tag:blogger.com,1999:blog-4435923243381540172024-03-06T00:44:09.383+00:00Xaudia Microphone Blogxaudiahttp://www.blogger.com/profile/02988857581981689936noreply@blogger.comBlogger286125tag:blogger.com,1999:blog-443592324338154017.post-67809076074481498802023-07-01T22:00:00.001+01:002023-07-01T22:00:25.335+01:00We're moving!<p><a href="https://xaudia.com/blog" target="_blank">The Xaudia blog is now moving from Blogger to our own website. </a></p><p><a href="https://xaudia.com/blog" target="_blank">Please click here for up to date posts.</a></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-87303076613284914502023-05-22T12:48:00.007+01:002023-05-22T12:48:50.310+01:00AKG DX11 microphone... with reverb!<p>You can easily imagine the product development meeting at AKG back in nineteensixtysomething...</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg2Nc8SeqY-AefrO9MkVn07VokBM4-zY9aO3AY9hot-4r-owuJ4_e2tsNkOW9OmPk3bUgyLY4WGBTOwqgeH_kpyWc8Btva1OEFWqY1fJLSTRlT0LzFoI-BLJAZhzMv0coq38oYMKrZsZlGHI6sJf23Oez2scWP_YUzQuVQviTQzFnwa37ficTgPmEweA/s500/MicrophonesAndReverbs.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg2Nc8SeqY-AefrO9MkVn07VokBM4-zY9aO3AY9hot-4r-owuJ4_e2tsNkOW9OmPk3bUgyLY4WGBTOwqgeH_kpyWc8Btva1OEFWqY1fJLSTRlT0LzFoI-BLJAZhzMv0coq38oYMKrZsZlGHI6sJf23Oez2scWP_YUzQuVQviTQzFnwa37ficTgPmEweA/w400-h400/MicrophonesAndReverbs.jpg" width="400" /></a></div><p></p><p>Or something like that. It is certainly true that AKG made some great microphones (too many to list) and a lot of nasty ones (also too many to list). The AKG BX10 and BX20 spring reverbs have become studio classics. And so if any company was well positioned to make a microphone with a built in reverb, it had to be AKG. The result is the AGK BX11, which is a battery powered dynamic microphone with a built in single spring reverb and a battery powered circuit which uses five germanium transistors to amplify the signal and drive the reverb spring.</p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKujQl2ozho52wbpsjaxTiydnp3wg0sADslzo1jIFUkfZ8MASeIQMuq7aIZAUHHkPeWkqRC96lEH2fg61FT_Cw1F_thmHCZH4-3m8a-tMg4GTrAZSnAXWaZR1VBmXuFL7vylX1bNTZhMAmPTUUfY4mJK1JRNOR0jN2jY59GlL4flJLaFpZrr_DJanDg/s1024/AKG_DX11%20-%201.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="801" data-original-width="1024" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKujQl2ozho52wbpsjaxTiydnp3wg0sADslzo1jIFUkfZ8MASeIQMuq7aIZAUHHkPeWkqRC96lEH2fg61FT_Cw1F_thmHCZH4-3m8a-tMg4GTrAZSnAXWaZR1VBmXuFL7vylX1bNTZhMAmPTUUfY4mJK1JRNOR0jN2jY59GlL4flJLaFpZrr_DJanDg/s320/AKG_DX11%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AKG DX11 echo microphone</td></tr></tbody></table><br />There are some major shortcomings to this design. It is impossible to use this as a hand held microphone because the spring just rattles around. The microphone capsule is not great quality, battery life is short and the germanium transistor circuit is noisy. And although the microphone element is certainly not of hi-fi quality, and the spring is 'boingy' rather than lush, none of that matters because it is quirky and fun and offers something unique. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKN-KeohxLUZ5igJBmJsCwOTYbE2yFOhwj10i0xnOSuz_eYSZ3iNxnjFqvID9exMDQVopZixlVlgTcK6wgHiEzgVxFWMCBiZ1JSU-gPzVs88TQaupWdKLwg5lBs0NSjrfquEsOHKeBKoR-T3ERAyCE65Wm9wgUjtCcRv4byR_QJOMWKQANQE0hdngumA/s1010/AKG_DX11%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="1010" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKN-KeohxLUZ5igJBmJsCwOTYbE2yFOhwj10i0xnOSuz_eYSZ3iNxnjFqvID9exMDQVopZixlVlgTcK6wgHiEzgVxFWMCBiZ1JSU-gPzVs88TQaupWdKLwg5lBs0NSjrfquEsOHKeBKoR-T3ERAyCE65Wm9wgUjtCcRv4byR_QJOMWKQANQE0hdngumA/s320/AKG_DX11%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AKG DX11 capsule and circuit board</td></tr></tbody></table><p></p><p>The owner of this one had enquired about converting the mic to run on phantom power, but that was not trivial because the circuit has a positive ground, and I also had doubts over whether we could supply sufficient current with phantom. The output of the microphone of the DX11 is unbalanced 15K ohms or unbalanced 200 ohms. </p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtavMewlWJB6GZ8x-0GU2Y48t4deuPYi2GYSuX4826iiMlymqg3aBkfNHyuOsJhnt_jzoRWJWlpJVKp5F__1QwIDn4rEJovxORslwXLt4aGwNtVZYGWe12r93bT3_sxs34L-m2QwBAU1qkfLOXV7XY7aBYa1KOUnM4_GdQEOkeUhD4cC3mcDC4Cv-jw/s756/AKG_DX11%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="496" data-original-width="756" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtavMewlWJB6GZ8x-0GU2Y48t4deuPYi2GYSuX4826iiMlymqg3aBkfNHyuOsJhnt_jzoRWJWlpJVKp5F__1QwIDn4rEJovxORslwXLt4aGwNtVZYGWe12r93bT3_sxs34L-m2QwBAU1qkfLOXV7XY7aBYa1KOUnM4_GdQEOkeUhD4cC3mcDC4Cv-jw/s320/AKG_DX11%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AKG DX11 spring reverb</td></tr></tbody></table></p><p>I added a small Neutrik 10:1 transformer to drop the unbalanced 15K output down to a balanced 150 ohms*, which makes it a bit more compatible with mic preamps and mixers, and wired to a normal balanced XLR output. The transformer fitted in neatly in the cavity behind the capsule. (*You could use a 1;1 transformer from the 200 ohm output).</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFI_8VBuBjVVHddOtS79qF-oGEF61HrmVwayDN6pg-4-u78n4xfntaJqH9wqiK-QF2YhjP6mwIzlqFpPb9phNDyyKlkaCrmUXgVVnLNlg39zS3BpDdhzUthbyfU-xwsZHO6SeaGiu3gIINoEPTLG1OOekLCKEI3dcGGBxZJdvNShF9X0RLmTNkqKCvnA/s1266/AKG_BX11_modified.png" style="margin-left: auto; margin-right: auto;"><img alt="Schematic for AKG BX11 Echo mic" border="0" data-original-height="678" data-original-width="1266" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFI_8VBuBjVVHddOtS79qF-oGEF61HrmVwayDN6pg-4-u78n4xfntaJqH9wqiK-QF2YhjP6mwIzlqFpPb9phNDyyKlkaCrmUXgVVnLNlg39zS3BpDdhzUthbyfU-xwsZHO6SeaGiu3gIINoEPTLG1OOekLCKEI3dcGGBxZJdvNShF9X0RLmTNkqKCvnA/w400-h214/AKG_BX11_modified.png" title="Schematic for AKG BX11 Echo mic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">DX11 circuit hacks - Click on the image to see a bigger version.</td></tr></tbody></table><p><br />After a bit of initial testing, I came to the conclusion that reverb is better than the microphone, and so, after a discussion with the owner, we decided to fit a line input to the reverb circuit. The microphone capsule itself has a measured output of 250 ohms, so it was easy to hack into the circuit at that point, via a switched mini-jack socket. Now one can run other things into the reverb, such as a better dynamic or ribbon mic, a quiet line input or a guitar via a DI box. </p><p>Here is a picture of Adam from Extinct Audio test-driving the DX11 reverb (on the bench) with a Jazzmaster guitar...</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4q0l2zjwwmGIuACKj3kbk7ZHY_F0_KojcT-xGtnbUqBm5yS_vTKReJ2w-fAVWXh2hvHc8uOlBGGx3xwvndGPk660ZF7bHB2TYVi8RQgOCcKw4z7dFoZ2jaPJSZWJ7YJQbnCyX5tF1KPwhEpM8-vKcbJVZyiKYL3ziXWtMEHLwkjfbtJa2yj50OYmgWg/s1024/AKG_DX11%20-%203.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4q0l2zjwwmGIuACKj3kbk7ZHY_F0_KojcT-xGtnbUqBm5yS_vTKReJ2w-fAVWXh2hvHc8uOlBGGx3xwvndGPk660ZF7bHB2TYVi8RQgOCcKw4z7dFoZ2jaPJSZWJ7YJQbnCyX5tF1KPwhEpM8-vKcbJVZyiKYL3ziXWtMEHLwkjfbtJa2yj50OYmgWg/s320/AKG_DX11%20-%203.jpeg" width="320" /></a></div><br /><p>I hope to share some sound clips soon.</p><p><br /></p><p><b>Further reading</b></p><p><a href="https://www.vintagemicworld.com/html/Mic%20of%20the%20month%20August%202018-%20AKG%20DX%2011%20Reverb%20microphone.html" target="_blank">Vintage Microphone World</a></p><p></p><p><a href="https://www.hifi-archiv.info/Radio-Werbung/AKG/AKG%201965%201.jpg" target="_blank">Hi-Fi Archive - advert for the DX11</a></p><p><a href="https://xaudia.com/wp-content/uploads/2023/05/AKG_DX11_EQ1999.pdf" target="_blank">Review of the DX11 in EQ magazine</a></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-58443256557033472702023-05-20T10:41:00.002+01:002023-06-08T21:36:51.705+01:00Review of Extinct Audio microphones - Amazona.de<p>This week we had a couple of nice reviews of the <a href="https://www.extinctaudio.co.uk" target="_blank">Extinct Audio</a> family of ribbons microphones. I was involved in the design of these microphones and the start up of the business and it is nice to see them gaining some traction. <a href="https://www.amazona.de/test-extinct-audio-bm9-viking-und-black-ops-baendchenmikrofone/" rel="nofollow" target="_blank">You can read the original version here, which contains lots of useful sound clips and pictures</a>. Below is an English translation for those who don't speak German.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRNSB04TfVY0UogqphRiQQZBEprqhc52IxZKaa2zzSsY8l21NzLbFACVdOUZ3jZyIuxwx4r_5IBegWgvWq2wV3sI2OJEu2QZehwkHia_BgptomTlT3XIIPL6qGZszGrSD17UOfQxfEB5zfQzgYnbuNqg8jxNJcrRsAcbR8fmQpQ1Olf2hdqXaNCGSCbg/s1478/Amazona_review.