Based on the legendary TG12345, the first solid-state console from EMI
Waves and Abbey Road Studios bring to life the legendary TG12345, the first-ever solid-state console from EMI which epitomized the sound evolution of the late ’60s and early ’70s and helped shape groundbreaking recordings by the Beatles, Pink Floyd, and many others.
EMI TG12345 Overview
Developed in association with Abbey Road Studios
Based on the Legendary TG12345, the first solid-state console from EMI
A complete modeling of the entire TG12345 channel strip
3-band EQ wih continuous gain and frequency
Includes TG12345’s famous compressor/limiter
Modeled on the actual desk used by the Beatles on their album Abbey Road
Thanks to meticulous component modeling, the Waves/Abbey Road EMI TG12345 channel strip plugin captures every celebrated feature of the one-of-a-kind original console: the input mic preamp, down to every last detail of its harmonic distortion, hum and noise; the bass and treble EQ bands from the mic cassette; the presence EQ band from the console’s group/main section; the lush-sounding spreader; and to top it all off, the console’s famous compressor/limiter, with its distinctive, irresistible sound.
The plugin offers routing options that cover the entire TG12345 line, from the one and only MK I desk on which it was modeled, to the final MK IV models.
In addition to the console’s original features, new elements have been added to accommodate modern mixing needs, including a high-pass filter on the compressor’s sidechain, a mix control in the dynamics section for easy parallel compression/limiting, a drive control, and much more.
Whether used for tracking, mixing or mastering, in the studio or live, on an individual channel or on a master bus, the Waves/Abbey Road EMI TG12345 will give your mixes the beautiful compression and the unforgettable crisp, bright and rich sound of a true classic.
Behind Abbey Road Studios’ EMI TG12345 Consoles
October 08, 2014
In 1968, the introduction of 8-track recording and increasing sonic experimentation by the Beatles and other groundbreaking artists meant that the capabilities of Abbey Road Studios’ REDD .37 and REDD .51 consoles were being stretched to the max. This called for a new desk.
The year before, EMI had already laid out ideas for a solid-state mixer to replace the valve REDD desks. Throughout 1967, meetings had taken place between the Abbey Road staff and the engineers at EMI Central Research Laboratories in order to design a comprehensive mixing console capable of handling the challenges presented by the latest music recordings.
The following summer, the first prototype console (later known as Mark I) was delivered to Abbey Road Studios. The name of the console was TG12345, with TG representing EMI’s precursor, The Gramophone Company, and with the model number chosen almost at random (EMI used the 123xx sequence as a bearing number: the EMI compander was 12321, the ATOC unit was 12330, and the desk was 1234x. 12345 was simply the next number in the sequence).
TG12345 was designed to meet the most demanding recording requirements of its time. It was substantially bigger than the old REDD desks, with 24 mic inputs and 8 outputs, 4 echo sends, 2 CUE/foldbacks, and, for the first time ever, a compressor/limiter on every channel, in addition to EQ. The compressor was based on the valve Fairchild and Altec devices used at Abbey Road during the ’60s, but ended up with a completely unique sound all its own. The desk was also modular in design, with twelve microphone “cassettes,” or channel strips, that could easily be replaced when faulty. Each cassette contained two input channels that could be used either separately or as a stereo pair.
The new desk was first placed in the studios’ “experimental room” for testing. Abbey Road’s engineers ran “clone” sessions to compare TG12345 and REDD, with two sets of mics placed in the room, one going to the REDD .51, the other to the TG. The results were superb, with the TG proving to have a cleaner, brighter and punchier sound than its predecessor.
In November 1968, the TG12345 was finally placed in Abbey Road’s Studio Two, where it made its debut on an 8-track recording by the Shadows. The following year, the new transistor desk helped shape the sound of the Beatles’ Abbey Road album, which was markedly different—fuller, richer, deeper—than that of the band’s work earlier in the decade. Indeed, the sonic qualities of such tracks as “Here Comes the Sun,” “Something” and “Come Together” would be unimaginable without the advent of the TG12345.
During the ’70s and up until 1983, the TG12345 consoles (Marks I–IV) were the main desks used at Abbey Road Studios, contributing to the sound of timeless albums such as Pink Floyd’s The Dark Side of the Moon and Wish You Were Here, John Lennon’s Plastic Ono Band, George Harrison’s All Things Must Pass, and many more.
The TG12345 MK I desk was removed from service at Abbey Road Studios in the ’70s. Large parts of the original console were donated to a school in Hampstead, North London, that had a small speech studio. Following renovations at the school, the desk ended up in a dumpster. Fortunately, a passer-by spotted the unit and rescued large portions of the console. With these parts, and with other spares kept at Abbey Road Studios and at EMI’s archives in Hayes, most of the original TG12345 MK I survives today. It is this very desk on which Waves and Abbey Road Studios modeled the EMI TG12345 channel strip plugin.
