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

I have. Didn’t do much for me.

I just go with the standard slightly off axis and de-easing where needed. FabFilter ProDS is a beautiful thing.

I think you and I have talked about this before, Mic choice is so emotional that what blows you away might blow chunks to me. I also know that as a former gearpimp price/ value always creeps into my mind more than you and many others around here, I think Wade has given is one of the most useful solid state mics to come about in a long time. This thing just has so many different tones.
Wade has always delivered great tones but lately it seams like somebody let him use a Distressor and he said to himself “ cool concept now how about I take this concept to a higher level “
I just see some guy buying this or the tube mic and a RS124 finding himself overwhelmed by the tonal possibilities in the best way possible.
My bang for the buck LDC has always been the M7 Gefell’s but the more I hear of this thing I’m beginning to think we might have a new favorite.

I know I can’t believe it for over 25 years it’s been the Gefell, but I have yet to have the TG in hand and in all honesty right now I don’t have any voices at hand that could give it the bump if Adam sent me one.

No one is saying it’s the king of mics...and a great song trumps a great recording every time...but this thing is excellent and cheaper than a new zingy U87.

I don't think reviews are ever completely accurate.

Just to go back to sibilance for a sec; the performer is the major determinant here - some people are very sibilant , some not so much so it's hard to blame a mic listening to clips.
And yes off axis delivery is a time proven way of reducing sibilance; having said that I'd rather the mic didn't exacerbate it.

Cheers, Ross

That sounds like a great combo. I use the REDD.47 pretty much all the time for my voice and, based on what I've heard, the program B setting would probably suit me well. I have a baritone voice, so often I do like to use proximity (and voiceover mics) to emphasize that. The flipside is that can also make sibilance worse. Depending on the song I might crank up the fine gain on the REDD, but the 40 and -3 setting is something I use into the RS124 on superfuse on and pretty much everything at noonish for both bass and voice (strangely the same exact settings work well for both for me).

True, but over time a general consensus forms among professional users that's helpful in buying gear.  Sometimes I go out on a limb such as with the Weight Tank 72 pre because companies like that reward first wave buyers with a discount.  But in the case of the Chandler TG it's such a differently designed mic that I'll wait until things shake down a bit.  I'm hoping that it's great - in part because some folks are raving about its use on acoustic guitar.  But it's not beyond the realm that after multiple sessions users will find its electronics unpleasing, unnatural, or finicky--so I'll wait fingers crossed.  

I agree with you, there needs to be a lot more user feedback on these mics.  I'm not in the market for one, but if I were, I'd be looking for reviews and examples as many as possible.

Those samples sound great. I'll prob be trying one of these out in a few months, guessing/hoping it'll be an amazing all around option as I like to keep a solid state mic up at all times and currently have my 87 with the 67 mod in. I'm intrigued by the onboard eq options.

Sounds great. Just a big, rich presentation that you could take any number of ways, processing wise.