed with on the TG. 

ragan system B has less Typical TG harmonic content, try setting 1 IEC/NAB 7.5 Ips and also try both low cuts on that setting, especially 50; adjust your preamp up 6 dB in sys B. You’ve got a multitude of sounds in there to accommodate a wide array of sources. FLAT is it’s own sound too... System A pushes the harmonic content forward.

Man, those are some very kind words and I really appreciate it.  Thank you.  

I got to try out the mic on my voice after getting home from work and it's quite impressive! I have a baritone voice that can go from deep to nasal to spacey very quickly, (people usually say it sounds something like Jim Morrison or Paul Banks with excursions into not quite as nasal as Smashing Pumpkins and dreamy like Slowdive or maybe a bit of softer Blue Oyster Cult territory). My voice also tends to include some interesting overtones when I sing a certain way, and those can be a challenge to capture. I've had trouble finding a mic that really works well with my voice and can capture the low voice parts well while also not sounding nasal or too sibilant and, at the same time, working well for my more shogaze/spacey voices and overtone content. I have, believe it or not, settled on a Rode NT1 as the most complimentary option for quite a while because it is basically fairly neutral (not like the NT1A, btw). However, the NT1 does seem a bit cold and can also be a little nasal (though it does the dreamy thing well). I also usually end up using a ton of pop filtering and a windscreen with it to get to be less bright.

As you might have gathered, I am excited because the TG mic works very well for all of that and, of course, sounds much nicer than the NT1. So far I do like both program A and B, but think B would usually work better for my voice (Ragan's too, I think). It seems to me that it has a pretty neutral quality as well on the flat setting in program B, but it also manages to have a nice and very flattering character of its own. It doesn't get harsh when I sing more nasal, can be detailed enough yet still warm for the dreamy sounds, and handles the baritone low end very well. It also still feels like it's a faithful representation of how I actually sound (or at least how I sound in my head!).

I don't think program A would work as well for some of my singing styles, but I do think it works pretty well for the dreamy or fear the reaper-esque styles I mentioned. I do think that mode can get sibilant, though, for me, so I do have to be more careful and will also try a windscreen at some point to see what that does.

I do find that a lot of the settings really do not match my voice well, but that is totally fine because they are likely good for other sources.

For me, the settings that sound really nice are in the cardioid pattern:

System B Flat, no HPF
System B Position 1 (all the way left) no HPF
System B Position 1, 50hz HPF
System A Position 1, no HPF
System A Flat (situational)

I was running all of these through a REDD.47 > Hairball 1176 > RS124 > Dangerous AD+ with transformer disengaged. Sometimes I also left out the 1176 and I also tried with just the REDD.47. All combos sounded good but with varying degrees of dynamic control/output level of course. I will be trying my Sowter Stam 1073MPA soon as well. I think that is likely to also be a nice and flattering combination.

So, onto things we've talked about that some people haven't loved.

1. The Red Light: I actually really like this feature. It's not that bright, so you don't notice it much at all when you have another light on. However, it's actually extremely useful when you are in dim light (as I often am, because it seems to help me get into the music more deeply). With the light on in dim light you can see exactly where the capsule is, and I think that's quite a nice feature. It helps with positioning and/or singing technique. Does it look cool aesthetically? In the dark, I think so. In the light? Neutral opinion.

2. The Shock Mount: It is a little tricky to get the mic in there and the location of the latches is not ideal for facilitating that either. However...not sure there's actually a better place for the latches, and I do much prefer it to one of those horrendous cage of rubber bands designs that make me nervous. I may just use a Rycote, however, as I tend to prefer those over most any other shockmount.

3. Fiddly Switches: Well, yes. I did spend a lot of time fiddling with switches out of the box. However, I was able to easily determine which settings were a definite "nope" for my voice and which ones will be useful. I can foresee having to practice a bit more to determine exactly when to use each setting that I do like, but that's music for you. It's a lot better than having only one option, in my opinion. One thing that initially confused me is that you need to use the small provided screwdriver to switch in the pad or the omni setting. I see, though, this is necessary to get the mic into most shock mounts. Not a big deal. I will likely be in cardioid most of the time. However, I did enjoy the discovery that I can move my hand behind the mic in omni mode to varying distances and create a pretty great flanging/ADT effect. I'll definitely be using that trick.

Well, that was longwinded. Anyway, I am quite pleased so far and looking forward to trying it on guitars and drums.

No drops from me.  It's got an intentional sloped indent in the top.