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1478" data-original-width="1452" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRNSB04TfVY0UogqphRiQQZBEprqhc52IxZKaa2zzSsY8l21NzLbFACVdOUZ3jZyIuxwx4r_5IBegWgvWq2wV3sI2OJEu2QZehwkHia_BgptomTlT3XIIPL6qGZszGrSD17UOfQxfEB5zfQzgYnbuNqg8jxNJcrRsAcbR8fmQpQ1Olf2hdqXaNCGSCbg/s320/Amazona_review.png" width="314" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b>TEST: EXTINCT AUDIO BM9 VIKING UND BLACK OPS, BÄNDCHENMIKROFONE</b></p><p>There are Englishmen that every child knows. Harry, Charles and William are currently the talk of the town, Ringo, Paul, George and John have written music history. Away from the limelight, there are four Brits, Stewart, Adam, Paul and Ant, who handcraft fine ribbon microphones in their small microphone forge Extinct Audio. Our author Raphael Tschernuth took a closer look at these fine British mics.</p><p>Ribbon mics have enjoyed unbroken popularity over the past two decades. While they were almost extinct until the early 1990s, they have been celebrating a resurgence at least since the Royer 121 and digital recording. The name Extinct Audio is an allusion to the fact that this type of microphone had almost disappeared from the face of the earth and was considered extinct. An old "Snake Stone" fossil, a local legend, serves as the company logo for the young English company.</p><p>Extinct Audio was founded by none other than Stewart Tavener of Xaudia.com, one of the reference addresses when it comes to ribbon microphone repair. In 2007 Stewart started to offer his service for ribbon microphones and since then the order book is bursting at the seams.</p><p>Some of you might be familiar with the microphone blog of Xaudia Elektrik, where you can find a lot of information about long gone microphone models of all kinds (links in the box below).</p><p>Since the founding of Xaudia, Stewart has had well over 10,000 ribbon microphones on his desk for repair. He knows them all - from great RCA classics to fancy designs from Italy or Denmark to modern China replicas. His experience over the last few years has finally led him to not only repair microphones, but to develop independent designs and bring ribbon microphones to the market himself.</p><p>Together with his friends Adam and Ant, he started Extinct Audio, with the goal of offering handmade ribbon microphones at a reasonable price. Stewart and Adam are musicians themselves and know how tough life can be with this profession. But not only did they want the mics to be affordable, they also wanted them to be responsibly made from local resources and meet the highest quality standards.</p><p>In fact, the company that builds the bodies is located just a few miles from the Extinct Audio workshop. The transformers required for a ribbon microphone are of their own manufacture. The wooden boxes of the microphones are made by a company that otherwise mainly produces wooden boxes for high-quality whiskey bottles. And yet the English somehow manage to keep the price in the €900 range, while other mics, such as the 121 from Royer or the Coles 4038, have seen huge price increases, especially in recent years.</p><p>The underlying design of the two Extinct Audio microphones under review is based on the Bang & Olufsen BM3 which was developed in Denmark in the late 50s. This microphone was at the time one of the smallest ribbon microphones, its form factor was only made possible by the development of an ever stronger magnetic materials.</p><p>Perhaps some of you are familiar with the really thick ribbon microphones from the 1930s, such as the Siemens M25 or the BBC Marconi, each weighing in at over 4 kilos. The high weight and the high mass were necessary at that time, because there were no magnetic alloys with which strong magnetic fields could be realized in a space-saving way, as today with modern neodymium variants.</p><p>The BM3 from Bang & Olufsen was a revolution in the 1950s and was and was an inspiration for the Royer R121 in the 90s. The newly available neodymium magnet materials helped the Royer 121 achieve tremendous output. The Extinct Audio BM9 is also based on the concept of the BM3, even keeping the BM naming for "ribbon microphone.” </p><p>The BM9, nicknamed "Viking," is a general-purpose ribbon microphone with a pure figure-of-eight characteristic. In terms of sound, it is clearly in the tradition of legendary ribbons such as the RCA 44 BX, Melodium 42b, etc. Its full-bodied bass range paired with brilliant highs gives voices and instruments an inimitable "Bigger Than Life Sound". The proximity effect is, as typical for this type of microphone, very pronounced and therefore a little distance to the sound source is recommended.</p><p>No less than the great John Williams used various BM9s for the recording of his soundtrack to Star Wars for the orchestral recordings. And this for a production that can afford any microphone imaginable. This could almost be called an accolade for Extinct Audio (not to be overlooked from about 30 seconds on):</p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-g2LNSUowHc" width="320" youtube-src-id="-g2LNSUowHc"></iframe></div><br />The Black Ops, on the other hand, is recommended for all applications where the microphone is to be positioned close to the sound source. It is particularly well protected against wind and air currents, and its specially adapted transformer ensures a well-balanced sound even at a very close distance from the sound source.<p></p><p>This allows the Black Ops to be positioned directly next to a guitar amp or snare drum, for example, without having to equalize the bass range by using an EQ. Like the BM9, the treble imaging is incredibly detailed and smooth for a ribbon microphone. The Black Ops was designed for harsh live use; among others, the English band Foals relied on various Black Ops for their recent live tours.</p><p>The "classic" BM9 Viking uses a 1.8 µ thick ribbon, the Black Ops uses a slightly thicker 2.5 µ. For comparison: the thread of a Spider’s web is about 6µ thick, a human hair even 50µ. Therefore, one should be as careful as possible with this type of microphone.</p><p>The frequency range of both mics is between 30 Hz - 15 kHz and sonically the foreground and rear are absolutely identical. While the BM9 has an impedance of 300 ohms, the Black Ops has an impedance of 250 ohms - in practice this is irrelevant, as both mics with these values will harmonize perfectly with current preamps. The sensitivity of the BM9 is 2.23 mV/Pa, a high value that does not demand too much from the microphone preamp. Thus, the BM9 delivers a higher signal than many a moving coil candidate. Nevertheless, it should be mentioned at this point that ribbon mics often benefit sonically from stand-alone, external preamps. For entry-level or mid-range audio interfaces, an inline amplifier is a good choice, and the market is now teeming with them. Alternatively, one can also fall back on an active variant.</p><p>While testing the two mics described above, the manufacturer posted on Instagram that development of the active variant was complete. Without further ado, I made an effort to get hold of one of the first series models for the test and I was sent the first available stereo set. The active circuit increases the output signal by about 22 dB of noise-free gain. This significantly relieves the preamp and the recorded signal is comparable to that of condenser microphones. We will also consider this model in the practical test.</p><p>Extinct Audio offers manufacturing character par excellence with its microphones. When unpacking the microphones, the testers can't help but be amazed at how much love and attention to detail has gone into the work.</p><p>The wooden cases are, as already mentioned, not cheap barware from the Far East, but extremely solid and excellently crafted. They offer perfect protection for one or two microphones. A serial number is emblazoned on a metal plaque on the outside, and inside the casket a signed certificate provides information about the day on which the microphone was manufactured and which employee took care of which production steps. The microphones themselves are beyond reproach in terms of workmanship.</p><p>This is pure perfection, without compromise. Metal workmanship and are excellent, logo and metal gauze perfectly attached, all edges rounded, the serial number engraved on the back - that's how it should be. With their 355 grams, the Black Ops and BM9 feel good in the hand and radiate their very high value. Due to their light weight, they can be securely positioned even with simple microphone stands and are easy to set up. A screw-in mount was also included with the review sample, but ordinary medium-sized microphone clamps can also be used.</p><p>If there is one application that one immediately associates with the Royer 121, it is the miking of a guitar amp. This ribbon mic has earned legendary status since its introduction in the late nineties. Compared to many classic ribbon mics, it delivers a somewhat thinned-out bass image and can be positioned relatively close to the amp. With an old, venerable Coles 4038, for example, the immense proximity effect would absolutely require the use of a high-pass filter. So with ribbon mics, it's always a matter of finding the sweet spot and using it profitably in your work.