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Zod ft. Chandler Limited: The REDD

Due to this unprecedented time in our lives, the music industry has been dismantled and shut down in a myriad of ways. From venues closing and tours being canceled, to recording sessions being rescheduled and album releases being pushed back, COVID19 has been ruthless to artists, touring crews, promoters, and future planning. Although there is no true end in sight quite yet, one sector of the music industry is absolutely thriving: Gear Sales. According to Rolling Stone, musical instrument companies are “seeing an increase in acoustic guitar, synthesizer, keyboard, and pro audio orders…” Beginners and professionals alike have been diving into their isolation with a particular goal in mind; to learn and create. Could this spark a creative renaissance of sorts? Or are the majority of these people just passing the time? From purchasing budget guitars to biting the bullet on high-end boutique reproductions of vintage recording gear, creators are creating. That’s for sure.  

Today, we are going to dive in and learn about one of these companies in particular:
Chandler Limited. 

Chandler is a high-end, boutique pro audio designer and builder that has their roots firmly planted in both vintage magic and modern innovation.  Here’s a rundown of the company’s history from Chandler’s head of marketing,
Adam Fiori:

“Chandler Limited was founded a little over 20 years ago by our Chief Designer, Wade Goeke. While Wade’s journey into audio electronics dates much earlier, the beginnings of Chandler Limited as a company began by him building gear out of a closet in a rented house while living and working in Los Angeles. The first units were the LTD-1 EQ/Preamp and LTD-2 Compressor, and as Wade sold his first units, word spread fast amongst the cognoscenti of the recording industry and the company was born. With potential being shown, it can’t be stressed enough how supportive and nurturing Wade’s parents were in helping him get Chandler Limited off the ground. It’s interesting to note, the next ‘guidepost moment’ in the Chandler Limited story—which came quickly— was the introduction of the first EMI / Abbey Road Studios unit, the TG1 Limiter. A TG1 Limiter made its way to the iconic Olympic Studios in the U.K. and into the hands of its well-known producer and engineer. At about this time, EMI had purchased Olympic Studios, and staff from Abbey Road Studios went to visit the newly acquired studio, while there, the team noticed the TG1 in the rack and Spike—the proud owner of his TG1—spoke highly of it to the team. The Abbey Road team were impressed, however, since EMI had long since stopped producing its own equipment, back in 1974—keep in mind, none of it was ever built for sale to the public— it was perplexing to see this new unit. This event became the catalyst for the Chandler Limited and EMI / Abbey Road Studios relationship, and the equipment Wade is designing and we are building has extended the legacy begun by EMI engineers dating back to the 1930s, to this day.”

 

Zodlounge utilizes some of Chandler’s amazing products daily. The most used item in our studio for capturing sounds is the Chandler Limited REDD Large-Diaphragm Tube Condenser Microphone. Zod owner, musician, producer, mixer, and jack-of-all-trades Tom Michael has this to say about the REDD: 

Q: You’ve been utilizing the Chandler REDD for going on two years now. What do you like so much about the mic, particularly on vocals? 

Tom: I love how the low end punches and the top end isn’t harsh. It’s hard to achieve one without the other and the REDD does this. The built in preamp is also a great feature. I almost always run it straight to the compressor out of the mic. It sounds great on male or female vocals and you can really drive it to give it some edge. 

Q: You don’t use this microphone only for vocals. What are some of your favorite applications for this mic? 

Tom: My favorite use is as a mono room mic for drums. I set it in the middle of the room in omni mode and run that through the TubeTech CL1B Compressor. It adds a nice warm ambience to the drum mix. It’s also great on violin and cello. You need one great mic and I can think of no better than the REDD. 

Q: Out of the numerous songs you’ve cut using the REDD, can you recommend one or two the reader should check out?

Tom: Check out “Bang” by TAELA for a female pop vocal.
For a male pop vocal check out “Here and Now” by Buddy Wright (Releasing May 8th).
For a more classic, intimate vocal listen to “Undertow” on the Zodlounge Spotify channel. A lot of great artists will be posted there with REDD all over those recordings. 

 Q: Have you used any of Chandler’s other gear (hardware or software)? If so, what stands out to you the most? 

Tom: I am in love with the UA Chandler Zener Limiter plug-in! The Germanium preamp is one of my favorites.

