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Chameleon Labs TS-2 Microphone
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August 2, 2007
Product Price
$721
$721
Product Features
Large diaphragm multi-pattern tube condenser microphone
Large diaphragm multi-pattern tube condenser microphone
AC power supply
TS-2 shock mount
25-foot 7-pin microphone cable
AC power cable
Windscreen
Aluminum carrying case
One year warranty
First Impressions
The Chameleon Labs TS-2 is a large diaphragm, multi-pattern tube mic with variable tube heater. This is a pretty unique design as it lets the user drive the tube more or less than "normal" and can yield some nice results.
I have been lucky to use the TS-2 for a while on a number of sources. I've been very impressed with its sonic qualities and its build as well. I must warn you now if you plan to get one of these mics, it's really heavy! Make sure you have a heavy-duty mic stand or budget for one.
The Chameleon Labs TS-2 is a large diaphragm, multi-pattern tube mic with variable tube heater. This is a pretty unique design as it lets the user drive the tube more or less than "normal" and can yield some nice results.
I have been lucky to use the TS-2 for a while on a number of sources. I've been very impressed with its sonic qualities and its build as well. I must warn you now if you plan to get one of these mics, it's really heavy! Make sure you have a heavy-duty mic stand or budget for one.
In Use
The pattern selection is continuously variable and can be pretty neat, though without an assistant is a bit of a time eater. The same can be said of the variable tube heater, though it's a bit more fun. In general I found I liked the tube heater set at it's "calibrated" setting (which takes the variable section of the PSU out of the chain) or about halfway between the normal / calibrated and the full position. At the full position, it was too easy to saturate, and lower than normal didn't seem to benefit the sound. The mic's designer Terry Setter told me that with the heater all the way down it really starves the tube and interesting nasty things can happen. I tried this on some guitar things and the sound was cool, but didn't work in the production I was working on. I could see how this could be like an added bonus though. Given time I'm sure it would make its way onto something I did.
My first use of the TS-2 was on a male vocal. The singer was also playing acoustic guitar and singing and playing lightly. I often like to use figure 8 when doing guitar and vocal together for separation, but I just plain preferred the sound of cardioid in this situation. I had the tube heater in the above mentioned "warmer" position and got a really lovely sound with lots of good sounding proximity effect. The mic has a nice full response that sits nicely in the track. On the same track we did about three or four noise guitar tracks, just cranking a guitar with a few effects through and amp as an underlying sonic element. The TS-2 in omni, though pretty close to the amp sounded great.
I then used it as a drum room mic on omni with the tube heater in the warmer position. I had it on a short stand so it was only about 15 inches off the ground about six feet back and pointing toward the snare. With a little compression it could be used as the only mic for the drums if the production made sense. It was a really full, dare I say warm representation of me Gretsch drum-set. On another occasion I used it as a mono overhead for a multitracked rehearsal. We were using a small PA with one speaker about five feet from where I wanted the OH, about shoulder high right over the center of the drums. I put the mic in figure 8 so that the null was right in line with the speaker. Not only did it sound quite good, but also there was such good rejection of the PA that I can either re-cut vocals, or mix the drums without any vocal unless the drums aren't playing. When I told Terry Setter about this he told me that good rejection was a big part of what he wanted from the mic.
I also had the chance to use the TS-2 on a female singer and a rap artist. The rap singer is actually pretty quiet and he was able to lean in and get a really nice proximity effect and a great amount of detail. The woman had a massive set of pipes and among the tunes she was working was "Me and Bobby McGee." Loud singers will often test the boundaries of a mic. The TS-2 had absolutely no problem with her power, though I couldn't run the mic past the calibrated position.
I've also had quite a lot of success with the TS-2 on electric guitar. Recording a very rootsy / Stonesy band with one player using a Telecaster and a Fender Hot Rod DeVille, the TS-2 gave me everything I like about that combo without adding an over aggressive top like some condensers can do in that situation. The player is very dynamic and the detail was still there even when he played lightly and when he dug it just sang. It's seen a few overdubs with various guitar and amp combos and the combination of tube amp and tube mic works great.
One of Terry Setter's suggestions to me was to try the TS-2 on the resonant head of a bass drum. I did this and the sound was really great. I decided to put a packing blanket over the BD to keep the cymbals and room in check. I usually have an inside and an outside mic for BD, bussed to one track. Both the drummer and bass player on the session really liked the recorded tone, even though neither much cared for the sound of the drum in the room.
The TS-2 comes in a very nice case for the mic, PSU, shockmount and cables. In the case there's also a special tool to open the mic for service / tube swapping etc. The thing I found odd was there was no explanation of this tool. The shockmount is the type that screws onto the base of the mic around the threaded XLR. It holds the mic nicely, though the pattern selector is slightly hard to access because the mount is in the way. I wish it were a 1/4" higher then there would be no problem.
