Month: November 2011

Categories
Altec Microphones

Studio test of obscure circa 1965 Altec dynamic microphones

L to R: Shure SM57; Altec 684 Omni; Altec 682 Cardiod; Altec 683 Cardiod

Altec made a great number of different microphone models in the 1950s and 1960s.  A certain few of these are still widely used in recording studios today: most notably the 639 ‘Birdcage’ dual-element microphone (see here and here) and their various small diaphragm ‘Laboratory’ condensers (see here, here, and here).

During this period Altec also made a variety of conventional-looking dynamic microphones, some of which have quite good specs on paper.  Today we’ll be having a listen to the Altec 682, 683, and 684.

I’ve prepared three stereo audio tracks which all document an identical solo guitar performance which we tracked in the big room at Gold Coast Recorders.   In each of the three tracks, you will hear a new-ish Shure SM57 in the left speaker, and the selected Altec mic in the right speaker.  I chose an SM57 as a reference because it is a microphone that most of us are very familiar with and it is often used to mic electric guitar amps.  I placed the mics a big further back than I would generally use a dynamic-mic on a guitar amp in order to minimize any differences that might result from the slight variation in mic placement in relation to the amplifier.  All signals were taken from the microphone into identical Sytek mic preamps and then directly into Aurora Lynx convertors and into Protools.  No processing whatsoever was used other than minimal Digidesign MAXIM on the bounce-buss to ensure strong playback level; it was taking off 0.3db at most.

Levels were matched initially by running a 1K tone into the guitar amplifier and then fine-tuned on playback to within the tightest possible margin.  The 684 Omni required 30% more gain to reach an equal level; the other three mics were within 5% or so of each other in terms of output.

Alright now that you’ve seen the setup, here is the audio:

SM57 vs Altec 682: SM57L_682R

SM57 vs Altec 683: SM57L_683R

SM57 vs Altec 684: SM57L_684R

Have a listen and draw your own conclusions.  My quick assessment: the 682 sounds pretty similar to the 57, but IMO a lot prettier, a lot more detailed, and just more presentable in general.  The 683 sounds thinner than the 57; bass is notably lacking and there is an aggressive character to the mids.   Not sure that I would ever select this mic for anything.  The 684 sounds like… an omni mic, so it’s not a valid comparison to a 57, but it does sound pretty decent as an omni.  Might make a good under-snare microphone.

All of these forgotten Altecs are available cheaply on eBay from time to time.  I’ve never come across one at a flea market or swap meet, though, so I don’t think they are very common.  From what I can tell from my limited sample-pool, the ‘A’ designation after the model-number indicates that the mic uses an XLR5 (rather than the current standard XLR3) connector.  If you get one of these ‘A’ designated mics, you will need to find an XLR 5 female jack.  Wire an adapter to XLR 3 as follows: (XLR5:XLR3) 1:1, 2:3, 4:2.   The ‘B’ designated mics seem to have our current-standard XLR3 jacks.  Again, I am not 100% about this distinction, so check closely before buying if you don’t wanna be soldering adapters.

Categories
Microphones

University Microphones circa 1963

Download the eleven-page University modular-microphones catalog circa 1963:

DOWNLOAD: University_Microphones_1963

Models covered, with text, specs, and photos, include University model 401, 402s, 501, 502s, 403L, 404L, Model 70, and Model 71 dynamic mics; and the associated Model SA10, PA10, SSP10, SP10, and CC10 microphone bases. By ‘Bases’ I refer to the lower-half of the microphone itself: the connector, stand-mount, and switch assembly.  Apparently the user could ‘mix-and match’ among the various University capsule/transformer mic bodies and whatever jack/mount/switch assembly the user preferred.  The catalog itself is formatted with a 1/3rd-page insert in order to facilitate comprehension of this ‘feature.’  Here’s an example:

I purchased a well-worn University handheld cardiod dynamic mic recently; it was a model 8100 I believe.  It was the first University microphone I can recall finding.   I picked it up with a nice older desktop stand and a big pile of useless old cabling for a few bucks.  It worked well, and once I constructed a proper cable for it was moved along.    University was a subsidiary of Ling electronics, as was Altec; that being said, there was no way to identify the 8100 as being possibly Altec in origin other than the fact that it used an uncommon XLR4 cable connector, as most 1960s Altec mics also do.  I don’t know if there is any significance to this.  The 8100 was sold to me with possibly the best microphone provenance I have heard in a long time; the junk dealer told me that it had been the announcer mic at the Wallingford Speedway, a (now defunct? Leveled?) Connecticut auto racetrack that I remember vaguely from my early childhood.

A similar model 8100 recently sold on eBay for the terrific  sum of $0.99; new in box, nonetheless; no stories of former racetrack glory accompanied that particular mic.  Dig the fantastic graphic design on the box.  Original eBay listing on-view here.

 

Categories
Antique Hi-Fi Archive

University Speakers Circa 1963

Download the complete 20pp 1963 University Speaker Systems catalog (in two parts due to file size)

DOWNLOAD PART 1: University_1963_p1

DOWNLOAD PART 2: University_1963_p2

Products covered, with text, specs, and photos, include: University Medallion XII speaker system; Classic Mark II and Classic Dual-12 speaker systems; Companion II, S-80, Companionette, and Mini-Flex, and Mini bookshelf speaker systems; the full range of two-and-three-way coaxial University components including 315, 312, 6201, 200, 308, 200, UC-153, UC-152, UC-123, UC-122, UC0121, and UC-82; and University woofers, midranges, , tweeters, and crossover networks including C-15HC, C-12HC, C-8HC, C-15W, C-8W, HF-206, UXT-5, 4401, C-8M, Sphericon, H-600, Cobreflex, T-30, T-50, N-1 High Pass Filter, N-3 acoustic baton, N-2A and N-2B crossovers, plus more.

Above, the flagship Medallion XII system in a variety of “select-a-style” grilles.  There is a pair of Medallion XII (in French Provincial trim, naturally) on eBay right now for $200.  University Sound was founded in 1936, and became part of the LTV_Ling_Altec family of brands sometime before 1963, and eventually became absorbed into the Telex corporation.

Above, the University Classic Dual-12 system.  These things look serious.  I currently own a University single-12 system; it is a corner unit from the Mono era; its has very nice cabinetwork and it sounds surprisingly good for a full-range 12″ system.

This catalog is obsessively dedicated to selling speakers to a male/female couple.   Nearly every human image consists of a sample couple in the throes of consideration.  Which system to buy for our home?  So much to learn.  Let University help you.  Honestly I can’t read the emotions in these faces.  Perhaps early-1960’s people had a different feeling-set than we experience in the (post-Vietnam/LSD/Civil Rights) era.  Confused by these photos, anyhow.  This series seems to suggest: 1) ‘quiz-show-don’t-know-the-answer’; 2) ‘I’m not really paying attention to you’; 3) (undeserved?) smugness; 4) ‘we’re on a boat, and you’ve been naughty.’