Tag: vintage microphones

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Pro Audio Archive

Astatic Microphones: Full Catalog Scan: Circa 1975

Download the complete circa 1975 (actual date unknown) Astatic Microphones Full-Line Catalog (22pp)

DOWNLOAD: Astatic_Catalog_197*

Models covered include: Astatic 810, 811, 820, 840, 850, 857, 860, 77, 335, 333, 332, 337, 551, 10M5A, 331, 400, 511, 513H, 525DL6, 531, and 530 microphones, plus various gold-finished and pedestal-mount sub-variants; the iconic Astatic D104 amplified microphone, DN-50, T-3, 150, 151, and JT-30 ‘harp’ microphone; plus stands, cartridges, and numerous other accessories.

Above: the Astatic model 77, the ‘other Shure 55S.’

Above: the Astatic 810 series of ‘ultra-cardiod’ mics

Above: The Astatic D104, their most iconic and most widely-available model.

Above: artists’ rendering of Astatic corporate headquarters circa 1975

Astatic Corp was based on Conneaut Ohio for many years. Although they primarily produced microphones for voice-frequency communications work, they also made higher-fidelity models which are much less common.  At some point Astatic re-branded/was bought out/I have no idea/someone wanna fill me in? as the CAD microphone brand, known for their inexpensive condensor mics.  Anyone out there using any of the higher-fidelity vintage Astatic models for music production work?  Drop us a line and let us know…

Click this link for my previous report on some of the various ‘heads’ available for the D104 base.

Click this link for my previous posting of the earlier 1964 Astatic Microphone Catalog.

Categories
Microphones

Schoeps microphones of the early 1960s

Above: Schoeps mics circa 1961.  Schoeps have a deserved reputation as being the most high-fidelity of any widely-available microphones.

The Schoeps CM66 circa 1961

The Schoeps M221B microphone.  I really, really need to get me a pair of Schoeps…

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Uncategorized

A Seven-Foot-Long Microphone

Above: the Electrovoice 643 super-directional microphone of 1961.  The 643 was apparently developed by the same engineer who created the wonderful Electrovoice RE-20.  Unlike the 643, the RE-20 is still in production, and still being used everyday around the world.  As far as the 643…well… it was supposedly used in the 1960s for Presidential news conferences, but I can’t imagine seeing something like this aimed at a head-of-state today.

Categories
Microphones

Neumann Microphones of the early 1960s

Above: the Neumann U-67 is announced.  The U67 was the ‘bridge’ between the earlier U47 and the soon-to-be-ubiquitous U-87.  Like the U-47 it is a tube mic.  A U-67 just sold on eBay for $7k, which is not too surprising. It’s possible to turn up cheap U87s from time to time but the U67 had a much shorter run and not the same level of popularity.

Above: the Neumann KM-54, KM-56, SM-2, U-67, M-49b, and M-269 microphones.

Another announcement ad for the U-67.

Categories
Microphones

AKG Studio Microphones Circa 1962

The AKG C-24 stereo condenser mic.  Yes please.  I think if I added up all the time i have spent mounting my Neumann TLM 103s on their X/Y mount I would i run out and buy one of these.   Oh wait!  I don’t have $12,000!  Nevermind!  Anyone have a strong reco for an affordable XY mic that will put the TLM 103s back in their cases for good?

Above, and above: the AKG C 60.  I’ve never used one of these.  Nice-looking example on eBay right now for $850.

The AKG D19.  I own one of these, and I have used it on a few tracks…nice for low-fi-ish hard-strumming steel-string acoustic gtr.   Based on my experience, I feel like the stated claim of 40-16k hz response is extremely optimistic.  The D19 shows up in a few places in music history: most notably as one of the go-to mics at Abbey Road during the Beatles early sessions.  It also shows up in this Elvis/Martina McBride video (see here) wherein Martina duets with The King.  I was working at SONYMUSIC when this video was produced, and I couldn’t help but wonder… in the original ’68 Comeback special, Elvis is using an EV RE15... which looks an awful lot like a D19… Martina’s husband/engineer John McBride is one the biggest Beatles fans in the world…  antique microphone conspiracy theories, take one.

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The AKG D24 Dynamic mic.  Anyone?

Previous vintage AKG microphone coverage on Preservation Sound:

AKG mics of 1954

AKG mics of 1981

AKG mics of 1965

Categories
Altec Technical

Mics of ’56

Above: Belden 8411, 8422, and 8412 microphone cable.  I still use Belden 9451 for most studio hard-wiring tasks, although I have to admit that I am very devoted to Canare StarQuad for actual mic cables.  Anyone out there prefer Belden mic cable to the Canare?

Above: The Altec 680A omni dynamic.  This one looks very strange.  I am very curious to know what it sounds like.  Anyone?

The Altec M20 condensor microphone.  These seem to still be is use in studios.  I hope I turn up one of them soon…  folks seem to like them a lot.

