Categories
Antique Hi-Fi Archive Manufacturers

Pilot Radio Corp Hi-Fi Line Circa 1962

Download the entire twenty-page 1962 PILOT hi-fi catalog:

DOWNLOAD: Pilot_HiFi_Line_1962_Catalog

Models covered include: Pilot 610, 602MA, 602SA, 654MA, and 746 receivers; Pilot Mark III, 280B, 285, and 780 FM tuners; Pilot 230, 240, 246, and 248B stereo integrated amplifiers; Pilot 200, 120, and 100 FM Stereo Multiplexers; Pilot-Garrard RC-3, RC-5, and RC-4 turntables; and Pilot PSV-2, PSV-3A, and PSV-4 speaker systems.

When you think of //Long Island City/Audio History//, what comes to mind, if anything?  Likely Fairchild and Marantz.   Pilot made neither pro-audio nor true high-end hi-fi, but as the graphic above reveals, they had quite a deep and storied history.   I have only one PILOT piece in my audio-pile (never say c%!!&ction) – an early stereo extension speaker – but I would bet that some of these pieces are pretty decent.

Categories
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…

Categories
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.

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Uncategorized

Happy Holidays.

I use low-power single-ended tube amps in our home for music and movie listening.  8watts per channel won’t cut it for a party, though, so today i dug deep into the PS basement and came up with this system for our holiday party.

The McIntosh 2125 was one of their earlier solid-state power amps.  Thing thing weighs a ton.  It really sounds fantastic.

When M dropped off these Urei 809s for (possible) use in the new studio, I was a bit dubious.   True, these were state-of-the art 30 years ago, but… Well, anyhow, I listened to them for the first time today and i am very impressed.  These things really sound great.  Listening to tracks that I have heard hundreds of time,  I was hearing things that I had never noticed before.  That being said, they are also very pleasant to listen to.  I learned the basics of studio-recording at university in the mid-90s.  The school had a state-of-the-art circa 1980 studio, with a Trident console and a pair of Urei 813 monitors, which were the big brothers of the 809s.   Maybe my fondness for the sound of the 809s is some sort of sonic nostalgia.  Possible.

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.

Categories
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.

Categories
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.

Categories
Altec Pro Audio Archive

Altec Professional Audio Controls Paper Circa 1960’s

Around the time that ALTEC introduced their 947X series of solid-state plug-in amplifiers, ALTEC staff engineers Arthur Davis and Don Davis published the following paper in AUDIO magazine (see my previous post on AUDIO mag).  ALTEC then reproduced and re-printed the paper as promotional material. I have scanned and uploaded the fill 12-page document.

DOWNLOAD: Altec_Professional_Audio_Controls

Covered in this document: the 9200 modular console, the 9704A transmission measurement set, and the various ALTEC passive equalizer units of the period: graphic, shelving, and pass filters.

Check out the publication.  It is a good quick primer on early impedance-matched mixing systems.  In the future, I will post more extensive documentation on these ALTEC consoles and filters.