</p><p>In the following audio sample, you can first hear the mentioned Coles 4038 at a distance of only 13 centimeters. The recording is much too bass-heavy due to the proximity effect. After applying a high pass filter (100 Hz, 24 dB/oct) the tide turns and the sound suddenly becomes usable, possessing a "creaminess" typical of ribbons:</p><p>In comparison, you can hear the sound of the Shure SM57 dynamic moving coil microphone, which is considered the "industry standard" for amp recording. This is much more "grainy" and garish to work.</p><p>In terms of sound, the Extinct Audio BM9 Viking ribbon microphone is on the "classic" side of power. Similar to the Coles 4038, it therefore requires the use of a high-pass filter to deliver a balanced signal at a distance of only 13 centimeters: </p><p>The Extinct Audio Black Ops, on the other hand, does not require an additional filter, since the bass increase was compensated for by the transformer used. As a reference, you will also hear the Royer 121 afterwards, unprocessed at a distance of 13 centimeters from the speaker. Again, an HP filter would suit the signal well. With Black Ops, on the other hand, the signal is immediately "mix-ready". </p><p>The different proximity has a direct impact on the use. Positioning all microphones at the same distance in front of a sound source would therefore be extremely bad for a meaningful test report, since every microphone deals differently with the bass boost and has its own sweet spot. The BM9 is full-bodied, with the Royer 121 the proximity effect is somewhat reduced and with the Black Ops it is somewhat less than with the Royer. On the acoustic guitar I therefore decide on three different distances</p><p>Extinct Audio Black Ops: Distance 30 centimetres</p><p>Royer 121: distance 40 centimetres</p><p>Extinct Audio BM9 Viking: distance 50 centimeters</p><p>Many thanks at this point to the really impressive singer/songwriter <a href="https://fabianholland.com" rel="nofollow" target="_blank">Fabian Holland</a>, who recorded the acoustic guitar for this test. </p><p>The test shows that the Extinct microphones can easily compete with the Royer 121 in terms of sound quality. This is impressive when you consider the price difference of almost 1000 €. Ribbon microphones are also excellent for imaging percussive instruments. One reason for this lies in the natural mapping of the transients, which are mapped very quickly and vividly. </p><p>In the following example you hear the drummer <a href="https://www.achimfaerber.com" rel="nofollow" target="_blank">Achim Färber</a>. The BM9 stands a few meters away from the drums. It is a mono recording without any effects. The Black Ops was positioned on the snare, also without any change in signal:</p><p>During the test period, the Black Ops has become one of my favorite microphones for the snare drum. The figure-8 characteristic makes it excellent for masking out adjacent toms or hi-hats. The strong attenuation on the 90- or 180-degree axis can be used excellently.</p><p>Last but not least, here's a short sample I recorded myself with two BM9s as overheads and a subkick. As before: no EQ, no compressor... nüschte, as the Berliner says.</p><p>During the test period, I had the chance to use the Extinct Audio Mics on many other sound sources. They delivered excellent results on cello, as a stereo Blumlein set on piano, or on vocals with soft S sounds. The stereo pair was also perfectly matched before delivery, and the two measurement curves were absolutely identical.</p><p>By the way, the active version sounds exactly like a passive BM9, only louder. Sure, you could also loop in an inline preamp like the Fethead, but that makes the construction a bit unwieldy on the one hand, and on the other hand the shielding falls by the wayside. Unfortunately, inline preamps are prone to turning cell phone radiation into audible tones. When the network builds up, beeping and whistling can therefore be picked up unintentionally. The active version is well shielded in this respect and does not transfer any noise to the audio signal. And by the way, it looks much better...</p><p><b>Final Thoughts</b></p><p>Chapeau! The small microphone workshop Extinct Audio, delivers with the BM9 Viking and the Black Ops two ribbon microphones that leave nothing to be desired. The workmanship was done by hand with great attention to detail, the materials used are high quality, locally "sourced" and guarantee a long life. Each microphone is individually measured before delivery and stereo pairs as well as active +48 variants are also available. The latter brings the already high output to the level of a condenser microphone. Sonically, the BM9 is in the tradition of legendary ribbon microphones, while the Black Ops is predestined for close miking. Both reproduce percussive instruments with tangy transients, deliver vocals with smooth S-sounds, and are predestined for a wide range of applications and sound sources. In addition, they possess a remarkable top end for microphones of this type. Combined with a very good price/performance ratio, this leaves an unclouded picture that clearly stands out from many Asian competitors due to the high quality.</p><p>+</p><p>Excellent workmanship</p><p>Very good stereo matching, measured values</p><p>High output</p><p>Very versatile</p><p>Great, classic ribbon sound (BM9)</p><p>Balanced sound when positioned close to the sound source (Black Ops)</p><p>Durable design, handcrafted, made from local resources</p><p>This review was written by Raphael Tschernuth of <i><a href="https://gearandsound.com" target="_blank">Gear and Sound</a></i> for the German language site <i><a href="https://www.amazona.de" rel="nofollow" target="_blank">Amazona</a></i>.</p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-30361019460923639202023-03-27T17:38:00.000+01:002023-03-27T17:38:00.153+01:00Reslo Microphone Documents<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0xVUTSzfOuLln908O88cOFIl-5UOdZcr5psttbGmJLOPmoxo3_WFpShci8gXU6a7mjPSq8X6k_yLJCVui9IvSHwFxJ0kKu19Crttl55HJ8IKPURM1tnUzTwVfeFK8xt-eauhYJj7AgPmI8v01KZ6VvSd35R8m0jy2qELXQqQ4grEO8kfrlmkHH6SJAQ/s926/Screenshot%202023-03-26%20at%2020.16.54.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="926" data-original-width="572" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0xVUTSzfOuLln908O88cOFIl-5UOdZcr5psttbGmJLOPmoxo3_WFpShci8gXU6a7mjPSq8X6k_yLJCVui9IvSHwFxJ0kKu19Crttl55HJ8IKPURM1tnUzTwVfeFK8xt-eauhYJj7AgPmI8v01KZ6VvSd35R8m0jy2qELXQqQ4grEO8kfrlmkHH6SJAQ/s320/Screenshot%202023-03-26%20at%2020.16.54.png" width="198" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Reslo PR ribbon microphone</td></tr></tbody></table><br /><p></p><p>Here are a bunch of scanned information sheets published by Reslosound for various dynamic and ribbon microphones in their range.</p><p><a href="https://xaudia.com/wp-content/uploads/2023/03/ResloRB_sheet.pdf">Reslo RB information sheet</a><br /><a href="https://xaudia.com/wp-content/uploads/2023/03/ResloCD_sheet.pdf">Reslo CD information sheet</a><br /><a href="https://xaudia.com/wp-content/uploads/2023/03/ResloVMC.pdf">Reslo VMC information sheet</a><br /><a href="https://xaudia.com/wp-content/uploads/2023/03/ResloCR_sheet.pdf">Reslo CR information sheet</a><br /><a href="https://xaudia.com/wp-content/uploads/2023/03/ResloPR_sheet.pdf">Reslo PR information sheet</a></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-80926458207206451452023-03-26T11:23:00.000+01:002023-03-26T11:23:14.987+01:00Beyer M500. A.K.A. Why does my microphone sound like a kazoo?<p>OK, this might be a little bit controversial: the M500 is my least favourite ribbon microphone from Beyerdynamic. This is for a number of reasons. I'll list them.</p><p></p><ol style="text-align: left;"><li>The transformer rolls off a lot of bass. More so than an M260.80.</li><li>The grill has a dense cloth screen which also reduces the bass response.</li><li>The internal baffle has a plastic plate in front of the ribbon which robs yet more bass and causes other problems, as I will explain in a moment.</li></ol><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC_q6IgV46cV4EF2LnNIahMBk9nJeDpIReIzNra29pezbBJX4OnwR8M7jwWP1fj9i4aAY7w2AgsQYMr7fk7kBTB0yspCiR0jEzufm2jIvdbpUb_WvF9WDHRZ2h0CvbHURawIlejpXGLUonpHFItu5JF8hhg9R2Hh75zKKrDXn8VzwW7P9JzQoLDugBrw/s1024/M500_post%20-%203.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC_q6IgV46cV4EF2LnNIahMBk9nJeDpIReIzNra29pezbBJX4OnwR8M7jwWP1fj9i4aAY7w2AgsQYMr7fk7kBTB0yspCiR0jEzufm2jIvdbpUb_WvF9WDHRZ2h0CvbHURawIlejpXGLUonpHFItu5JF8hhg9R2Hh75zKKrDXn8VzwW7P9JzQoLDugBrw/s320/M500_post%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beyer M500 and a Kazoo. Can you tell the difference?</td></tr></tbody></table><br /><p>These three points are all intentional parts of the design. The M500 was intended as a vocal microphone and designed to be used at point blank range. The severe bass cut compensates for the proximity of the ribbon, and the extra screening and baffle protect the ribbon from plosives and other blasts of air. So to some extent you have to take your hat off to Beyer and say '<i>chapeau</i>' for making a ribbon that can compete with an SM58.