Category: Microphones

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Microphones

Oddball dynamic mics of olden days

A quick review of some odd mics from the ‘pile’ that have not made it over to the studio yet.  If anyone out there is using these for makin’ records, drop a line a let us know yr thoughts.  Above is the Altec 660A, which is an Altec-branded iteration of an earlier western-electric mic. This thing sounds very thin.  it’s quite small – check the XLR connector for size reference.

Another ancient Altec mic.  this is a 684B.  This piece does not sound bad, but… it failed the SM57 test.  What, you ask, is the SM57 test?  Well…  whenever a new mic appears, i quickly A/B it with an SM57.  If the SM57 sounds both ‘better’ (IE more ‘hi-fi’) AND ‘more interesting’ (this is harder to quantify….), then the new mic goes in a box somewhere.  684B up there failed the SM57 test.

This is an American D4T.  This is a hi-Z dynamic public-address mic from the 40s.  This is, btw, the first antique mic i ever bought.  picked this up at an antique shop in Prov RI back in the mid 90s, along with a little tube suitcase PA system and nice old cast-base mic stand…  $75 i think….  This mic still works, and it sounds cool, but it’s just too distorted…  feel like it sounds too ‘Pop,’ of all things, at this moment; ‘distressed-vocals’ being the trendy thing that they are.

An Electro-voice military communications mic.  Got this one still in its heremetically-sealed, foil-lined pouch.  It ain’t bad, but…  i have too many mics like this, only just slightly better….

A Sennheiser MD 416.  I was really excited about this thing, and i paid like $100 for it, which is a fortune for a cheapskate like me.  Now, I have a lot of old sennhesiers…  an original 409, 421, and several 441s… and i really dig them… but this thing just has no… balls?  No low-end, at least.  And that Mini-Tuchel-to-XLR cable wasn’t cheap either.  This gets my vote for the most-expensive-mic-that-looks-like-a-really-cheap-mic.  I will call it Paris H. from now on.

Shure 585 ‘unisphere A.’  Basically a cheap hi-z dynamic with a volume pot built in.  I think this is known as the ‘James Cotton’ mic.  Cotton was a harmonica player in the 60s whi apparently used just about every amp and mic in existence at one point or another, cos there is really no limit to the range of items people are eager to associate with him.

Shure 777s Crystal mic with switch.  I think this came with a large pile of old mics.  It’s a 60 year-old crystal mic.   not much more to say.

Shure Commando.  Honestly not even sure what kind of mic this is.  Sounds pretty cool but it’s hi-z so it’s a pain in the ass to use in the studio.  harp (harmonica) dudes seem to dig these.

Shure PE-54.  The ‘PE’ stands for ‘Professional Entertainer,’ believe-it-or-not (seriously, though, this is true.).  This is the hi-z version of the Unidyne III… which is the forerunner of the SM57. This is actually a really good sounding mic, but since it’s hi-z, it’s a pain to use. I have an SM56, which is the balanced version of this thing, so this is kinda redundant.  but for real this mic sounds great.  i was surprised.

Turner 510.  The best dynamic mic Turner ever made.  I am actually not sure how this thing failed the SM57 test.  Think maybe it deserves another chance.  Look for a shoot-out including this mic.  here.  soon.

 

 

 

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Altec Concert Sound Microphones Pro Audio Archive

Altec Musical Sound Equipment circa 1973

Download the sixteen-page Altec Musical Sound Equipment catalog circa 1973:

DOWNLOAD: AltecMusical1973

Products covered, in text, specs, and lovely 70s gradient photography, include: Altec 417, 418, 421, and 425 series musical instrument speakers (drivers); Altec 626A, 654A, 655A, 650B, and 656A microphones; 1212A and 1214A ‘altec control consoles’ aka powered mixers; 1207C, 1211A, and 1217A column loudspeakers; 1202B, 1204B, 1208B, and 1218A ‘voice of the theatre’ speaker systems; 771B BiAmplifier and its associated 1209B, 1219A, and 1205B powered ‘voice of the theatre’ systems; 1215A an 1225A folded horn and multicell tweeter; 9477B power amplifier; 1220AC ‘audio control console’ aka 10×1 live sound mixer; plus the contemporary voice of the theatre individual components 811B and 511B horns, 807-8A and 808-8A drivers, N809-8A crossover, and 828B cabinet.  Plus a range of accessories.