Waves v11 System Requirements
Intel Core i5 / i7 / Xeon
Intel Core i5 / i7 / Xeon / AMD Quad-Core
8 GB RAM
8 GB free disk space on the system drive
8 GB RAM
8 GB free disk space on the system drive
10.12.6 - 10.15
Windows 10 64 bit
Recommended: 1280x1024 / 1600x1024
USB displays are not supported as the primary display.
Codex & Element are supported on the following hosts: Pro Tools (AAX Native), Logic Pro, Ableton Live, Digital Performer, Nuendo, Cubase, Main Stage, Studio One, Cakewalk by BandLab, Reason, Samplitude (VSTi), Sequoia (VSTi), FL Studio, REAPER, Maschine and Komplete Kontrol.
CLA MixHub and Scheps Omni Channel The insert slot is not supported under Bitwig Studio.
DTS Neural Surround plugins are supported on the following hosts: Pro Tools HD, Logic Pro (7.1 surround not supported), Nuendo, Cubase (7.1 surround not supported), Audition, Premiere, and REAPER. 7.1 SDDS/Film is not supported in all DAWs.
eMo Generator: When using eMo Generator in Logic or Digital Performer, make sure to enable the input monitor on the channel where the plugin is inserted.
DeBreath is not supported on Main Stage.
Dorrough Stereo: Only the vertical version of Dorrough Stereo is available in MultiRack, SoundGrid Studio and StudioRack.
Dorrough Surround: Only the vertical version of Dorrough Surround is available in MultiRack.
Grand Rhapsody Piano, Electric 200 Piano, Electric 88 Piano, Electric Grand 80 Piano, Clavinet and Bass Slapper are supported on the following hosts: Pro Tools (AAX Native), Logic Pro, Ableton Live, Digital Performer, Nuendo, Cubase, Main Stage, Studio One, Cakewalk by BandLab, Reason, Samplitude (VSTi), Sequoia (VSTi), FL Studio, REAPER, Garage Band (on i7), Maschine and Komplete Kontrol.
InPhase & InPhase LT: Sidechain not supported on Logic.
NLS is not supported on Final Cut Pro X.
Nx Virtual Mix Room: Surround is supported on Pro Tools (HD required), Logic Pro, Cubase, Nuendo, Digital Performer and REAPER. Surround is not supported on Ableton Live, GarageBand, Main Stage, Studio One, Samplitude, Sequoia and Cakewalk by BandLab.
Q-Clone is not supported on the following hosts: Main Stage, Garage Band, Media Composer, FL Studio. Q-Capture component not supported on Main Stage.
Reel ADT on Windows does not support sync-to-temp on WaveLab.
SoundShifter: On Pro Tools, SoundShifter Graphic & Parametric support AudioSuite only. On all other hosts, only SoundShifter Pitch is supported.
UM225 & UM226 are supported on the following hosts: Pro Tools HD, Nuendo, Cubase, Audition, Premiere, REAPER, and Pyramix. UM226 is also supported on Logic Pro and Digital Performer.
Waves Tune & Tune LT are fully supported on the following hosts: Pro Tools (AAX Native 64-bit & Audiosuite only), Logic Pro, Nuendo, Cubase, Digital Performer, Studio One, REAPER, Ableton Live (Arrangement view only. Session view not supported). Waves Tune & Tune LT is also supported on the following hosts, but without ReWire support: Audition, Reason, Bitwig Studio.
X-FDBK is not supported on Final Cut, Media Composer, Adobe Premiere and Pro Tools Audiosuite on Mac.
In addition, it is not supported on Media Composer, Adobe Premiere and Pro Tools Audiosuite on Windows.
B360 Ambisonics Encoder – 5.1 to 4.0 and 7.1 to 4.0 are not supported by Logic Pro X.
What’s New in v11
Released Oct 28th, 2019
All Waves plugins: Across-the-board software update to version 11.
Redesigned interfaces for all eight Renaissance plugins:
Users can now switch between three skins for each Renaissance plugin: Two new skins – Light and Dark – in addition to the existing Legacy skin.
Real-time frequency analyzer added to the Renaissance EQ and Renaissance Channel plugins.
Renaissance Channel interface completely revised and streamlined based on user feedback, making R-Channel more intuitive and easy to use.
Added: Over 700 presets by leading producers & engineers added to the Renaissance plugins.
