Nowadays at PS department of transportation com: 70's i9000 month nears its close up with a fast look at some probable but lesser-known mics of the 70s. If you are making use of any of these pieces in the facility these times, fall us a series and weigh in. Above: the Shure SM53, a high-end powerful cardiod that appears to maybe have long been Shure'h answer to the Re also15? I've ended up trying to pick one these up on eBay, no good luck yet anyone?
Electro Voice Serial Number
And speaking of the RE15 after watching the costs slowly rise on eBay for the previous calendar year, I finally selected up one of these. Expect some audio clips/shoot-out right here soon. I usually disregarded these in the past, i figured, I have an RE20, what's the point but I finally got to know. I lately proved helpful with a contractor/tech from a major live-sound organization who had 1/2 the phase mic'chemical with these factors, swears by 'em anyhow, I are super-curious. They are apparently very hi-fi with very accurate off-axis reaction. Even more to come While on the issue of powerful mics above, the Turner Model 10 circa 1972. Those of you who've become using PS for a while will understand that I are a big fan of unknown Turner models, especially the flagship models like the 510 I recently bought my 2nd 510 for and I have got to unfortunately survey that it is certainly not simply because awesome as the illustration I have experienced for decades In any case, the Model 10 seems to have ended up a substitution for the 500/510 series might become a good buy for anyone looking for even more fascinating dynmics mics Above, the AKG M190 and G124!
Lastly some details on the N124 these turn up in my outdated 70s AKG catalogs (many of which you can download here on PS dot com), and I really use this as the at GCR, but I got not realized that it has been the replacement for the M-24. The Deb-124 is certainly an amazing little piece of executive, very great smooth audio and incredibly small in size. Deb-190s are usually much more typical, I are likely to see these on CRList quite often. Over: Shure SM5 circa 1969.
Software Serial Numbers
I appreciate the related SM7, use it regularly, it appears to have become relatively of a standard-bearer vocal mic these times artists in fact inquire for it in the business the exact same method some will question for an 87 or 47 or 58. The SM5 is much less common, no longer made, and consequently extremely expensive. Are usually any of y'all making use of SM5s for music or expressive recording these days? Over: Sony ‘Superscope' top quality C-77, C-37, and D-55 circa 1969. A G-37 or Chemical-37 Fet will be very higher on my wish-list Certainly not used any of these models. Over: the Electrovoice Re also55 is usually launched (1969). Intriguing to find that the RE55 has been the heir to the 655.
Smart Serials
I have, very really old pair circa 1950, and amazing they appear great. Pretty high self-noise for a powerful, but for drum expenses it's under no circumstances a problem. Anyone making use of the RE55? Seem pretty unusual Above: The AKG 412 circa 1972.
Seems to end up being the last evolution of the Chemical12 prior to launch of the still-standard 414. Anyone using a 412? Will be it significantly different than a circa 70s 414? Post sat nav. AKG'beds M412 was certainly the forerunner of the “modern-day” G414, released as a FET edition of the Nuvistor-driven D12B (hence the prefix 4 which, in AKG'h nomenclature of the time, denoted a FET microphone).
It carried the same legendary “brass” CK12 tablet as its predecessors (Chemical12, Chemical12A, C12B), a 3-polar design switch (omni/cardioid/bi-directional) instead of the continuously variable 9 polar designs of the earlier valve collection, and a -10dB (-20dB on exact same rare instances) mat switch that was placed after the FET component. There has been no Horsepower filter whatsoever. However, the BBC (at that period a main customer of AKG microphones) complained highly about the limitation of just 3 polar designs (plus some difficulties with an easily-distorting FET amplifier) and put significant stress on AKG's RD group to cure the situation. Hence the D414 has been blessed.
The first versions (M414C with Din-standard connector, or C414E with XLR-standard connector) propagated the exact same AKG-custom have mount (contributed equally by Chemical12A, M12B, C412 earlier D414) and the exact same “brass” CK12 tablet. Nevertheless, they sported a redesigned amplifier (which positioned the attenuator mattress pad between pills FET element, thus avoiding the overload problems of D412's style) and a 4-polar design switch.
Next version has been the classic-of-classics D414EB which significantly benefited from the add-on of a 3-position pad change (0/-10/-20dM) a 3-position HPF change (level/75Hz/ 150Hz .) and the loss of the AKG-custom mount in favour of a direct XLR output connection. Therefore, in a nutshell, M412's are outperformed by earlier C414's in every method, however collectability (expected to scarcity), plus the magnificent “brass” CK12 supplement ensure that asking costs for this mic remain sky-rocketed.