When I was asked to write an article about a Chandler series product, the first impulse was to request a mini rack mixer. The choice was made on the consideration that most readers, like me, cannot afford a villa in Miami or the survey of Peter Gabriel's “Real World”, so better to review something within everyone's reach.
Peering a little at the catalog, my attention inevitably fell on a product with interesting characteristics: the Pre / DI Germanium. In truth, I had already read exquisitely crafted reviews, on English and German sites, and that this was being sold at a very attractive price. The price, in fact, aroused more curiosity: advantageous, perhaps even too much compared to other similar products. It is obvious that doubts arise spontaneously in situations of this type, the presumed fear that something cheap is inevitably synonymous with a not excellent quality, in a market increasingly characterized by prices, characteristics and figures. Let us abandon for once all unfounded preconceptions, free our minds for a moment and let the sound speak, listen to the Germanium, let it work and see if it has something different to tell us! Chandler.
germanium
The first sensation you get when looking at the Germanium is that of a manual / industrial construction, apparently Spartan, but with solutions of great value, adopted to make the machine more precise, without skimping on construction costs. Our Pre/DI è mono and comes in a standard rack format (one unit) (Fig.1). From left to right we find a two-position switch selector "up" DI in "down" MIC IN, an unbalanced standard jack format “DI” input, a rotary control GAIN with a “step” excursion that first guarantees a linear pre-amplification; continuing the stroke of the knob there is a progressive harmonic strengthening. Four push-button selectors follow, reminiscent of the first “Geloso” brand radios of which the first at the top is the PAD attenuation of 15dB, the correspondent below "THIC”Provides an enrichment of low frequencies (such as loudness), the third high button instead corresponds to the power supply PHANTOM 48V for condenser microphones and, lastly, the corresponding button at the bottom acts as a phase inverter "PHASES". Moving further to the left we find a free running rotary potentiometer called FEEDBACK which allows to perform the double function (1) of output and (2) of enrichment of medium-high frequencies. Moving on, we have a “push” switch named VU which allows a double reading of the Vu-meter range. In the OFF position the excursion of the Vu meter ranges from -12 to +3 dB, in the ON position the excursion of the Vu meter ranges from +5 to +20 dB. On the back of the machine (Fig.2) are placed in order, from left to right, an output in XLR format, the strictly Neutrik four-pin connector for the right external power supply and finally an input in XLR format. 
Power supply description
The external power supply comes in 1/2 rack unit format (Fig.3). Front SIDE: rack with on / off switch - protection fuse - power LED. Rear SIDE: 2 ground connectors (if external grounding is required), 2 Neutrik 4-pin for powering up to two external units and the tri-power for mains power supply. Warning! The Germanium power supply, like all Chandler products, must be purchased separately, because each of them manages and correctly feeds two identical machines.
The importance of components
The development of the germanium transistor opened the door to endless applications of solid state electronics. Suffice it to say that from 1950 until about 1970 the semiconductor germanium market grew steadily. In reality, silicon already had better conductive properties, but it was only during the 70s that it gradually replaced germanium; for silicon, in fact, much purer crystals were required, and it was not easy to process it in a dark period like that of the early post-war years. Nonetheless, germanium (Fig.4) found an ideal use in the production of optical fibers for communications networks, for infrared night vision systems and catalysts for polymerization reactions; these three uses represented and represent about 85% of the world consumption of germanium in the 50s. The germanium transistor, very common in the 60s and 380s, has a lower "cut off" voltage compared to its other colleagues, has characteristics of greater temperature sensitivity and, precisely because of this peculiarity, allows the construction of hardware of great value and with a very warm and mellow sound, a sound texture similar to that of a valve with a more present and aggressive "punch". Given the rarity of the material and components, the cost over time has become prohibitive and uncompetitive both for the construction of footpegs and outboards. Suffice it to say that in the last four years the price of the material has doubled from around $ 2003 / Kg in 700 to more than $ 2007 / Kg in XNUMX. Currently, many musicians are looking for old vintage amps and pedals to get those beautiful fuzz tones typical of the 'era of the first "rock'n'-roll", that unmistakable color obtainable precisely through the use of the aforementioned germanium "transistors". After this general overview, let's see how our PRE / DI behaves Chandler Limited Germanium on modern sound sources. We will not use old Telefunken or similar microphones for this article, what interests us is to hear how a machine designed in the 50s reacts with products resulting from modern technologies that can be easily found by most users. Will all that glitters be gold? Are we in the presence of a machine that can still give so much even to modern generations? Or is it a nice Pre / DI that can be used for a target of musicians or singers linked to a certain type of tone-sound needs? Let's not get lost in further talk and explore the strengths and weaknesses of this system.