This is not a full-range catalog; rather the focus is plainly on live-sound reinforcement for rock and pop bands.  There is an emphasis on volume, power, and road-worthiness in all of the product-prose.

Dig the excellent tequila-sunrise comin’ on behind the Altec Musical Instrument Speakers.  It was a popular, if pricey, move in the 70s to replace the factory-installed drivers in your Fender Amp with an Altec (or JBL) aftermarket speaker.  Many amplifier manufacturers of the era offered these as factory-installed options as well.  I have never liked the sound of of these speakers in a guitar amp.  It’s likely simply because I have a more roots-oriented guitar style, but i find that Altec and JBL speakers really rob a good tube amp of the responsiveness (touch-sensitivity) and proper harmonic-breakup that I depend on from the amp.  Maybe if you are into Jazz and/or Metal these would be a good choice.  Anyhow, I always replace them with regular Alnico or ceramic instrument speakers, which generally have a more limited frequency response.  Another downside of the JBL replacement speakers in particular is that they weigh a goddman ton, turining your Deluxe Reverb into something requiring casters.

Since this is essentially a live-sound catalog, the microphones on offer are limited to a range of 5 hand-held type units.  The top-of-the-line dynamic on offer is the 654A.  I bought pile of 4 of these on eBay a few years ago when I needed some mics for a series of rehearsals we were doing.  They were pretty cheap and I figured they would work pretty well.  I found them to be not especially durable, but decently so.  They have pretty good sound, but the feedback rejection is really really bad, even with properly-positioned monitor wedges; but perhaps their worst feature is that the shafts are so frikkin thin that you need to use those awful spring-loaded mic clips.  We still use these in the rehearsal studio when absolutely necessary, but I cannot recommend them.  Might sound cool on acoustic guitar for recording applications.

If you have been following this website for a while, you will know that I am totally obsessed with this style of product photography.  Bring that shit back I say!

Categories
Microphones Pro Audio Archive

Sennheiser 421 and 441 Dynamic Studio Microphones

Download three circa 1980 Sennheiser product-sheets for the MD-421-U and MD-441 microphones:

DOWNLOAD 421-U (color 4-panel): Sennheiser421_Color

DOWNLOAD 421-U (monochrome 2-panel):SennhesierMD421U

DOWNLOAD 441: SennheiserMD441

If you have spend much time in recording studios, you are probably familiar with these great microphones.  When we were kids first learning about recording, the 421 was the one ‘good’ mic that we had; we didn’t know exactly why it sounded so very much better than the assorted Shure, EV, and Realistic public-address mics that we had, but the difference was shocking.   A little while later I discovered the 441, which I find to be a less-exciting sound but still incredibly useful, especially when you want a really tight pattern and good fidelity (esp. under the snare).   Also good on the rack toms to reject snare and hat.   Stan Coutant’s excellent Microphone Data website has a download link for more current spec sheets on these models; I thought it might be useful to offer some earlier material here.

Categories
Connecticut Audio History Microphones Pro Audio Archive

AKG Acoustics Full-Line Catalog c. 1981 – Microphones Reverbs Headphones

Download the thirty-two (32) page 1981 AKG Acoustics catalog (9.8mb file):

DOWNLOAD: AKG_Acoustics_FullLine_Catalog_1981

Models covered, in text and photo (no specs), include: AKG C-422 stereo condenser microphone; C-33 and C-34 stereo mics; C-414EB. C-414E1 and C-414EM/p48 condensers plus S-421E1 control unit; C-450 System; C-535EN, C-567E, C-568EB condensers, D-300 series live sound mics; D-224E and associated dual-diaphragm mics; plus the proverbial ‘shit-ton’ more. AKG BX-20, BX-10, and BX-5 reverbs are included, plus a wide range of headphones including the K-40, K-41, K-141, K-240, and K-340 dual-system.

AKG USA was once-upon-a-time located right down the road from here in nearby Stamford, CT.  I think this is probably one reason that I have come across so many unusual AKG mics, headphones, and related literature at the flea markets and estate sales of Southern CT.   The AKG 414 microphone, in all of its variations, is a staple of the audio world and a staple of this website; longtime readers will recognize this as my ‘reference mic’ for audio examples.  It’s  not the most exciting sound but it’s a high-quality sound that many of you know and therefore I feel that (along with the SM-57) it makes a good benchmark.  ANYhow…  check out the crazy art-direction of the this catalog.

