The introduction of eight track recording in 1968 exposed the limitations of the REDD.37 and REDD.51 desks. EMI needed a console that offered greater routing flexibility, more inputs, more outputs, and integrated dynamics. Work began in 1967, with the design team consulting Abbey Road’s engineering staff to establish a clear set of requirements for a new solid state desk. The resulting EMI TG12345 Mark I emerged as a dramatic departure from the older REDD units. Instead of the compact valve based frames, the TG desk was long, wide and modular, incorporating multiple cassettes that each handled specific aspects of the recording chain.
The EMI TG12345 was first tested in Abbey Road Studio Two’s control room, where a custom built comparison between the TG and a REDD.51 was carried out. Engineers immediately noted its cleaner, brighter character, along with a more modern top end. Despite this, some earlier sessions were difficult to replicate due to the loss of tube based saturation. Geoff Emerick noted that snare, bass drum and guitar sounds he had achieved on REDD desks were no longer possible in exactly the same way. Even so, staff were impressed by the TG’s power, clarity and flexibility, especially its built in compression and expanded EQ control. The desk measured 79.5 inches wide and weighed around 500 pounds, far larger than any previous EMI console.
Following successful trials, the EMI TG12345 Mk I was permanently installed in a rebuilt Studio Two control room in November 1968. It was used alongside the 3M eight track machine, marking a major step forward in Abbey Road’s technical capability. Early sessions included work with Cliff Richard and the Shadows, but its most famous role arrived soon after, when the Beatles used the EMI TG12345 Mk I for the making of Abbey Road. EMI’s internal newspaper declared it the most comprehensive sound mixing console in the world, featuring 47 rotary faders and 37 meters.
The console incorporated extensive EQ, compression and routing features. Each channel was modular, built around removable cassettes that determined its function. These cassettes included microphone inputs, group channels, main channels, track monitor systems, control room monitoring and studio playback control. The TG also introduced Presence and Bass controls, more advanced than the older REDD EQ, as well as built in limiters on every channel. The system included switchable monitoring, comprehensive cue systems, and the ability to route signals flexibly across tape tracks, groups and outputs.
The EMI TG12345 quickly became the heart of Abbey Road’s workflow. It altered the studio’s sonic fingerprint, producing the smoother, cleaner and more modern character heard on Abbey Road and subsequent projects. Many engineers embraced its power and extended capabilities. Phil McDonald became one of its most experienced users, while Geoff Emerick worked extensively with the TG12345 before eventually moving to other desks. Alongside the Beatles, artists such as Pink Floyd, Wings and later classical and orchestral engineers also relied on the EMI TG12345 desks through the early 1970s. A small number of TG12345 desks were produced, and only one Mk I survives today in a private collection.
The EMI TG12345’s impact extended far beyond the Beatles’ final sessions. Its design influenced later EMI desks and provided the foundation for subsequent studio technology. With its modular cassette layout, advanced solid state circuitry and expanded routing power, the EMI TG12345 represented a decisive shift in studio engineering, combining flexibility with a cleaner contemporary sound that defined the next era of Abbey Road recordings.