Male Voice
The male voice for this test has a typically Italic pop character, with light shades of Mediterranean blues. Good roundness, with medium-highs around 5000 Hz present but never exaggerated and harsh and with medium-low frequencies (from 200 to 500 Hz) generous but never intubated. The aspirated interpretation is also very pleasant, that is, that way of emitting the voice with little sound and a lot of air around. Also in this case the Germanium has returned, with exaltation points around 10 KHz, all the air typical of Anglo-Saxon recordings. I noticed, with great pleasure, that our PRE, while being built in solid stage, has a tube-like soul. The Germanium has managed to provide the tone with a good dimension and excellent harmonics, and like any professional solid state system it has managed to maintain a remarkable transient response speed with a good dose of headroom and silence.
Female voice
The singer in question (Fig.5) is a professional, has great ability to interpret, wide versatility and excellent control over vocal output.
I asked her to perform various takes, from blues to rock, from pop to funk. The Germanium, in every situation, has managed to be a valid travel companion giving the best of himself, especially in rock and funk performances. With the Gain knob I was able to experiment with various solutions always related to the other rotary element, the Feedback. You can have a good palette of tones and colors on the signal. If we move the Gain towards the Drive (Fig.6) we get a more pronounced signal together with more present sibilants, the timbre acquires more attack and incisiveness, giving back a more “bad” grain. Conversely, with the Gain at minimum and the Feedback pot at 3/4 of the way, we get a much cleaner and more linear signal. In both cases, however, we get a tone with a good transient response with a nice readiness capable of piercing any MIX.
Acoustic guitar
The recording of the acoustic guitar through a microphone has always belonged to a fascinating dimension. Surely, in this type of shooting there is the intention to capture a moment of truth, certainly a noble but equally arduous task. To achieve the goal, it would take an omnidirectional microphone, of the ultra linear ones of the Dpa, Schoeps type, perhaps interfaced with Millenia Media, Prism Sound, Avalon AD series preamplifiers; perhaps this is the only way, by using a skilful miking strategy, we could be able to get as close as possible to the maximum degree of reality. Let's not forget that it would then be up to a very high quality final listening system, positioned in the right environment, to reproduce the entire audio program. Put your soul in peace, all this hypothetical esotericism will never be able to faithfully reproduce that magical moment which fortunately will always remain unique and unrepeatable. As for this test carried out with the Germanium (connected to a microphone Neumann M149 valves) happened practically the opposite of what was mentioned above. The guitar used for this test is a splendid one Taylor 810. The result is exciting and effective. Even the "tweeters" of the studio monitors seemed more sensitive, without ever losing the tonal content of the instrument's emission "range"; defined and never rubbery bass, round and consistent central mids. I was very satisfied with this PRE and tube microphone combination, I don't hide the fact that I had serious doubts about the result in terms of sound paste, but I was wrong. The processed signal has lost some small details of the original source but I never had a feeling of kneading or unclear sound.
Percussive sounds
Both in skin drums and in metals and woods the Germanium, connected with a microphone AKG C451B, he was able to reveal all the details of the scene with great speed; even, as happened on acoustic guitars, he pleasantly emphasized the responses. He could clearly hear the rubbing of his hands on the skins of the congas. Both the penetration of the slap and the fullness of the low tones of the drums are clear. The triangles and tubular bells were reproduced with great vivacity almost as if the “tweeters” of the speakers from which I was listening were positioned higher than what the eye could see. The shakers and maracas were grainy and silky, with that plasticity that is typical of speakers Martin Logan. This test is also perfect. DI The most interesting tests I have carried out on this PRE / DI concern the DI section, I refer in particular to the electric bass and various types of guitars, both electrified and piezo. For any type of electrification used, the sound obtained was always of great detail and timbre dimension, especially by operating the Thick key.
This option goes perfectly with the DIs because it allows to obtain a signal that is sufficiently swollen, not at all clumsy, in short, a sort of "loudness" without the typical hole in the central mids. Wanting to give an example, inserting the guitar Fender Stratocaster directly in the Germanium, without operating this key, the sound paste is good and defined but there is a noticeable lack of an amplifier. When the Thick is activated, the same take seems to be playing from a cabinet. So just a little more effect and that's it. Obviously the result is not the same as that obtainable with a speaker-amp but it is hardly missing. As for the bass with the keys, to get the right sound, just the preamp without the use of the infamous frets was enough, the sound came out full-bodied and rich in attack, while for the fretless, in particular on the acute phrasing , the Thick managed not to confuse it with a guitar, giving it penetration and depth. Equally positive was the test with mine Fender Rhodes Mark 1 (Fig.7), perhaps the most fascinating and characterizing among the vintage instruments. The Rhodes sound was reproduced with great character and penetration without ever distorting his typical voice.
