Category: Pro Audio Archive

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Concert Sound Pro Audio Archive Publications

Tannoy Wildcat Live-Sound Speaker Line c.1984

Download the four-page 1984/5 Tannoy Wildcat Live-Sound Speaker Catalog:

DOWNLOAD: TannoyWildcats1984Catalog

Models covered, with detailed specs and photos, include: Tannoy Lynx, Puma, Jaguar, Panther, Leopard, and Cougar units.

As i mentioned in a previous post, the word ‘Tannoy’ is used as generic-descriptor for ‘PA speaker’ in the UK.  This would presume that Tannoy speakers were, at some point many years ago, widely used in the UK for public-address applications.  Nowadays Tannoy speakers are generally only sold and used for high-end home use and recording/mixing/production suites.  I’ve never encountered any of the ‘wildcat’ line.  Anyone?

From this very helpful website:

“In 1984 the Research and Development team at Tannoy wanted to prove that the Dual was an excellent solution to very high quality live music performance venues. Clearly, with the sizes of magnet and levels of efficiency available it could not compete with the outdoor rock concert systems from Altec, Meyer and JBL but there was a niche in the cabaret and small club market where the sound quality needed to be considerably higher than that to which people were accustomed. Specially adapted Duals were designed that had more power handling and greater sensitivity than had ever been produced before by Tannoy. These were fitted to a range of very robustly made cabinets with reinforced handles and corners suitable for mobile cabaret or fixed contractor installation work. The line was christened the ‘Wildcats’ and was the start of a very successful venture into high quality voice and music provision for sophisticated venues such as clubs, theatres and churches.”

Categories
Guitar Equipment Pro Audio Archive Publications

Johnson Sound Systems of Manitoba circa 1951

Download the abridged (10pp from 20pp) JOHNSON SOUND SYSTEMS circa 1951 catalog:

DOWNLOAD: JohnsonSoundSystems_catalog

Alright here’s a real obscurity for you.  JOHNSON was a brand/dealer of ‘musical merchandise’ in Brandon, Manitoba Canada in the 1940s/50s.  I’ve scanned the 10 pages from their circa 1951 catalog (the date is a guess based on the particular microphone models available in the catalog).  I’ve omitted the pages featuring luthiery parts, electric razors (!), etc.  Amplifier models featured include:  The Johnson Vibrante, Maestro, Johnson Junior guitar amps; and the Johnson M1, M2, M3, and J1 PA heads; plus Hofner classical and archtop guitars, mics from a few makers, Celestion Rola G-12, P-44, Z10Z0 speakers, plus pickups, etc.

For a few words about JOHNSON and its founder Albert Johnson, plus photos of many later models of Johnson amps, visit this site.  The most interesting fact: these amps were not re-branded pieces from another manufacturer; they were in fact unique designs built on the familiar+dear Hammond chassis.

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.

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Pro Audio Archive

Broadcast Compressors etc. Circa 1974

From Collins Radio 1974 catalog #74: A round-up of broadcast compressors from Collins and CBS.  Models covered: Collins 26U-3 limiter, 26J-3 compression amplifier, CBS 4100, 4450A. and 4110, 4000A limiters; CBS 4500 dynamic presence equalizer; and CBS 710 ‘automatic loudness controller,’ which I imagine is some sort of LFKS-type limiter?

Also – a bonus – from the same era –  second-hand limiter/pre-amp price list from the same era.  RCA BA2Cs for $20?  Yes I will take 30 please.  How about a General Electric BA-5 for $75?

Big scans so… follow the link for the info…

Continue reading “Broadcast Compressors etc. Circa 1974”
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Pro Audio Archive

Tannoy Studio Monitor Speakers Circa 1985

Download 16 pages of Tannoy Concentric-Monitor photos and specs from c. 1985:

DOWNLOAD: Tannoy_Studio_Monitors_1985

Units covered here:  SRM 10 B; SRM 12 B / Little Red; SRM 15X, 15X B; The FSM; M1000 Super Red; plus a 1985 pricelist.

The British Tannoy Corp. is truly a classic audio-manufacturer.  So much so that the word ‘Tannoy” is a generic-descriptor for ‘Public-Address Speaker’ in the UK (IE., as how in the USA we use the term ‘Xerox’ to refer to any photocopy machine, regardless of the actual manufacturer of the device).

I bought a pair of Tannoy Reveal monitors for my first permanent studio-setup about 10 years ago.  I replaced those a few years later with an older (but much superior) pair of Tannoy System 8, which were the successor to the NFM-8.  I like the System 8 a lot.  I used  them in conjunction with a pair of Avantone SoundCubes and a pair of old JBL 4311Bs.

Above is a shot of my mixing set-up at BC Studio circa 2008.  All now in storage awaiting the completion of the new studio in BPT.  You can see the 3 sets of speakers at the rear of the photo.  Not sure if the Tannoys will make it into the new studio line-up (the JBLs will definitely not), but they are not bad speakers at all.  I wouldn’t mind having them replace my BOSE 201s at home!

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
Guitar Equipment Pro Audio Archive

Orange Amplifiers Full-Line Catalog Circa 1970

Download the entire twelve-page c. 1970 Orange Musical Industries Catalog:

DOWNLOAD: Orange_catalog_1970

This catalog contains photos and specs on familiar pieces like the Graphic 80 and 120 heads (see above).  It also details many extremely obscure products such as the Orange 15 (!!!) channel Mixing Console # 101R, the Orange Deluxe and Deluxe Custom Disco (DJ) units, and the Orange Cart Machine and Condenser microphone units.  Crazy.

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Pro Audio Archive

Technics RS-1700 tape machine

Download the four-page hi-res sales sheet for the Technics RS-1700 1/4″ stereo tape machine.

DOWNLOAD: Technics_RS-1700_Brochure

The RS-1700 was an update of the iconic RS-1500.  These are great machines.  I had a few in the late 90’s and was forced to sell them in order to buy beer or what have you.  Kinda regret it.  More will come along eventually I imagine.

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Pro Audio Archive

DBX 900 series outboard modules circa 1983

Download the four-page 1983 DBX 900-series catalog (plus a period DBX pricelist):

DOWNLOAD: DBX900_series_1983_catalog

The DBX 900 series has been mentioned a few times on this site.  These are great little units that can add a lot of processing power to a studio for very little money and space.  At a time when the API 500 series has come into serious vogue, with modules selling for $400- $1500, you can still fill out a 8-space DBX frame for a little over a grand.  True, they are not transformer I/O units, but I use these things all the time and they do the job.  Quiet, clean, and very reliable.  Not the most exciting sounds, but if you need an extra 8 compressors…  you got ’em.

The 902 De-esser module (at left) is the only piece from this series that has attained ‘classic’ status, and it is an excellent De-esser.  I often use the 903 compressors for Tom mics and I’ve been pretty satisfied with them.   I’ve had my setup (two gates, five comps, one desser) for about 10 years and it has never hiccuped.

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.