 

Our last Zodisms guest, TJ Bechill of NEAT Audio, sold us the mic a couple of years ago. He had something to say about the Chandler REDD that stood out to me when talking to him. He said, “I just know that the REDD is a mic that every studio owner, producer, and engineer would want to have in their possession.” 

 

 

You can find Chandler’s awesome products at www.chandlerlimited.com.
They sell their gear at Vintage King, Sweetwater, and many other pro audio retailers. 

You can find these songs and links at www.zodlounge.com and follow “Zodlounge” on Spotify! Hit us up for an awesome experience with the REDD at 615-491-7053!

 

Zod ft. NEAT Audio: The Lifeblood

Zodlounge is going to bring new content in the form of interviews, blogs, and excerpts to their site for our readers and clients’ perusal. This is our inaugural post. Please share! 

Most people have no idea how much preparation, planning, and hard work goes on behind-the-scenes within the music industry. From creative writing and studio work to record deals, gear, crews and touring, there are so many fluid, moving parts going on at once that one could not possibly see what truly transpires to get an act from studio to stage. Most often, people see point A and/or Point B, not the actual journey it took to get from one to the other. This is the proverbial “dirty work” that nobody notices. And this “dirty work” is crucial.

Each artist/act/band is different. They took a different path, even if just a slight variation from another. In the truest sense of the phrase, there’s not just one way to go about it. 

There are three foundational necessities when it comes to putting on a show: 

1) The Act

2) The Fan 

3) The Gear 

Conceptually, it is simple. Gear is the lifeblood of the show. Gear is what connects the artist to the fan. 

Today, we are introducing TJ Bechill. He is owner and lead technician of NEAT Audio (Next Era Audio Technologies), here to discuss what standard gear is needed to put on a great show and how he blends tried-and-true tricks of the trade with new, ever-evolving technology to bring an artists’ show to life and connect them to their fans. 

 

— INTERVIEW —

ZOD: TJ, tell us a little bit about what got you into audio in the first place. 

TJ: It started with a love affair with music. My dad and uncle loved hi-fi stereo systems back when I was a kid. I focused on the bass when I was a young kid. We had these large-format speakers that put out a lot of energy. For you HIFI nerds out there, my favorite set of speakers were my uncles 2 pair of Infinity RS4.5. Later on, I started playing in bands and because my family was musical, there were instruments around the house. My parents really fueled it all. I ended up going to college for Music Technology at University of Saint Francis. After graduating, I started working at Sweetwater as a Sales Engineer. 

ZOD: So, after years at Sweetwater where you built relationships with acts like Twenty One Pilots, Shinedown, and Bleachers/Jack Antonoff – you decided to branch out and create NEAT Audio LLC. Tell us a little bit about why and about what NEAT does.  

TJ: NEAT builds playback rigs, wireless rigs, tour automation, and sells & installs studio gear as well. I started doing these sorts of things at Sweetwater, and it got to a point where I was needed on the road more and more. So, I decided to start NEAT and be available for acts anywhere in the country for anything they’d need… 24/7. 

ZOD: It seems you navigate an ever-changing branch of the music industry. Any working artist has the potential to use pretty much everything you sell and install, correct? What are the basics that a new touring artist should be prepared for? 

TJ: Control your controllables. Focus first on the things that can make your performance better. An in-ear split rig for monitoring is a necessity for performance and connecting to the artist. Playback rigs are used to supplement tracks from an album that cannot be replicated live without major headaches or hiring more players and crew. This gives the fans what they want and what they heard on your last album that then brought them out to your show. 

ZOD: How does NEAT’s business model intersect with what Zodlounge does? They seem like two very different worlds, but do they work in conjunction with one another? 

TJ: NEAT and Zodlounge have collaborated on everything from finding the correct studio gear to building playback and in-ear rigs for artists Zod has produced. Working hand-in-hand allows NEAT and Zodlounge to create a bridge between studio and live applications, seamlessly. 

ZOD: What’s your favorite band? 

TJ: Don’t go there. I have too many clients! Just kidding, I don’t really have an answer but my listening is greatly dictated by my mood. 

 

NEAT deals in a vast array of studio and touring gear, and TJ’s 24/7 approach to servicing the artist is a breath of fresh air and stress-reliever in one of the most volatile aspects of the music business. 

Contact TJ Bechill at tj@neataudiollc.com or 260-415-2563 for quotes and questions you may have regarding your live show setup! Mention this article to Zodlounge or TJ and receive a day-rate discount on NEAT Audio services.