Live / studio use
In live use I liked it very much. The Germanium was used with a AKG C-414, placed in front of the speaker-amp of the electric guitar, I must admit that the result was particularly complete. The 414 did not feel the lack of the middle mids where the attack of the picking resides, almost as if it were picked up with one Shure SM57while retaining the depth characteristics of condenser microphones, all of this is certainly due to our preamp. The hi-hat of the drums was also noticeably present, at the right point, but never harsh. Even the singer immediately noticed, in his traditional monitor listening, the faster response on his voice compared to the slow bank preamps normally used. At the end of the evening he testified that he even felt less fatigue than usual, thanks to the promptness expressed by Germanium, which gained more presence and “headroom” reducing, with this type of efficiency, even the ugly phenomenon of “larsen”. I do not think it is superfluous to remember that when used in the studio the PRE is positioned, as usual, between the microphone and the sound card (or converter if we have the possibility to usefully invest our money), it is never convenient to place it at the input of a mixer. since its tonal characteristics and headroom would be lost; the mixer, in this case, would only act as an element that distorts (not to say degenerates.) the audio signal, a useless passive resistance that would deprive us, in fact, of the color of the PRE which, instead, we use precisely to give a particular tonal characteristic - sound to our recordings (Fig.8).
Final conclusions
The only regret was that I didn't have another Germanium unit available to be able to perform stereo tests, but that's okay. I do not recommend this machine as the only or main preamp in your "setup" because of its incisive and marked character which does not make it adaptable to all musical genres. The sensation, also shared with a dear sound engineer friend, was that of a pleasantly vintage Abbey Road style audio, even if attentive to modern needs, such as coexistence with digital.
The instrument is able to heat even without the presence of the valves and, at the same time, with great silence, it gives "headroom" and a contained linearity to the whole signal fed. The DI section is truly excellent, in particular the “Thick” fret capable of transforming the strings of a guitar into those of a bass! Aside from my particular exaggeration, it is a truly remarkable feature and one that we could hardly match unless we used a good equalizer. It's a different feeling. Another applause concerns the choice to feed the Germanium externally (which is done only on particular professional outboards). We specify that the power supply can manage two machines, with all the advantages that this option entails: the good signal-to-noise ratio and the excellent reaction to interference and disturbances in general. Finally, the quality / price ratio is also exceptional, making it even within the reach of project studios, without the need for mortgages. Aesthetically it has a retro look, it immediately fascinates for its knobs that are always easily accessible in any rack that is installed (studio or audio service).
Wanting to find a defect, it must be said that it is not possible to use the Thick key without attenuation in microphone mode because this would cause explosive “bumps” in the signal. Well, anyway you just need to know. I add that to the enormous advantage of signal silence (also due to the external power supply), there is the inconvenience of carrying around two pieces in case of any movements. But for you who, like me, care more about content than form, this is a small sacrifice that can be made.
Look at the internal architecture
The product, as announced, while presenting a very simple and spartan design, does not neglect the quality of the components: solutions of excellent quality are adopted together with an uncompromising construction technique. As you can see from the photo, both the external metal box and the internal printed circuit (Fig.9) have adequate shielding from external interference; all the silver-colored (tin-plated) box is external sealed RF noise.
Performing a surgical analysis of the instrument I identified a black box positioned on the printed circuit (Fig.10) which I would dare to define as “magical” precisely because that is where the heart of the system resides (but weren't the black boxes the exclusive prerogative of airplanes…?). Obviously, it is difficult to know precisely what is inside, but for sure Germanium transistors or those vintage components that, due to their peculiar characteristics of low S / N ratio, have made generations dream, both in terms of purity and sound quality.
Also with regard to the Magic Box, the Home-Made invoice is evident, it seems that the Germanium transistors positioned in the black box were made exclusively by "Neve"Which, from 1960, has always produced excellent quality products. The circuit board has silver-plated tracks, this production philosophy responds to the need to avoid any oxidation processes of tracks, welds and components; we are therefore not dealing with the canonical anti-oxidation process carried out by lacquering a transparent film on normal copper tracks, this is also a sincere proof of uncompromising quality. We then highlight two transformers, whose functions are, to carry out the work of impedance adapters IN / OUT. Even the base with the LEDs and the essential "vu-meter" are made strictly by hand.
Photogallery Germanium interior architecture
USEFUL INFORMATION:
Producer: ChanderLimited
Model: germanium
Website: www.chandlerlimited.com
Distributor: www.feel.it
Price: 1.216,00 + VAT
Power Supply: 189,00 + VAT
See you next review