</p><p>But that's my point really. Ribbon mics naturally have a big rich proximity effect, which is one of the things that we love about them. In the M500 a lot of work has gone into removing that sound. To my mind, the M500 is good for one job only (close up vocals), and there are other microphones that do that job better. If you like to chew your microphone then you might as well use an SM58 (or better still a Beta 58), and use a ribbon for those places where it excels. </p><p>These microphones are no longer made but change hands on eBay and Reverb at inflated prices. I think the biggest issue with them is expectations. Some buyers expect them to sound close to, say, an M260, and are disappointed when they don't. In particular they sound very thin when used on instruments at a normal recording distance. At Xaudia we often get asked to modify these mics to have more bass and have more of a classic ribbon sound.</p><p>The motor and ribbon are more or less the same between the two mics, but everything else is different. It is possible to get a better bass response from the M500 by swapping out the transformer for a full range model*, which helps a lot. But the mic can still sound odd because of what is in front of the ribbon.</p><p>So let's get back to that baffle that I mentioned in item number 3. Here at Xaudia we call this the '<i>Kazoo Flap</i>'. Let's take a look at it.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg90PcCHicxgY7VlhxcN-E68GmqTvvHK9PYEvTG6yaUtn1jw3MGPeEkHVDBzrNVY9Q--oUu4mBiNkQayJ9WR6fr0jh_-GNHKfkl3QuNN4wr9IYIJdkGj6-QYBKcnjuTzin8kccS90ljAlQqOI7GxfrnjrPO3Wq3wSi9xa_pQxlesme58Z1Bt1xjuUgCfw/s1024/M500_post%20-%201.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg90PcCHicxgY7VlhxcN-E68GmqTvvHK9PYEvTG6yaUtn1jw3MGPeEkHVDBzrNVY9Q--oUu4mBiNkQayJ9WR6fr0jh_-GNHKfkl3QuNN4wr9IYIJdkGj6-QYBKcnjuTzin8kccS90ljAlQqOI7GxfrnjrPO3Wq3wSi9xa_pQxlesme58Z1Bt1xjuUgCfw/s320/M500_post%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The M500 "Kazoo Flap". This bit of perspex causes trouble.</td></tr></tbody></table><p>You can see that there is a flat piece of clear plastic in front of the ribbon. The problem here is that is can vibrate and come loose over time. I often see these come unstuck at one end and it can vibrate like the reed on a clarinet or saxaophone. It sounds like a kazoo solo has been added to every recording!</p><p>Luckily it easy to fix. The baffle can be re-glued or removed completely. I often do the latter and replace it with some fresh acoustic fabric and steel mesh. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIGqAf-9ncegSkhZmfYvqgkKaRNKuEgC9X4TQYvlfvdnDB8PWDii-RMuuVAwbVLWaRNMinLWlVPhXDPEI2aOfXPQOpMhE1GaTitRfiLc59kZySGvdj3WGpYizLmf7Hl_z4IMbbPoq1sKKhmr_4_yN2IzwqwBk3AKtGJA4SOITrUxYY2WKT4iafvxD8gQ/s1024/M500_post%20-%202.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIGqAf-9ncegSkhZmfYvqgkKaRNKuEgC9X4TQYvlfvdnDB8PWDii-RMuuVAwbVLWaRNMinLWlVPhXDPEI2aOfXPQOpMhE1GaTitRfiLc59kZySGvdj3WGpYizLmf7Hl_z4IMbbPoq1sKKhmr_4_yN2IzwqwBk3AKtGJA4SOITrUxYY2WKT4iafvxD8gQ/s320/M500_post%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">M500 baffle modifications.</td></tr></tbody></table><br /><p>Swapping the transformers and the baffle gets the M500 as close to an M260 as it can be. The grill construction and the acoustic chamber behind the ribbon are different between the two microphones so they can never be quite the same, but the changes improve the bass response by huge amount and, to my ears, make it sound like a proper ribbon microphone.</p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho1IAcsxz9OnAqAuvkKnjKDzyKpQQ6RYL1YYm2_kZSc-UBaJ_Pe009P1zXsP9DqiygFD_xlo76_XOBBooIdgA8DgZJHimKUfWK25upS5auYHLoRiN8KNrBV063HYMHGt03j8LGAGYUmDwR2ODlXL1JXClJAe1j7eoDMKupp9dncMttoqUZfy1Xwk2x2A/s1024/M500_post%20-%204.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho1IAcsxz9OnAqAuvkKnjKDzyKpQQ6RYL1YYm2_kZSc-UBaJ_Pe009P1zXsP9DqiygFD_xlo76_XOBBooIdgA8DgZJHimKUfWK25upS5auYHLoRiN8KNrBV063HYMHGt03j8LGAGYUmDwR2ODlXL1JXClJAe1j7eoDMKupp9dncMttoqUZfy1Xwk2x2A/s320/M500_post%20-%204.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beyer M500 - designed for close up use on vocals.</td></tr></tbody></table> <br /></p><p><i>* We make a suitable full range transformer that will fit inside an M500.</i></p><p></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-55303051293294947732023-02-28T08:30:00.011+00:002023-02-28T10:41:43.618+00:00AGA-Baltic T2 ribbon microphone<p>Xaudia has been running for about 15 years and we get a lot of repair work which now seems routine. We see hundreds of Reslos, B&O mics and Beyers in particular. When I started out, everything was new but it is now a rare occurrence to see a ribbon microphone that I have not worked on before. Sometimes I think I have seen it all and then something new comes along. These moments are exciting and a new challenge is always appreciated.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8W_wfryf8OE_FXD-boAKXEZW8iggjgPI_pjViEREkEJp0z1m-exLQRu_y8a55GxYrtSgZ6l-a7bVEaeV1Q2eeScrc1We5XNa8ZExdddlMgXNTOGQtLRwaUnW1rjb5CXT4Iv9pnjr1cB1s74ZJdcB0SG5An7-G_hubVOK96T_Sp4gOWpkZ8Kv4Jfgo6A/s1024/AGA-Baltic-ribbon%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="820" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8W_wfryf8OE_FXD-boAKXEZW8iggjgPI_pjViEREkEJp0z1m-exLQRu_y8a55GxYrtSgZ6l-a7bVEaeV1Q2eeScrc1We5XNa8ZExdddlMgXNTOGQtLRwaUnW1rjb5CXT4Iv9pnjr1cB1s74ZJdcB0SG5An7-G_hubVOK96T_Sp4gOWpkZ8Kv4Jfgo6A/s320/AGA-Baltic-ribbon%20-%201.jpeg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AGA-Baltic T2 Ribbon Microphone</td></tr></tbody></table><p>This rare Swedish beauty came in for repair recently. Not only had I never worked one one before, I had never even heard of it! This was made by AGA-Baltic, who (<a href="https://sv.wikipedia.org/wiki/AGA-Baltic" target="_blank">according to Swedish Wikipedia</a>) came into existence in 1928 after a merger between AB-Baltic and AGA companies. They made some rather elegant radio sets and, later, TV equipment. They clearly made microphones too.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uE7-NI2XaH9cUUY1OuySp3UmI4zRU69NJqpB_rkeoYq26VFD4Em-ECSNWzYP2RSxyyY3cIlEXmdHdz_4eehuz3xh9bUbSATMe45TDPbSyfLdWHB6DpyKEbO21aVdfiUfvl3NTELUJ6e1NlzXaYGPzFb9seKFTqMgw7JjdMZNTCCTqHhAT-4klhbxig/s1024/AGA-Baltic-ribbon%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="733" data-original-width="1024" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uE7-NI2XaH9cUUY1OuySp3UmI4zRU69NJqpB_rkeoYq26VFD4Em-ECSNWzYP2RSxyyY3cIlEXmdHdz_4eehuz3xh9bUbSATMe45TDPbSyfLdWHB6DpyKEbO21aVdfiUfvl3NTELUJ6e1NlzXaYGPzFb9seKFTqMgw7JjdMZNTCCTqHhAT-4klhbxig/s320/AGA-Baltic-ribbon%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Motor and transformer assembly from AGA microphone</td></tr></tbody></table><br />From the magnet and transformer technology, I would date this as an early 1930s microphone. The motor comprises two large steel pole pieces sandwiched between four large horseshoe magnets, and it uses a massive toroidal transformer to raise the output voltage and impedance to 30 ohms. The holes around the ribbon are most likely designed to increase the high frequency response of the microphone. The only comparably sized toroidal transformer that I have seen is in the Siemens / Telefunken M201, which dates back to around 1928. Transformer technology got smaller quickly!<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsOlIHkUkvLLo0cXhNGiBtDP7fga9REBRj-d4QxQujzhZeEu6fVHtiAyFSYQEMyqVrqyHYk-qZIypkCWpLs4zoE9TVQrRJN5xF8WNkF3mzUWGxFIb6f9r2B0pawKfFznJXbrH8Hn-Yxd4ZUL66-wYZZcgm8PrzOu2pm2WoDUAunxNjUFZC-IaKPaqjfQ/s1024/AGA-Baltic-ribbon%20-%203.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="777" data-original-width="1024" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsOlIHkUkvLLo0cXhNGiBtDP7fga9REBRj-d4QxQujzhZeEu6fVHtiAyFSYQEMyqVrqyHYk-qZIypkCWpLs4zoE9TVQrRJN5xF8WNkF3mzUWGxFIb6f9r2B0pawKfFznJXbrH8Hn-Yxd4ZUL66-wYZZcgm8PrzOu2pm2WoDUAunxNjUFZC-IaKPaqjfQ/s320/AGA-Baltic-ribbon%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AGA motor after corrosion removed</td></tr></tbody></table><p>The magnets in this microphone have held their field well and I measured about 2500 Gauss in the ribbon gap, which is fairly respectable for a microphone of this age. For reference, a good Melodium 42B would measure about 3000 Gauss. However, the whole motor assembly was corroded, so I stripped it down, treated with Rust-Off and then re-painted to prevent further corrosion. Everything else was cleaned and new grill cloth and mesh fitted. With old microphones that have been out of service for decades it is often best to do a complete rebuild.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0fzlb7E3HYdfSXoeHE3X0s2saNALR_56jvffo0zzW4pFecHjiQzO4OuDpWqE5GWz8Y6GOwFTiJ-sBlPyq6miHGK7evl13AEMzHoMhO3syTVUr6zXK7P67ct-Wa9UsyCI4VvNcmJHHF3ROoKE_VzxIwfj4dz5pkBavbjggNf9gJv2JAtAx3rYWRpR7hA/s1024/AGA-Baltic-ribbon%20-%204.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="998" data-original-width="1024" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0fzlb7E3HYdfSXoeHE3X0s2saNALR_56jvffo0zzW4pFecHjiQzO4OuDpWqE5GWz8Y6GOwFTiJ-sBlPyq6miHGK7evl13AEMzHoMhO3syTVUr6zXK7P67ct-Wa9UsyCI4VvNcmJHHF3ROoKE_VzxIwfj4dz5pkBavbjggNf9gJv2JAtAx3rYWRpR7hA/s320/AGA-Baltic-ribbon%20-%204.