In addition to the API 2500, the Chandler TG12413 was used for parallel compression on Daft Punk's drum tracks, specifically in the big section of the song "Touch".

Used on the recording of the Syro album according to the list on the album packaging.

Sort of dark but in the bottom right of his desk rack, you can see his Zener Limiter from Chandler Limited.

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Guitars: EMI Chandler TG1, Lexicon PCM42, API 525, API 5502, Roland Dimension D SDD320, Watkins Copicat

"Normally I send each side of a stereo guitar to my EMI Chandler TG1 panned left and right and coming back on the console, but I didn't in this case, so I must have felt that it sounded bad. It might have taken away from the tightness of the guitars. They had already recorded it very tightly. So instead I didn't add anything to their stereo chorus verse guitar. I also had a mono verse guitar, which I sent to a PCM42 delay set at 224ms and panned to the opposite side, and every time the guitar strums it goes over to the right. On the acoustic guitar I did what I normally do, which is to send it through my acoustic patch, an API 525 going into an API 5502. That's a great combo and I have been using that for years. It makes the acoustic guitar very natural and full and gives it great presence without it sounding processed. In this song it's not very evident, because the acoustic guitar isn't very important, but, for example, on Parachutes the acoustic is very important, and I used the patch back then. There was no insert on the solo guitar. I did have a Dimension D SDD320 chorus on it, which spreads the sound naturally, and which went to a Watkins Copicat Echo unit with a fairly short delay. Otherwise it's totally dry, no reverb, hardly any EQ. Again, it was so well recorded that it didn't need a lot of work."

The item can be seen in this photo from the same interview.

Five towering racks of outboard gear dominate Michael Brauer's mix room, and contain far too much equipment to list. Notable items used on the mix of Violet Hill include (first rack) Pye compressor, Empirical Labs Distressors, ADR Compex limiter, Chandler EMI TG12413 limiter, EAR 660 compressors and Fairchild 666 compressor; (second rack) Lexicon PCM81, Sony DRE S777, Akai S612, Bricasti M7, Zoom 1202, Rupert Neve Portico 5014; (third rack) Neve 33609, API modules, Moog EQ and Pendulum ES8 compressor; (fifth rack) Chandler EMI TG12345 Curver Bender, Shadow Hills compressor and ADL 670.

in this image, you can see the Chandler TG12413 on the rack

Used on "The Pretender", as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview. An image of the item can be found here.

Bass: Neve 1073, Pultec EQP, Chandler TG1

"The bass consisted of three tracks: one recorded through an Ampeg SVT amp, one through a 4x12 Marshall cabinet, and one put through a Sansamp. I usually push all three tracks up and adjust their balance if I want different colours. I'll also mix in some side-chain compression, which in this case was a 1073, Pultec EQP, and Chandler TG1. The side-chain will usually be bright as hell and really compressed. One of the interesting things regarding mixing bass is that you may think that the bass sound on its own is fairly bright, but when you add the rest of the instruments you find that the top mid-range of the bass is usually missing. It's sometimes quite shocking to realise how much top end you need to add to a bass to make sure it cuts through a track. If you then hear the bass sound in isolation it may sound pretty uncomfortable, but in the midst of a swirling din of a dense track, that amount of top end usually works just fine."

In this interview with GearJunkies.com, Guy discusses his love for and home studio usage of Chandler Limited units, mentioning the TG12413 Zener Limiter specifically.

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends. It is visible in this photo from the same interview.

Drums: Neve 1083, Urei 1176, ADR Compex, Pye & Chandler EMI compressors

"I put some samples behind the kick and snare. I have built up a collection of a few hundred kicks and snares, so I can try many different types. This is where I spend a lot of time searching for the right sound. I may spend two hours trying to get the drum sound right. This is not to say that the original drum sounds in this track were bad, in fact they were great. So I'm building on top of them, I'm not replacing them. I can't remember the last time I actually replaced a drum sound. I just added a little bit to the kick and snare to enhance them. The snare sound is very important for a song and sometimes I vary it throughout the song, maybe downplaying one of the chorus snares in the verse, but in this particular case the snare sound doesn't change.

"The main drum sound is coming from their snare, which I had up really loud. They had a nice overhead snare sound that already had reverb and stuff on it that was also very important to the sound. The kick and snare both went through my Neve 1083 EQs. I put the room sounds through my great, very vicious, old British Compex compressors. I also put the cymbal room sound through the Compex. The Compex compression makes the sound grainier and more aggressive. The toms, which were really well recorded, went through my stereo Pye compressors to make them more explosive, and were also sent to my stereo 1176 compressors and my Chandler EMI compressors. The 1176 and the Chandler are also explosive, so basically the tom sound was f[***]ing explosive. I maybe added a bit of compression on the hi–hats, and did very little with the mono overheads."

"I did have a go at mixing this on the 5088 but I had a bunch of outboard processors on parts of the mix that I didn’t successfully recreate when I came to re-mix it on the 5088. Stuff like a custom made valve amplifier (for distortion) on the drums, Chandler Zener limiter and probably some other things."

Seen in the old Korn studio (from the late 2000's era) while recording Jonathan Davis' solo album Black Labyrinth at the 25:33 mark.

Used for the drum submix of "Icky Thump", as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 Sound on Sound interview.

• Drums: Neve 8078 EQ, APSI EQ, Chandler TG1, API 2500, Chandler Zener Limiter and Curve Bender EQ

“The moment I heard Meg play that drum beat during tracking I knew that this song would call for a big, heavy drum sound, so I had to scramble to get the drums sounding as big as possible. I might have added some low end, perhaps 80Hz, to the kick, some mid around 4k to the snare, and some air, 15k or so, to the overheads. Adding 4k gave the snare some more crack and made it cut through better. I also used an old APSI graphic EQ on the kick drum — settings -2 at 35Hz, +2 at 75, and +4 at 3.5k. APSI was a ’70s offspring from API. I may also have added some bottom to the overheads with a Chandler Curve Bender, which has great low end. I loved it so much, I ended up buying one. In terms of the mix, in most cases the room microphones were not really processed.

“As far as compression is concerned, I applied a couple of drum submix compressors, probably API 2500 and Chandler Zener. On other songs I also sometimes used the SPL Transient Designer and sometimes an [Empirical Labs] Distressor. I set the API to fast attack and fast release, to get a bit of a pop to the snare, and blended that back in with the original. The Chandler has more of a round, warm, vintage sound. I set it to heavy limiting with a fast release, and blended that in to give the drums more character. I would say that the compressors were used on this album to make a statement, so I wasn’t shy of using extreme settings. I also may have sent the snare via loudspeakers to Studio A’s live room and blended that in to give more ambience.”

During an interview/studio tour with Spitfire audio we see a vast array of Johns outboard gear.