Plugins added to premium bundles:
OneKnob Pumper, MetaFilter, and Greg Wells ToneCentric added to Platinum.
OneKnob Pumper, MetaFilter, Greg Wells ToneCentric and Cobalt Saphira added to Diamond.
OneKnob Pumper, MetaFilter, Greg Wells ToneCentric and WLM Plus Loudness Meter added to Horizon.
Infected Mushroom Pusher added to Mercury, Pro Show and SD7 Pro Show.
Added: NKS support for over 40 additional plugins.
Added: EQ Curve support on Pro Tools and Avid S6 for the following plugins: AudioTrack, eMo F2, eMo Q4, F6, GEQ, H-EQ, LinEQ, Q10, RenEQ, RenChannel, RS56
Added: “Set as default preset” to all plugins.
Added: Over 700 presets by leading producers & engineers added to multiple plugins.
Improved: Loading time of several plugins.
Improved: Smoother plugin controls movement with the mouse.
Improved: Responsiveness of moving controls with the mouse wheel on Windows.
Improved: Peak reading accuracy in Pro Tools under AudioSuite.
Improved: Added “Skip All” to unlicensed plugin message in Logic Pro.
Improved: Plugins with skins will open with the last used skin.
Fixed: Cubase 10 freeze during launch when Waves plugins have no licenses.
Fixed: Sample-based instruments crash Logic Pro when changing the sample rate after freezing a track.
Fixed: Waves instrument applications crash when trying to open them without a license.
Fixed: Master Bypass is missing from the Pro Tools automation window.
Fixed: Removed the bypass button for all Waves instruments in Pro Tools.
Fixed: MIDI Program change in VST3.
Fixed: Abbey Road Chambers may crash Logic Pro in a session with some Eventide plugins.
Fixed: Abbey Road TG Meter Bridge input meters do not respond to input gain changes.
Fixed: Corrupted sound processing when moving Brauer Motion between channels in Pro Tools.
Fixed: Multi-selecting all Threshold controls in C4 and C6 is not possible.
Fixed: Trans-X output level is not saved in the session when inserted into CLA MixHub in Cubase and Studio One.
Fixed: CLA MixHub modules On/Off are missing in Pro Tools automation window.
Fixed: Selected wavetable is not indicated correctly in Codex.
Fixed: Flow Motion crash when clicking undo/redo after switching Setup A/B.
Fixed: Right channel was delayed in Greg Wells VoiceCentric mono to stereo when bypassed.
Fixed: H-Reverb X-Time control movement is inverted in reverse mode.
Fixed: Nx head tracker application wrongly reopens after removing the Nx plugin.
Fixed: Abbey Road Studio 3 Head Tracking and Head Modeling menus do not open using a touch screen.
Fixed: OneKnob Driver wrong delay compensation.
Fixed: OneKnob Driver stereo component flips the audio signal’s phase.
Fixed: Impossible to control PRS SuperModels with the mouse after opening menus using touch.
Fixed: Crash when loading some Scheps Omni Channel stereo presets in Ableton Live VST3.
Fixed: Scheps Omni Channel automation and solo functionality issues.
Fixed: PuigChild compressor settings are not saved in sessions when inserted into Scheps Omni Channel.
Fixed: TRACT IIR on/off controls don’t work until an EQ parameter is changed.
Fixed: TRACT IIR filter mouse movement in sub zoom mode is too fast and hard to control.
Fixed: Waves Tune preset loading issues.
Fixed: Waves Tune Real-Time is under the Effects instead of Pitch Shift category in Adobe Audition.
Fixed: V-EQ4 graphic issues when inserted in Scheps Omni Channel or CLA MixHub.
Various other fixes and improvements.
Waves Central 11.0.40: Support for installing version 11.
November 4, 2018 Changes to V10
Improved: Overall GUI responsiveness of all plugins.
Added: “Netflix 2018” preset to WLM and WLM Plus.
Added: F6 global control mapping to Avid S3.
Fixed: F6 RTA default setting load.
Fixed: Abbey Road TG Mastering Chain Load/Save preset menus in MultiRack SoundGrid, StudioRack SoundGrid, and eMotion ST.
Fixed: Abbey Road TG Mastering Chain loading in GarageBand.
Fixed: Abbey Road TG Mastering Chain is located in the Effects category instead of Mastering in Adobe Audition.
Fixed: MultiRack SoundGrid connected to DiGiCo consoles freezes when moving controls on Abbey Road TG Mastering Chain.
Fixed: GTR ToolRack crash when starting/stopping playback and simultaneously changing cabinets, amp types or microphones.
Fixed: GTR ToolRack & Stomp don’t update latency when stomps are inserted.