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AGA hardware parts being cleaned.</td></tr></tbody></table><p></p><p>With a new ribbon in place the sound was weak and disappointing. The old toroidal transformer has not aged well and the transmission of high frequencies in particular was attenuated giving a dark woolly tone with a lot of noise. It also seemed to be a good aerial for picking up hum too.</p><p>Impedance matching didn't help so we were faced with the dilemma of keeping it all original or switching out the transformer and having a useful working microphone, but potentially losing some of the value to collectors.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxRNgzFy_kiMYqrk6u5oQXNT-Te9VxxuvKw-AFuf9y_U0eSGmqsJnivuhqAJvKjnpZRqAE2-9Xn2cXiuTYJi7XqNcOUAROnI5kJJ3_IqRKFrMdaD4LwvuwMRJMPeaHK9ftSS1VmNoLTsXI6fv8XUNxBLaM7jw-hEXDk1Pm3LTnTYSv6Ympb27SULytw/s1024/AGA-Baltic-ribbon%20-%205.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxRNgzFy_kiMYqrk6u5oQXNT-Te9VxxuvKw-AFuf9y_U0eSGmqsJnivuhqAJvKjnpZRqAE2-9Xn2cXiuTYJi7XqNcOUAROnI5kJJ3_IqRKFrMdaD4LwvuwMRJMPeaHK9ftSS1VmNoLTsXI6fv8XUNxBLaM7jw-hEXDk1Pm3LTnTYSv6Ympb27SULytw/s320/AGA-Baltic-ribbon%20-%205.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AGA Baltic T2 - Half way back to working condition.</td></tr></tbody></table><br /><p></p><p>This situation is always a difficult choice, but after consultation with the owner we decided that the microphone should be a working studio tool, and the most sympathetic repair would be to fit a new transformer from a Coles 4038. This replacement is also a toroidal transformer so we keep the 'toroidal sound', if there is one*. (<i>*There probably isn't.</i>) The old transformer will of course be returned to the owner and can be re-installed in the future for collectors value.</p><p></p><p>And the results were good! The new transformers has a much better high end response, lower noise floor and does not pick up hum. The microphone is quite useable and still sounds very much like a vintage ribbon microphone. A well designed transformer should be there for impedance matching purposes and should not be contributing too much to the sound anyway.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZtc8K-V9Y5wyN76MVtSHriQyIFwFYWikFL4Sr5afTiJ0Vk4jQautMtc0EMXuAJT8ehREopeSOxMZ0EBtsPyQ-9ZRiVh9xpMgQU-x9wMoYOjxDkc0IkQDwVw2Bytr8UgotCsVMR6-abqMxYRKZ9vFK59MlKeZpayIXFTasx4_IA-Rc7H3Csx3NFQPkRw/s1024/AGA-Baltic-ribbon%20-%206.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="677" data-original-width="1024" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZtc8K-V9Y5wyN76MVtSHriQyIFwFYWikFL4Sr5afTiJ0Vk4jQautMtc0EMXuAJT8ehREopeSOxMZ0EBtsPyQ-9ZRiVh9xpMgQU-x9wMoYOjxDkc0IkQDwVw2Bytr8UgotCsVMR6-abqMxYRKZ9vFK59MlKeZpayIXFTasx4_IA-Rc7H3Csx3NFQPkRw/s320/AGA-Baltic-ribbon%20-%206.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Restored AGA-Baltic ribbon microphone</td></tr></tbody></table><div><br /></div>I wonder what other rare and unusual microphones are out there waiting for me? Surprises and challenges are welcome!</div><div><br /></div><div><i>Thanks to Raphael Tschernuth of <a href="https://gearandsound.com" target="_blank">Gear And Sound</a>. <br /></i><p></p><p><b><i>Further Reading.</i></b> There is not much information on the internet about these microphones but this does get mentioned briefly at the <a href="https://www.aga-museum.nl/microfoon-en-boxen/" target="_blank">AGA museum</a>. </p></div>xaudiahttp://www.blogger.com/profile/02988857581981689936noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-33876700931765598112022-11-18T08:00:00.003+00:002022-11-18T08:00:43.457+00:00Decca Ribbon Tweeters part 2<p>Last week I posted about <a href="http://xaudiaelektrik.blogspot.com/2022/11/decca-ribbon-tweeters.html">repairing some vintage Decca London ribbon tweeters</a>. I was confident that I had done a good job but was unable to do listening tests in context as I only had the tweeters to play with. These are now back with Andy, their owner, who kindly sent in his impressions and some photos. Overall I think we have done a good job and it's a nice feeling to have helped get these back up and running.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaUX9Fl5QS7_lKeZaG7KhYFKKMCdHFDUSKbvX62DSa-VwuE7qxEEb4-zB9qiXQz6wuXHJUOPAkiGP_xA5Svkwe9o-XMrxKQdMhiw-QbgnHe3cT7OFk1j_0p3k1VrflTNg3hUgyTLAhvbsAZwNLHNTY5bol6owpsvnNEqDRUvoeOWV8WeQqN60kQYu-Kw/s2592/image2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1936" data-original-width="2592" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaUX9Fl5QS7_lKeZaG7KhYFKKMCdHFDUSKbvX62DSa-VwuE7qxEEb4-zB9qiXQz6wuXHJUOPAkiGP_xA5Svkwe9o-XMrxKQdMhiw-QbgnHe3cT7OFk1j_0p3k1VrflTNg3hUgyTLAhvbsAZwNLHNTY5bol6owpsvnNEqDRUvoeOWV8WeQqN60kQYu-Kw/s320/image2.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Decca Volt speaker with ribbon tweeter</td></tr></tbody></table><br /><p>"The [new] ribbon sounds smooth, crisp and clear with no tizz or distortion. I ran it for a while at different volumes and with different music and it sounds excellent with everything I gave it. It is very close in sound to the original in the other speaker with the soundstage being in the middle and correct. I had to try hard to notice a difference, Bob Marley's<i> Is This Love</i> has some high frequency cow bell drum noises and you could hear they were slightly crisper and louder from the new ribbon. The crossover point in the Volt's is about 1200hz so any imbalance between the two tweeters is easily heard as the singer tends to move off centre.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7afZ8NxFM1QvyAwSW9Cpr_jNtSxFrKvs8W8X5D-CgscTJCc6Ig8-PYlLEMLMFwXCzzVJ4J_LjbH0B0ZjitdpCWkawc1sSROFRuRkot9WIKQJaaNFbKCMwVuOyDVsfxXqQyNNaaBnarrO8186aOPjYhO42p1V02CkLwiz4gn25NJsi3HHpFDzj0qAN3A/s1024/Decca%20Ribbon%20Repair%20-%201.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7afZ8NxFM1QvyAwSW9Cpr_jNtSxFrKvs8W8X5D-CgscTJCc6Ig8-PYlLEMLMFwXCzzVJ4J_LjbH0B0ZjitdpCWkawc1sSROFRuRkot9WIKQJaaNFbKCMwVuOyDVsfxXqQyNNaaBnarrO8186aOPjYhO42p1V02CkLwiz4gn25NJsi3HHpFDzj0qAN3A/s320/Decca%20Ribbon%20Repair%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New ribbon installation at Xaudia</td></tr></tbody></table><p>"I think the differences could be classed as being between an old and new ribbon the sound from them is so close. I assume as the new ribbon breaks in it will soften in sound a bit. I am tempted to switch the other new ribbon in as well.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigjXsxu_lHhf6-VUUZiIoseo17YRs6y-jAsvryg_MCq63QonOtPQzIKOsDz_LwTgLF0zPR8ityPLk92jU8XTdXRI35ws8D7fUCWpG9dS7kXL5A-9_jYcsXCkMAw2InBwKS66fp8UB0Ap6ZUumzuU5pb91PQ1VBWc15bZp6bDGQ1N0PQRxqmn3XH-RoYQ/s2592/image2-2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1936" data-original-width="2592" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigjXsxu_lHhf6-VUUZiIoseo17YRs6y-jAsvryg_MCq63QonOtPQzIKOsDz_LwTgLF0zPR8ityPLk92jU8XTdXRI35ws8D7fUCWpG9dS7kXL5A-9_jYcsXCkMAw2InBwKS66fp8UB0Ap6ZUumzuU5pb91PQ1VBWc15bZp6bDGQ1N0PQRxqmn3XH-RoYQ/s320/image2-2.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Andy's impressive hi-fi setup.</td></tr></tbody></table><br /><p>"Considering the lack of info on the ribbons I thought getting a close match sonically was not good but it's turned out to be very close indeed. It is a huge relief to know that if a ribbon gets damaged again I can get help.</p><p>"I am not sure but you might get a lot of interest, when I was trying to find someone to repair my ribbons I came across a huge amount of forum posts on the same issue dating back about 5 years. Nobody had managed to find anyone so in theory there are a lot of ribbons to repair out there."</p><p><b><i>Thanks to Andy Mcgregor.</i></b></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-10245377566914952712022-11-13T21:38:00.005+00:002022-11-13T21:38:39.543+00:00STC 4136 revisited<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmwwHZaf73a1D8WJnvpgWi_W0xS8RerGVRjKDW3s9PpyXNGbsm_qhC0-6yZ2cl_9wWIPNpsSKaKPpvaKDO5Nfc03CD5oFCKCaObUdmgXudbh1NKP7RwaxFXEKkUBo6mVNQBzcqQMnAfdh3yV_W-AX_PUrHPg_Dnl7A8b-J-ieNtqMrZ7I1z2w0GKFjfg/s1024/STC4136%20-%202.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="836" data-original-width="1024" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmwwHZaf73a1D8WJnvpgWi_W0xS8RerGVRjKDW3s9PpyXNGbsm_qhC0-6yZ2cl_9wWIPNpsSKaKPpvaKDO5Nfc03CD5oFCKCaObUdmgXudbh1NKP7RwaxFXEKkUBo6mVNQBzcqQMnAfdh3yV_W-AX_PUrHPg_Dnl7A8b-J-ieNtqMrZ7I1z2w0GKFjfg/s320/STC4136%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">STC 4136 microphone</td></tr></tbody></table><p>A long time ago I posted about the<a href="https://xaudiaelektrik.blogspot.com/2011/12/stc-4136-condenser-mic-phantom-power.html"> STC 4136 condenser microphone</a> and how to modify it to work on standard 48V phantom power, using a small circuit built on perfboard.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Lr3xPjo0I7fWR9vtpWdGAPQ-FYP1-cP-Bl8Ui6ItITS4RI3nnknytV4zqJtMrG6clwdcEDeC7-OsAX6yuT6ohEh4V5hFRzhWyIyX_Tv8kjTtevGSw1areEPu0BwqOfbKou1YkPR0U1Zv9FnqQcYCm192A_IDlRFxxPxSTJmD3aHk1J-agZIHZAwlLA/s1024/STC4136%20-%201.