In addition to the awesome haute-’70s monochromatic earthtone backdrops (see examples in photos above), we have various ‘symbolic objects’ to characterize the products; King Tut represents the gold of the diaphragms;

…a crystal vase represent ‘clarity’ of the electret-condenser line;

…a ‘flower-in-vase’ perhaps suggests the ‘capture-of-nature’ promised by the dual-system electrostatic/dynamic K-340 headphone?  Dig in and enjoy.

Categories
Microphones Pro Audio Archive

Primo Microphones Circa 1980

Download the entire 12-page Primo Microphone Catalog Circa 1980:

DOWNLOAD: PrimoMicrophoneCatalog

Models covered, with specs and photos, include: Primo CMU-503 and P-77, P-88 ‘professional’ studio microphones;  UD-876M and UD-959 Live Sound mics; and a huge range of general-purpose stage mics including: Primo UD-905, UD-876, UD-866B, UD-871B; Electret Condenser models EMU-4520, EMU-4516, EMU-522, EM-518, EMU-4517; plus many more mics and accessories.

From what little information I can gather, these mics seems to have been made in Japan and then sold in the US by ‘primo,’ which also made telecommunications mics and/or mic elements.  I have never come across one of the these units.  Anyone?

Best half-tone cover image ever, btw.

Categories
Microphones Pro Audio Archive

Shure Microphones Complete Line Catalog Circa 1954

Download the entire twelve-page SHURE c. 1954 catalog:

DOWNLOAD: Shure_Microphones_1954_Catalog

Models covered include: Shure 333, 525, 300, 330, 55s, 556s, 51, 535, 530, 315; 430 Commando, 215, 715; A86A impedance-matching transformer; Slim-X, Monoplex, and Stratoliner; Green Bullet, Hercules, and Ranger; plus a wide range of tape heads and phono cartridges.

The Shure 55s and 556s (see images at left) are undeniably the most iconic of all microphones.   Examples:  when Elvis Presley got his postage stamp, he was pictured with a 55.  When Eva Peron declared ‘don’t cry for me, Argentina,’ the Shure was there. (AFAIK).

For the curious: There are actually 4 different models of Shure Mic that get lumped into the ‘Elvis Mic’ designation.  The 55s and and 556s seen on the left are the ‘small’ versions of the earlier 55 and 556.  The ‘S’ means small.

As far as the difference between the 55(s) and the 556(s): the 55 is the ‘PA’ live-sound reinforcement version, and the 556 is the pro ‘broadcast’ version with improved frequency response and a built-in rubber isolation mount (hence the larger base), and presumably a better transformer.

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Besides these iconic 55-series mics, Shure made a great number of other models in the 50’s.  The Model 51 seen above was one-step below the 55.  These sound pretty cool.  A few years ago I chanced upon a pair of 51s, still in sealed cartons.  One worked, the other did now.  One thing to remember with these early low-Z mics: they do not use XLR connectors.  The use an earlier amphenol (i think..) screw-on connector.  Easy enough to find, but keep it in mind if you plan on buying one, as you will likely want to replace the factory cable.

Shure also made 2 lines of ribbon mics into the early 1980s (they have only recently gotten back into this type of product).  The 300 and 315 are the bi-directional figure-8 models (again, ‘broadcast’ and ‘PA’ models, respectively), and the 333/330 are cardioid ribbons.  I have a mint-condition 300 which I had re-ribboned by ENAK repair.  It sounds good but… the transformer seems to not be magnetically shielded, making it very sensitive to physical orientation.  Combine this unfortunate feature with a very low output level and you get a mic that is frankly not very useful.    Beware…

I also found pair of factory-sealed (hermetically-sealed foil-lined bags, actually) of military-surplus Shure 535s not long ago.  The 535 has a limited frequency response, but it sounds pretty cool.  These actually get used in the studio.  A 535 was included in my ‘Forgotten Mic Shootout’ earlier this year, so follow the link to hear it if you are curious.  I am honestly not sure why omnidirectional dynamics are no longer used much (Shure does still make a few models, btw), but they are useful for some recording tasks.