 

Categories
Uncategorized

Astatic Microphones 1964

Download the complete eight-page 1964 ASTATIC microphone and phono cartridge catalog:

DOWNLOAD: Astatic_1964_catalog

Models covered, with text, specs, and photos, include:  hundreds of phonograph cartridges and needles; Astatic microphones model 332, 22, 225H, 335L, 77, 77-L, 788 ‘Metro’, 888 ‘Tempo,’ 988 ‘Vogue,’ Astatic 331,DN-50, UG8-DN50, JT-30, D-104, 513H, 511, 531, 150, 151, 10M5A, L-1, T-3, and 551 microphones.

Astatic was mostly known for communications mics, aka., voice frequency mics, aka, mics that were intended to accentuate the 300hz-3000hz frequency band.

See this previous post for earlier ASTATIC mic coverage.

 

Above, the ASTATIC 788, 888, and 988 studio mics, aka the “Metro,” Tempo,” and “Vogue.”  The 988 was the top-of-the-line and boasted impressive specs.  I have never come across one of these.  Anyone?

Above, the various ‘heads’ that were available to mount on the ASTATIC ‘squeeze-to-talk’ base unit.  See here for details. 

Categories
Microphones

Turner Microphones circa 1970

Download the complete 23pp 1970 Turner Microphones Catalog (in two parts due to size):

DOWNLOAD PART ONE: Turner_1970_catalog1

DOWNLOAD PART TWO: Turner_1970_catalog2

Models covered, with text, specs, and photos, include: Turner 500, S-500, 505, FM500, and 777 microphones; Turner 600, 600, 701, 2203, 35, 35A, 2300, Balladier 866, 766, 566, and 2266 mics; Turner Model 360, J-360, 350C, 355C, SR90D-5, SR90D-6, SR90R, M+2/U, JM+2/U, +350, and J+350 push-to-talk communications mics; Turner 254X, 254C, 454X, 454C, 754C, Model  +3, Model +2, model 750, 751, 758, 250, 251, 252, 253, 258, and +50 ‘base station’ tabletop mics; Turner model 2800, 2804, 2811, 2812, 2813, 2814, S2850, 2852, 304C, 300C, 304X, and 30002 ‘tape recorder’ (IE, economy) microphones; Turner SR585D, 585m SR70D, 58, 58A, S58, 33D, S33D, P-9D, 35614, and 36004 ‘general purpose’ mics; and a range of accessories including the Turner RA-50 ‘remote amplifier.’

Above, the Turner +3 ‘base station’ mic.  The “plus-three” designation, in Turner-speak, indicates a battery-powered, self-amplified microphone that also has a built-in compression circuit.  Although the +3 is the only mic in the 1970 catalog that has this feature, it would become available on some of their smaller hand-held communications mics in a couple of years.  I recently purchased a new-in-the-box M+3/U that I am excited to try out; the only problem is that it uses some sort of since-banned mercury-cell battery.  So I need to implement a work-around there.  Could make an interesting ‘secret weapon’ ‘set-to-incinerate’ room mic.  Sorta like an ancient mic-plus-level-loc all-in-one.

Above, the Turner 510, one of our favorite snare drum mics at Gold Coast Recorders.  The 510 was, AFAIK, the most high-fidelity mic that Turner ever made.

  Above, the classic Turner 33D, perhaps the most visually-iconic of their lineup.  How long was thing thing in production?  At least forty years.  Seems like an impossibly long time, until you consider how long Shure has been making 545s, and how long Sennheiser has been making 421s… both of those designs are past the 45-year-old mark at this point…

…and the Turner 251.  The 250 series was also very long-running at Turner; 251s can have a really cool sound for that ‘rock’ vocal thing; instant ‘bad-p.a.’ punk sound, but quiet and reliable.  I seem to find one or two of these per year; there are a ton out there for very little bread…

See here for previous Turner Microphone coverage and catalogs at ps dot com.

 

 

Categories
Microphones

The Mics of ’42

Download a four-page catalog scan of the microphones of offer from Allied Radio in 1942:

DOWNLOAD: Mics_Of_1942

Models covered, with photos, text, and some specs, include: Astatic T-3, JT-30TT, GT-3, N-30, and DN mics; Shure 708-A, 750-B, 730A Uniplex, 55c, 55a, and 555 Unidyne, Shure 7A, 705A, and 70H Crystal microphones; Electrovoice 630, 640, and Cardax dynamics, and V-2, V-1 ribbon mics; Amperite PGL Dynamic and RBHK and RBMK ribbon mics; RCA MI-6205 Aerocrystal Microphone; Bruno WS, SS, and HS high-impedance ribbon mics; plus more.

Bruno Microphones Circa 1942

Astatic Crystal Microphones Circa 1942

Electrovoice and Universal Crystal Microphones of 1942.   The most primitive of microphones.  I recently got the chance to use my ancient Lifetime Model Six Carbon mic on a contemporary vocal session.  It actually worked out great.  This is ATLANTIC CITY, my studio project with T.W.  LISTEN: Ten Past Midnight

Electrovoice and Amperite Ribbon Mics c. 1942

Shure Cardiod Mics c. 1942

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.