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="708" data-original-width="1024" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Lr3xPjo0I7fWR9vtpWdGAPQ-FYP1-cP-Bl8Ui6ItITS4RI3nnknytV4zqJtMrG6clwdcEDeC7-OsAX6yuT6ohEh4V5hFRzhWyIyX_Tv8kjTtevGSw1areEPu0BwqOfbKou1YkPR0U1Zv9FnqQcYCm192A_IDlRFxxPxSTJmD3aHk1J-agZIHZAwlLA/s320/STC4136%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;">STC 4136 microphone, in pieces.<br /></td></tr></tbody></table></td></tr></tbody></table><p></p><p>I had another opportunity to work on one of these microphones. This one was a challenge as it had no circuit inside at all, just the capsule and bodywork, although that also gave free scope to start from scratch.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGzGPZ9V6hE4tHjGbbwHxAQi2xo1QfgL-SYWKQLm-9EgiML7vYTDZgFuCrMMA8QBoosn3Qu2TxL3pWkimjQN-nqX1HMROgHGhZ-d2H3t7FYuh2rS_v4jvxDrYWmB0UbcbgvZI2ww8oIPKtY-mVzeZUWpcN_FyE4Q2rP_hmIEYpUYefKIX9o_ASVgdcVw/s1024/STC4136%20-%204.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="937" data-original-width="1024" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGzGPZ9V6hE4tHjGbbwHxAQi2xo1QfgL-SYWKQLm-9EgiML7vYTDZgFuCrMMA8QBoosn3Qu2TxL3pWkimjQN-nqX1HMROgHGhZ-d2H3t7FYuh2rS_v4jvxDrYWmB0UbcbgvZI2ww8oIPKtY-mVzeZUWpcN_FyE4Q2rP_hmIEYpUYefKIX9o_ASVgdcVw/s320/STC4136%20-%204.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;">STC 4136 microphone capsule.<br /></td></tr></tbody></table></td></tr></tbody></table><p>Space is tight in this microphone, but with a careful layout and small components everything will fit neatly. My solution for this one was to fit a small KM84 circuit and <a href="https://www.neutrik.com/en/product/nte10-3" target="_blank">Neutrik NTE10/3 </a> transformer. This transformer performs well, does not break the bank, and can be squeezed into tiny spaces where nothing else will go. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpCWMbwDv1qYjuNVtuMkEs26bSjT1arBINfwJxzwrs5ASrF4MX3aRD8cQLqGEtoiNSD1iVcDcFqAXDHnoFNbu-G5WnJstK5QJ1BZ6aSIqyhoQ_qTZs9SqXcR4I1XZ2Wba_Hk5TaGUYK6L599DuP2HvusmauGAeve-SEhCmGyA5y421PqP0_sFGvYvsmg/s1024/STC4136%20-%205.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="709" data-original-width="1024" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpCWMbwDv1qYjuNVtuMkEs26bSjT1arBINfwJxzwrs5ASrF4MX3aRD8cQLqGEtoiNSD1iVcDcFqAXDHnoFNbu-G5WnJstK5QJ1BZ6aSIqyhoQ_qTZs9SqXcR4I1XZ2Wba_Hk5TaGUYK6L599DuP2HvusmauGAeve-SEhCmGyA5y421PqP0_sFGvYvsmg/s320/STC4136%20-%205.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New circuit board and transformer</td></tr></tbody></table><p>This time I commissioned a printed circuit board rather than working on perfboard, which does save time and look more professional. The board will be useful for other projects too - I have a handful of other small microphones which would benefit from updated, lower noise circuits.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvfK1oRFx3nejSQNDZaGfrmCrFqB9MGB3u-IL3cER9yhC_5Ss6qwQEQ3WBjJjuuC-a3vX6CEYod_ISw9iKlkhXlA9SQKWcJdrA7kjJTjJrb7QVTHmydjSuK_xIRCA7Nor8Hg7OTs1lwbm2rco2jQXn1jgC27TOcQtYd93Nnie5xo6d6T5osrdEdBK05Q/s1024/STC4136%20-%203.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="952" data-original-width="1024" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvfK1oRFx3nejSQNDZaGfrmCrFqB9MGB3u-IL3cER9yhC_5Ss6qwQEQ3WBjJjuuC-a3vX6CEYod_ISw9iKlkhXlA9SQKWcJdrA7kjJTjJrb7QVTHmydjSuK_xIRCA7Nor8Hg7OTs1lwbm2rco2jQXn1jgC27TOcQtYd93Nnie5xo6d6T5osrdEdBK05Q/s320/STC4136%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Made in England</td></tr></tbody></table><p><br /></p><p><i>Thanks to Robert at Russell Technologies for the board layout and advice.</i></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-37877950166843832332022-11-13T10:29:00.008+00:002022-11-18T08:02:10.819+00:00Decca Ribbon Tweeters part 1<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUoyQ2S-BWO113-HpOwz3bn889Hk6tZX5HqZGhpsc_VeUMXnMPXtkfvBLOuW6mLvte3hgwJX3HKrt9FHBb4uqj1pXwe3_X5yBYaqFjMbBED8bewOuqFaa8Tp3RaWP2tLrqcHFCTOKcN9AKPaB0V5TYd_MesYuqxQeYCZNeKFRtVPVmkM9xZW4Is14XnQ/s1024/DeccaTweeter%20-%204.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUoyQ2S-BWO113-HpOwz3bn889Hk6tZX5HqZGhpsc_VeUMXnMPXtkfvBLOuW6mLvte3hgwJX3HKrt9FHBb4uqj1pXwe3_X5yBYaqFjMbBED8bewOuqFaa8Tp3RaWP2tLrqcHFCTOKcN9AKPaB0V5TYd_MesYuqxQeYCZNeKFRtVPVmkM9xZW4Is14XnQ/s320/DeccaTweeter%20-%204.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Decca London ribbon tweeters with huge transformers.</td></tr></tbody></table><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I have not repaired speakers in the past, but I recently had my arm twisted to look at some vintage Decca London ribbon tweeters. In theory they work in a similar manner to a ribbon microphone and should not present too much of a challenge.... right???? Anyway, it is nice to see something different on the bench and maybe I will learn something in the process.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzaix8deiT22JWGC2xvXkzt-5timBbjekEla6dxQlNLVjW1kwUpwgWiWsR9EpyKn84kwCCwxtH8PI4NNjDmxGbP1ef6eg2klCafri2Hth5tNkQJTj2G6wvPjNGHiunNU_oGN54UVoGaNpL-8MZ6wXaOmr4kRqV4WvqgkpMqHWIIPqcpJbGgq-TGAMHVg/s1024/DeccaTweeter%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="839" data-original-width="1024" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzaix8deiT22JWGC2xvXkzt-5timBbjekEla6dxQlNLVjW1kwUpwgWiWsR9EpyKn84kwCCwxtH8PI4NNjDmxGbP1ef6eg2klCafri2Hth5tNkQJTj2G6wvPjNGHiunNU_oGN54UVoGaNpL-8MZ6wXaOmr4kRqV4WvqgkpMqHWIIPqcpJbGgq-TGAMHVg/s320/DeccaTweeter%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The horn of a Decca ribbon tweeter</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">The first challenge was to take the speakers apart and work out what is going on inside. They have a large horn with two vents, which is is held in place with six screws. With these out of the way it is possible to remove the large, powerful magnet assembly and ribbon frame.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhVARiyC4pQL35LAyymtGE4UzEyWVC29bXg-nEVUW8ngimN4shXUVOPSpE4HzTE-YL4vsdNlkKhLsN2HXG3zg-yCf4EMIsjV37tVtO9q9zzBxlRWL7OURQHZMs4H_qrNyWQgHx7e2yd8qxRfU49T3uev_YKZL0C9tIqsKh1Ntrd5igdpFpHXocCcGN5g/s1024/DeccaTweeter%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhVARiyC4pQL35LAyymtGE4UzEyWVC29bXg-nEVUW8ngimN4shXUVOPSpE4HzTE-YL4vsdNlkKhLsN2HXG3zg-yCf4EMIsjV37tVtO9q9zzBxlRWL7OURQHZMs4H_qrNyWQgHx7e2yd8qxRfU49T3uev_YKZL0C9tIqsKh1Ntrd5igdpFpHXocCcGN5g/s320/DeccaTweeter%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Brass mess behind the horn,</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">I received three of these ribbon tweeters but they are not all the same. Two have cast alloy horns and the third had a plastic horn. And the alloy horns have a brass grill that sits in front of the ribbon (shown above), whereas the plastic one has a nylon mesh, which would better protect against incoming metal particles.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCaVEuVqpgBd2W6EylJkmOQJRZkdoYpv5mn9796e4tXNpWJw4g5bAR6JhNpOWm0mEa91zTHg6DLqcKKIBTbmR5iyLuPU4eDw_DBxvyTL-uZsAEmuhVn0ipTgn-PBp7_lBKl-PLiprss2-bGYLSD79VTQzLhPYGihodSJF8QM-TmOevoLQuX5jX8cfuoQ/s1024/DeccaTweeter%20-%205.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCaVEuVqpgBd2W6EylJkmOQJRZkdoYpv5mn9796e4tXNpWJw4g5bAR6JhNpOWm0mEa91zTHg6DLqcKKIBTbmR5iyLuPU4eDw_DBxvyTL-uZsAEmuhVn0ipTgn-PBp7_lBKl-PLiprss2-bGYLSD79VTQzLhPYGihodSJF8QM-TmOevoLQuX5jX8cfuoQ/s320/DeccaTweeter%20-%205.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">These have large, powerful magnets</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">The ribbon is mounted in a square frame made from two slices of stiff material. All three frames were different and used combinations of cardboard, Tuffnol and what looks to be copper-less circuit board material. Some have silver plated ribbon mounts and others are bare copper.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglYKXH0sJsLpcCcGQWL9kdn492Al9yTEiyHCDfzq13d6Vmp8D-OYGgTeusu1xBG7fRrNNj3F5bgdcroy9Hxnp6bnjOysIqP0HJLjizPqFa0IgJitwGnFpnGERWmhYFVNYY6s6I18Ld9WdAnKZ1iGbbq4NCS3LUEUfjFL95Ef77slQUYHE3vZ8MV8f0eQ/s1024/DeccaTweeter%20-%203.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglYKXH0sJsLpcCcGQWL9kdn492Al9yTEiyHCDfzq13d6Vmp8D-OYGgTeusu1xBG7fRrNNj3F5bgdcroy9Hxnp6bnjOysIqP0HJLjizPqFa0IgJitwGnFpnGERWmhYFVNYY6s6I18Ld9WdAnKZ1iGbbq4NCS3LUEUfjFL95Ef77slQUYHE3vZ8MV8f0eQ/s320/DeccaTweeter%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Old ribbon (left) and new one waiting to be soldered.</td></tr></tbody></table><p>The ribbon material in these speakers is stiffer and thicker than one would use in a microphone. The thickest foil I had in stock is 6.5 micrometer thick, supplied by Advent Research Materials, so that is what is going into these. That is about three to four times thicker than would be used in a microphone. The gap is 10mm and I cut the ribbons at 8.6mm, based on measuring a 'good' ribbon. Corrugating is routine, but the challenge here is making the electrical connection from the ribbon to the mounts. There are no ribbon clamps but I can see traces of old solder. </p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnyi060kaIqEy60QTPYGjxErJEvdqct4fGE7ErTGuEV4VgiZXE9Er_lLTHsvuN4ZArjsus7_2Dy6wMLXYG1aDjdAWGIhU5MpujRsjsZZHeMWUmZoYofUF2XqidL7-vNLsA8JawGtqKhRxkfctMEc8IiYHf6J4eCl-MRlksp7tB1DY-IJU1-5RcE6h22g/s1024/DeccaTweeter%20-%206.