Categories
Microphones Pro Audio Archive

Neumann FET 80 Microphone Catalog Circa 1980

Download the eight-page Neumann FET 80 catalog:

DOWNLOAD: Neumann_fet_80_Catalog

Features, photos and specs on the following models: KM 83, 84, 85; KM 86 and 88; KMS 84; KMF 4 i; TLM 170; U 47 fet; U 87 i; U 89i; SM 69 fet; USM 69 i; KU 81 i ‘Dummy Head’ ; KMR 81 i; KMR 82 1; and all associated accessories of the era.

Categories
Microphones Pro Audio Archive

Turner Microphones Circa 1962

Download the entire circa-1962 Turner Microphone Catalog. Dig the crazy Soviet-esque graphic-design.  Printed on that great old eggshell-texture paper, no less.

DOWNLOAD: Turner_Microphones_1962

The Turner Microphone Company was based for many years in Cedar Rapids, Iowa.  What and interesting story they had.  The Turners were a highly successful family of morticians.  Their funeral home was so large and accommodated so many mourners that in the mid-20’s they became interested in installing an early PA system.  This lead to DIY manufacture of PA systems, and eventually microphones.  By the Mid-60s, Turner had become one of the world’s leading manufacturers of communications and PA (as opposed to recording and broadcast) mics.

Turner did manufacture some high-end mics for professional audio applications, though.  I own a model 510, and it’s not terrible.  The grey-blue finish is really stunning.  When I get around to it… I hope to do a listening test of the 510 next to some period competitors (EG, Shure SM-56 and an EV 666). 510s are hard to find.  The example that I own is the only one that I have ever seen in the flesh.

Much more common are the Turner U9s and its several variants.  See this link for a listening test I did with a U99 earlier this year.   When Turner describes this mic as rugged, they are not kidding. I own three of these; they are around 50-60 years old, and they all work perfectly.  And they get used in the studio for ‘certain’ sounds.

Turner 250 series mics are also commonly found today.  They made and sold a shit ton of these for use in PA and paging systems.  I like the sound of these mics as a close-mic for raw-sounding rock vocals, along with a good condenser mic a few feet off of the performer for some depth.  Blend em and voila.  Lots of grit without the typical ‘Strokes-mic’ vibe.

You will also see a lot of these little plastic Turners around.  I have not found a good use for mine.

I am not sure that this is an effective way to mic up a rock band, but like I said, Turner Microphones were not considered studio-standard.

Categories
Microphones Pro Audio Archive

RCA microphones catalog circa 1965

Click the link below to download the entire circa 1965 RCA microphone catalog.

DOWNLOAD: RCA_Circa1965_Catalog

A lot of interesting pieces here.  I personally love the BK5.

The BK5 is an unusually bright and aggresssive ribbon mic.  Highly recommended for…  pretty much any spot-mic task.  Hands-down better than the Royer R121.  And about 1/2 the price.  Not so reliable tho…  mine has broken twice in as many years.  but good god what a sound.  and the pattern is super-tight.

Categories
Microphones Publications

Microphone Harvest of 1965 part 2

Courtesy of the Audio Engineering Society’s 1965 Membership Directory Publication:  today we take a look at some ‘full-product-line’ advertising from the the leading microphone-makers of 1965.  Shure, Beyer, and RCA are curiously absent.

Gotham Audio of NYC was the sole USA importer/distributor of Neumann Mics for a very long time.  It is incredible to me how Neumann’s reputation has stayed so strong for so many years.  Sort of like… Mercedes?  BMW?  Maybe there is something to be said for quality vs. price-point-engineering after all.

I knew that 421s were popular in the 1960s, but i had not realized that they were available as early as 1965!  This is an incredible product.  The 421 is still considered a world-class mic choice for tom drums, as well as bass guitar and kick drum for certain sounds.  I have also found it a great mic for aggressive rock vocals. FORTY FIVE YEARS and these things are still in demand.

Ah yes the EV line.   Need to do that 655 listening test!  Also this reminds me that I need to find a model 666.  Satan references aside, the 666 is somewhat the predecessor to the EV RE-20, which is to this day one of my all-time favorite microphones.  Gets used on every session.

The AKG line-up from 1965, branded and distributed in the USA by Norelco.  I recently came across a large trove of 1970s AKG dealar literature which I will feature soon on the site.   The only mic from this 1965 stable that I have much experience with is the D-19, aka the Ringo Overhead Mic. I have found it to be useful for ‘distressed’ rock vocals, as well as aggressive driving  acoustic guitar rhythm tracks.

…And the Schoeps line.  yup gotta get some of these.

Tomorrow: Primitive electronic music studio.