The pattern selection is continuously variable and can be pretty neat, though without an assistant is a bit of a time eater. The same can be said of the variable tube heater, though it's a bit more fun. In general I found I liked the tube heater set at it's "calibrated" setting (which takes the variable section of the PSU out of the chain) or about halfway between the normal / calibrated and the full position. At the full position, it was too easy to saturate, and lower than normal didn't seem to benefit the sound. The mic's designer Terry Setter told me that with the heater all the way down it really starves the tube and interesting nasty things can happen. I tried this on some guitar things and the sound was cool, but didn't work in the production I was working on. I could see how this could be like an added bonus though. Given time I'm sure it would make its way onto something I did.
My first use of the TS-2 was on a male vocal. The singer was also playing acoustic guitar and singing and playing lightly. I often like to use figure 8 when doing guitar and vocal together for separation, but I just plain preferred the sound of cardioid in this situation. I had the tube heater in the above mentioned "warmer" position and got a really lovely sound with lots of good sounding proximity effect. The mic has a nice full response that sits nicely in the track. On the same track we did about three or four noise guitar tracks, just cranking a guitar with a few effects through and amp as an underlying sonic element. The TS-2 in omni, though pretty close to the amp sounded great.
I then used it as a drum room mic on omni with the tube heater in the warmer position. I had it on a short stand so it was only about 15 inches off the ground about six feet back and pointing toward the snare. With a little compression it could be used as the only mic for the drums if the production made sense. It was a really full, dare I say warm representation of me Gretsch drum-set. On another occasion I used it as a mono overhead for a multitracked rehearsal. We were using a small PA with one speaker about five feet from where I wanted the OH, about shoulder high right over the center of the drums. I put the mic in figure 8 so that the null was right in line with the speaker. Not only did it sound quite good, but also there was such good rejection of the PA that I can either re-cut vocals, or mix the drums without any vocal unless the drums aren't playing. When I told Terry Setter about this he told me that good rejection was a big part of what he wanted from the mic.
I also had the chance to use the TS-2 on a female singer and a rap artist. The rap singer is actually pretty quiet and he was able to lean in and get a really nice proximity effect and a great amount of detail. The woman had a massive set of pipes and among the tunes she was working was "Me and Bobby McGee." Loud singers will often test the boundaries of a mic. The TS-2 had absolutely no problem with her power, though I couldn't run the mic past the calibrated position.
I've also had quite a lot of success with the TS-2 on electric guitar. Recording a very rootsy / Stonesy band with one player using a Telecaster and a Fender Hot Rod DeVille, the TS-2 gave me everything I like about that combo without adding an over aggressive top like some condensers can do in that situation. The player is very dynamic and the detail was still there even when he played lightly and when he dug it just sang. It's seen a few overdubs with various guitar and amp combos and the combination of tube amp and tube mic works great.
One of Terry Setter's suggestions to me was to try the TS-2 on the resonant head of a bass drum. I did this and the sound was really great. I decided to put a packing blanket over the BD to keep the cymbals and room in check. I usually have an inside and an outside mic for BD, bussed to one track. Both the drummer and bass player on the session really liked the recorded tone, even though neither much cared for the sound of the drum in the room.
The TS-2 comes in a very nice case for the mic, PSU, shockmount and cables. In the case there's also a special tool to open the mic for service / tube swapping etc. The thing I found odd was there was no explanation of this tool. The shockmount is the type that screws onto the base of the mic around the threaded XLR. It holds the mic nicely, though the pattern selector is slightly hard to access because the mount is in the way. I wish it were a 1/4" higher then there would be no problem.
PROS
Capable of clear & detailed reproduction
Capable of clear & detailed reproduction
Capable of slight to heavy distortion or grit when dialed in
Versatile enough for varying vocal styles
Drums captured very full
Surpasses many condensors on electric guitar
Excellent off axis rejection
CONS
Heavy (bring a real stand to this party)
Heavy (bring a real stand to this party)
Mount makes access to pattern selector difficult
Conclusion
If you're looking for a mic that sounds great on multiple sources and has that extra "something special" and you're still trying to keep your costs to a minimum the Chameleon Labs TS-2 is one of the best things out there! I'm amazed at the quality of this mic for at any price let alone at about $750!
If you're looking for a mic that sounds great on multiple sources and has that extra "something special" and you're still trying to keep your costs to a minimum the Chameleon Labs TS-2 is one of the best things out there! I'm amazed at the quality of this mic for at any price let alone at about $750!
I can't wait to hear the TS-1 SCD tube mic from Terry and Chameleon Labs.
Tony
Oxide Lounge Recording/SanCastle Mastering
309-827-2277
Buy the
Chameleon Labs TS-2 Large Diaphragm Tube Condenser Microphone
at Front End Audio