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnyi060kaIqEy60QTPYGjxErJEvdqct4fGE7ErTGuEV4VgiZXE9Er_lLTHsvuN4ZArjsus7_2Dy6wMLXYG1aDjdAWGIhU5MpujRsjsZZHeMWUmZoYofUF2XqidL7-vNLsA8JawGtqKhRxkfctMEc8IiYHf6J4eCl-MRlksp7tB1DY-IJU1-5RcE6h22g/s320/DeccaTweeter%20-%206.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New ribbon in position.</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Soldering thin aluminium needs a special solder and I used Alusol, which worked well after a little practice. All the contacts need to be cleaned before soldering. The solder needs quite a high temperature and you need to work quickly. To make this easier, I lightly glued the ends of the ribbon in place with nail varnish, which helped keep everything aligned. The top layer of the frame are then replaced - I used double sided tape to hold them together, and then the speaker can be re-assembled. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmrtfKh_6KROMSu1NUsWCnKG38L85cVqvwh0B7AiugkJgSmbFWZtjsqHTMKzzEmqys78mkURlME0eCWIDVL2xOPP4ZBHO66J20ZRFCtz3mVMdF0rBBdP_99CXXiu44ZdVnIBH2KWyEsuzYoiZZlYQ2p9zOHE2RzyTIgbXA1JqveG3kmH95Cdp0035omg/s1024/DeccaTweeter%20-%207.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmrtfKh_6KROMSu1NUsWCnKG38L85cVqvwh0B7AiugkJgSmbFWZtjsqHTMKzzEmqys78mkURlME0eCWIDVL2xOPP4ZBHO66J20ZRFCtz3mVMdF0rBBdP_99CXXiu44ZdVnIBH2KWyEsuzYoiZZlYQ2p9zOHE2RzyTIgbXA1JqveG3kmH95Cdp0035omg/s320/DeccaTweeter%20-%207.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New ribbon as seen through the horn.</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: left;">I was only had the tweeters, not the cabs or woofers, and so could not test with full range music. Instead I ran a sign wave through the speakers. They sound clear and without distortion down to about 500 Hz which is a good indicator that I have done a good job. In use they should only be working above about 7 kHz. Now they will go back to the owner for proper testing.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Thanks to Andrew Mcgregor.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Update 18/11/22</i></div><div class="separator" style="clear: both; text-align: left;"><a href="https://xaudiaelektrik.blogspot.com/2022/11/decca-ribbon-tweeters-part-2.html">You can read Andy's impressions of the new ribbons here...</a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><b>Further reading. </b><div><br /></div><div>There is an excellent article about Decca ribbon tweeters by <span face="Verdana, Arial, Helvetica, sans-serif" style="background-color: white; font-size: small; text-align: -webkit-center;">Rudolf Bruil</span> at<a href="http://www.soundfountain.com/amb/ribbon.html" target="_blank"> Sound Foundation</a>.</div><div><p></p></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-85806562234791391672022-10-31T10:55:00.000+00:002023-05-20T10:58:55.438+01:00Reslo Beebs in Recording Magazine<p>Producer <a href="http://www.marcurselli.com/" target="_blank">Marc Urselli </a>has written a <a href="https://xaudia.com/wp-content/uploads/2023/05/Session-Log-22-Oct-Ribbon-Mics.pdf" target="_blank">nice article about his love of ribbon microphones</a> in the October 2022 edition of <a href="https://recordingmag.com" target="_blank">Recording Magazine.</a> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWjDFwBRljJjB2jadmGEsf2B7YooQV1EOGI5vnAn7-awxbNvsWBa6qZIYUTpfRd-HKarqO_UxLZuxKXAEIFrLpVCHzIO4HPg4XxyZdGjvqnMwcQ4VeUNL6U-La0j2OEBsqrM7Hfvoz_recKioFEsRqCJ2cfabf4zuJy8fGJIwFJf074yq7vVlz3R1PpA/s1400/Screenshot%202022-11-27%20at%2017.57.21.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1400" data-original-width="1212" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWjDFwBRljJjB2jadmGEsf2B7YooQV1EOGI5vnAn7-awxbNvsWBa6qZIYUTpfRd-HKarqO_UxLZuxKXAEIFrLpVCHzIO4HPg4XxyZdGjvqnMwcQ4VeUNL6U-La0j2OEBsqrM7Hfvoz_recKioFEsRqCJ2cfabf4zuJy8fGJIwFJf074yq7vVlz3R1PpA/s320/Screenshot%202022-11-27%20at%2017.57.21.png" width="277" /></a></div><p></p><div><p>He discusses several vintage models in his collection, including RCA KU3, Coles, Melodium 42Bs and a nice mention of our upgraded Reslo Beeb ribbon microphones. Here are Marc's words about the Reslos.</p></div><div><div>"<i>Speaking of Xaudia and vintage European ribbons, I also have two pairs of Reslo RBT/H 30-50 ohms Hi-Z miniature ribbon mics. Unlike the huge and super heavy Melodium, the Reslo is smaller than most dynamic mics. The Beatles (and many other bands from that era) used them as vocal mics live, giving them a bit of a cult following. Rather than on vocals, I have found that they work beautifully on string quartets—explains why I have 4 of them.</i></div><div><i><br /></i></div><div><i>I had them equipped with the Xaudia Beeb Upgrade, which brings them back to 1961 BBC specs. The mod consists of swapping the transformer, converting the output from 50Ω to 300Ω, and reversing the motor assembly so the ribbon is closer to the front. This upgrade yields an extra 10dB of clean gain and reduces the noise of the mic, which is why these work great on strings!</i></div><div><i><br /></i></div><div><i>Besides many lush and beautiful string quartets, I’ve also used them to re- cord the Dither Quartet—four electric guitar players who are very particular about their amp sound—and they loved these mics!</i>"</div></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-22944809735221175932022-09-06T20:10:00.000+01:002022-09-06T20:10:27.680+01:00Syncron AU7a phantom power PCBs<p><a href="http://xaudiaelektrik.blogspot.com/2010/06/syncron-au7a-fairchild-f22-microphones.html">Twelve years since first writing about the Syncron AU7a</a>, I can finally offer a neat phantom power conversion. I converted a few of these in the past by hacking the original board or even <a href="http://xaudiaelektrik.blogspot.com/2010/06/syncron-au7a-microphones-part-2.html">building a tube circuit,</a> but this is a better, tidier approach. A big thank you to Robert at <a href="http://russelltechnologies.co.uk" target="_blank">Russell Technologies </a>for designing boards and a better circuit from my sketches.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7p3m3LI_BnpPNM9ifLxIf9g5Y8YTfwkWTdHjA9B8x3u4thYdBlHPHYiw3J7Vl8Ig8entoPCwlh3vvFnhI5BXZfTfp2u1mxIsrFBOkob8z-jq6wPRNcAiGlaJGswDtjdbETqeWASo8gdXpjGpr9JRVgZic_namB93vHIVasTUrkkRKEUteefh5AUF01w/s1024/Syncron_New_PCB%20-%206.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7p3m3LI_BnpPNM9ifLxIf9g5Y8YTfwkWTdHjA9B8x3u4thYdBlHPHYiw3J7Vl8Ig8entoPCwlh3vvFnhI5BXZfTfp2u1mxIsrFBOkob8z-jq6wPRNcAiGlaJGswDtjdbETqeWASo8gdXpjGpr9JRVgZic_namB93vHIVasTUrkkRKEUteefh5AUF01w/s320/Syncron_New_PCB%20-%206.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">My Syncron AU7a converted for phantom power</td></tr></tbody></table><p></p><p><br /></p><p>The Syncron AU7a was one of <a href="https://www.coutant.org/syncron/index.html">the earliest transistorised condenser microphones</a>, and was also sold as the Fairchild F-22. It ran on four mercury batteries, which had a tendency to leak after a few decades and are now obsolete. Conversion to run on phantom power seems sensible, but the original circuit used <a href="http://xaudiaelektrik.blogspot.com/2011/09/syncron-au6a-revisited-phantom-power.html">a P-channel JFET and positive ground</a>, which are not compatible with modern phantom power supplies. A new circuit and a new PCB will make things a lot simpler. </p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjorq5JQoeGGxZn9wXtYM_vaMijqF4Qgnawk3OxX_u9WOGH3piUAefwNeieiztj50sgI3neXDw1yTibK_9lYFa1VBMjCq9847pzM3nLPw5YipQ71Rb5JfwEOI28OyD7K0drV45c_g_sQ1jujGmKYpYyXRt1O7ccG3NbkIt0yzLTuLeeH6zEP4-ffPSV2w/s841/rt-au7a.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="595" data-original-width="841" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjorq5JQoeGGxZn9wXtYM_vaMijqF4Qgnawk3OxX_u9WOGH3piUAefwNeieiztj50sgI3neXDw1yTibK_9lYFa1VBMjCq9847pzM3nLPw5YipQ71Rb5JfwEOI28OyD7K0drV45c_g_sQ1jujGmKYpYyXRt1O7ccG3NbkIt0yzLTuLeeH6zEP4-ffPSV2w/s320/rt-au7a.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Syncron AU7a - circuit for P48 operation</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div>We tried to stay close to the original philosophy, with a single transistor circuit which re-uses the Syncron transformer (above). The Syncron microphones that I have worked on did not use a source resistor bypass cap, but I had much better results with one in place. <a href="http://xaudiaelektrik.blogspot.com/2014/10/syncron-au7a-schematic-again.html">Dan Zellerman kindly supplied a version of the schematic </a>which shows a 470 pF bypass cap, which was absent from my microphones. <div><div><div><br /></div><div>Working on these microphones is a bit of a pain because of the construction, and getting everything apart is the hardest part of this modification. The first job is to carefully remove the grill and capsule - put the capsule somewhere safe! The circuit is soldered inside a brass ring, and I needed to use a hot air gun and 80 watt iron to release that part. Some of the screws and mounting posts were also soldered in place. The transformer should be carefully removed, ready for re-use in the new circuit. </div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8KfqyjX8nBN5jCnoiRukDdvCwITWlT0GqvtukvUtkMpM2wBbAiJu41xgdf-DhqkXlVGUlEKFaQKL87_PNsoD9vzPOgvSg1OIXrUzX9JNdSQjaFUYqzTdUV0rWH8eJtcY9BRi_I85nHhXmGbs4cE3i6aXKkFZBJ29L9D06TMCbdc0gEha9Nus3Fb_nw/s1024/Syncron_New_PCB%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8KfqyjX8nBN5jCnoiRukDdvCwITWlT0GqvtukvUtkMpM2wBbAiJu41xgdf-DhqkXlVGUlEKFaQKL87_PNsoD9vzPOgvSg1OIXrUzX9JNdSQjaFUYqzTdUV0rWH8eJtcY9BRi_I85nHhXmGbs4cE3i6aXKkFZBJ29L9D06TMCbdc0gEha9Nus3Fb_nw/s320/Syncron_New_PCB%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New circuit board for Syncron AU7a</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div>The board is then populated and soldered with the exception of R5, which needs to be adjusted to bias the JFET. Either a J201 or 2N3819 will work here. To find a suitable value for the source resistor, I connected a decade box and messed around until the junction with R1 was at 12 volts. (<i>For this example, the value if R5 was 5K1 ohms.</i>). Another way is to hook it up to a scope and inject a sine wave, checking for highest gain and lowest distortion of the waveform, or you can even do it by ear with a pair of headphones. You'll get a similar value either way. Larger capacitors go on the reverse side of the board, along with the transformer.</div><div><br /></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhADPg8A8YPizQQKXHV3BQIP3A1y61FFo1Bm7hyfMphyi1mkWCZzhzKOKb379-RsxuvR_ywQHu2GeCigcfeekc8xuf9n9S8Rp5VXhKtqae1lgi8W2y7XVsuTg9qGntm3NoAFnIjigo1iN_G99dYXHouKd-VM1KYb-nKRznE2Rc1zauTf76g3awG95Orug/s1024/Syncron_New_PCB%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhADPg8A8YPizQQKXHV3BQIP3A1y61FFo1Bm7hyfMphyi1mkWCZzhzKOKb379-RsxuvR_ywQHu2GeCigcfeekc8xuf9n9S8Rp5VXhKtqae1lgi8W2y7XVsuTg9qGntm3NoAFnIjigo1iN_G99dYXHouKd-VM1KYb-nKRznE2Rc1zauTf76g3awG95Orug/s320/Syncron_New_PCB%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Transformer side of the circuit board.</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div>Some of the clearance is tight and care should be taken to avoid shorting to the ring that surrounds the circuit. And at some point that ring needs to be soldered to ground to ensure good shielding. I used an 80 watt iron on the outside of the ring and fed the solder in from inside. Any flux residue and other crud should be cleaned from the board when all the soldering is done. A drop of glue between the ring and board would also be sensible - be sure to keep the glue away from the high impedance components.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW7lMVOoko6FmtrOxTHzun-KqTTvJOhUeza1smra2uHbRXRtquy0gQA9527x3e64b5ozPNb4MdZKXER487fM8cDp7bkVOP2R7100as5tVpTF5Cx_zOoSxeYpQB49UH7fk4deZC88uAihzlDqAh2aDJpNIpkPGEOcbFoKT4aT5VGLJRRagkBgNwds7Q1Q/s1052/Syncron_New_PCB%20-%204.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1052" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW7lMVOoko6FmtrOxTHzun-KqTTvJOhUeza1smra2uHbRXRtquy0gQA9527x3e64b5ozPNb4MdZKXER487fM8cDp7bkVOP2R7100as5tVpTF5Cx_zOoSxeYpQB49UH7fk4deZC88uAihzlDqAh2aDJpNIpkPGEOcbFoKT4aT5VGLJRRagkBgNwds7Q1Q/s320/Syncron_New_PCB%20-%204.jpeg" width="311" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New AU7a circuit in place awaiting clean-up.</td></tr></tbody></table><div><br /></div>The capsule can now carefully be put back in position and connected to the circuit, followed by reassembly of the rest of the microphone. This updated Syncron AU7a sounds very nice and with the new circuit it has a useable output level and the signal to noise is good. The output impedance is approximately 200 ohms with the transformer secondary windings wired in series or 50 ohms if wired in parallel.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TC3YY6vHzWwGAp8OF9rfH8521BBPIY__XPBdYjNzKsgycLaGHjBIG7PMV1t3rekroOUN4prWBPwLUvJylg2PTJIfohr8ox_xAipA7rNx0xxFY2_k2Yz-A2LhCacILc2QzEBuUwG_gI2m2FuXvqwHlsVkmhncds3k-1ekiad4hCAZ7K4DP0Yuh2QREQ/s1024/Syncron_New_PCB%20-%205.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TC3YY6vHzWwGAp8OF9rfH8521BBPIY__XPBdYjNzKsgycLaGHjBIG7PMV1t3rekroOUN4prWBPwLUvJylg2PTJIfohr8ox_xAipA7rNx0xxFY2_k2Yz-A2LhCacILc2QzEBuUwG_gI2m2FuXvqwHlsVkmhncds3k-1ekiad4hCAZ7K4DP0Yuh2QREQ/s320/Syncron_New_PCB%20-%205.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Inside the AU7a with the new circuit board.</td></tr></tbody></table><div><br /></div><div><br /></div><div>Below is a frequency sweep compared with a Sony C48 in cardioid mode. The updated Syncron has a similar output level to the Sony.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj76DyWcGtAT8Lc_2nOPcNFxJF11BGFtM6-IksDlgis2toYPyATzsOhc17QLh9cm9vQJac9O84dJCFhJUoaqeHsHj0bUcjmYHUaw4HL2FGViln6y_Y5xVLrsauaqjxSiAT_EKqY7G2SpuJhixi5CPTWFWQm9ZkWCJXK_WkxxJLqma_PJLGC4asSq9sQeg/s1161/SyncronGreen_SOnyC48Red.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="393" data-original-width="1161" height="108" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj76DyWcGtAT8Lc_2nOPcNFxJF11BGFtM6-IksDlgis2toYPyATzsOhc17QLh9cm9vQJac9O84dJCFhJUoaqeHsHj0bUcjmYHUaw4HL2FGViln6y_Y5xVLrsauaqjxSiAT_EKqY7G2SpuJhixi5CPTWFWQm9ZkWCJXK_WkxxJLqma_PJLGC4asSq9sQeg/s320/SyncronGreen_SOnyC48Red.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Syncron (green) and Sony C48 (blue) responses compared.</td></tr></tbody></table><div><br /></div><div><br /></div>I can convert your microphone on request. <a href="http://xaudia.com/contact/" target="_blank">Please get in touch</a>.</div></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-74237172152229716792022-09-04T08:24:00.013+01:002022-09-11T21:23:23.229+01:00Sony Condenser Microphone Evolution - C37, C38, C48 and friends<p>Sony made a series of excellent large diaphragm condenser microphones, some of which have become studio classics. The earliest production model was the C37A, a tube microphone which may or may not have been used by Frank Sinatra - he has certainly been pictured with one - and it was<a href="https://www.sweetwater.com/insync/getting-the-coveted-sony-c-37a-sound/" target="_blank"> definitely used to record the voices of Bugs Bunny and Daffy Duck</a>. It has become sufficiently iconic for at least two clones to appear, made by <a href="https://mojaveaudio.com/ma-37/" target="_blank">Mojave</a> and <a href="http://tonelux.com/product/jc37/" target="_blank">Tonelux</a>.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVtoqmFdDt-xZzAXuyhNGO2lu8wEOxMi3ZZ4oNPTXUy8IoR6IBz_8XBQG9HzvUmxO1zvM9d6BNFOCL6tkKfhRjP71zEUQbJA4WsKFLIwUPv7NxyIFWPp8B-7Ghseugd9xhWIcdsEFh-nHGdmv15mObF9u3STMA1j-QRbgZXMYtiDNnrXeYEPbC8KiCQ/s1024/Sony_and_Jo%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVtoqmFdDt-xZzAXuyhNGO2lu8wEOxMi3ZZ4oNPTXUy8IoR6IBz_8XBQG9HzvUmxO1zvM9d6BNFOCL6tkKfhRjP71zEUQbJA4WsKFLIwUPv7NxyIFWPp8B-7Ghseugd9xhWIcdsEFh-nHGdmv15mObF9u3STMA1j-QRbgZXMYtiDNnrXeYEPbC8KiCQ/s320/Sony_and_Jo%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">On test - Sony C37p, C38b, C48 and C450</td></tr></tbody></table><br /><p>The C37P is the FET version of the C37, and is claimed to be one of the earliest production transistorised condenser microphones, although that honour is generally given to the Syncron AU7a. The C37p was followed by the C37Fet, and the C38 models. All of these microphones feature an unusual capsule design with an internal vent, which could be moved with a screwdriver from the rear of the microphone, changing the pattern from cardioid to omnidirectional. A very similar capsule is now made by Josephson Engineering, which is used in some of their own models and also rumoured to be supplied to other brands.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4PZ--a2dV-wYSDMw2sd7y-Zhyw6IWWFxJX1_X4uAeVZgZUXWYoG5jJAbRRsU5QWrtH3AhVPTIBpmV1xjLbwy7RSOnfg1I01U9iN3tRFR9JRTL4Jr7aKBknuO8XI0M1UuM0Wdm52s-cWVg7xlrGgIs9goC_73ST5eXo1-1z-jBoj4If8i4UqfGgjP7GA/s1024/SonyCapsule%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4PZ--a2dV-wYSDMw2sd7y-Zhyw6IWWFxJX1_X4uAeVZgZUXWYoG5jJAbRRsU5QWrtH3AhVPTIBpmV1xjLbwy7RSOnfg1I01U9iN3tRFR9JRTL4Jr7aKBknuO8XI0M1UuM0Wdm52s-cWVg7xlrGgIs9goC_73ST5eXo1-1z-jBoj4If8i4UqfGgjP7GA/s320/SonyCapsule%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sony C37 capsule - front</td></tr></tbody></table><div><br /></div><div>I am a big fan of the C38p and for the past 20 years have almost always used one for recording on my own guitar amplifier, often alongside a Shure 57 or whatever else is free after setting up for the rest of the band. The Achilles' heel of this design is that the mechanism can become difficult to turn, and many the C37s and C38s are stuck in the cardioid position. For many users that is not a problem.</div><div><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDKzmV4SqcKzeCbdcJUb7GGRTP0LwxsCGnzk3wjMuHaGIBTG0XP49nVyZ3QiwOnq6sUCIyI_PFMUh1NRd1oSwVTvNVYRuS3mDsX5-rl3nUzIsWgaYoCTG_-YR3-vdbC2p2n7fJF1sF2koDrDycgdQ6k6RpCrSRFc_wYW74lGJzxJs43KiAOHI_NXqXQ/s1024/SonyCapsule%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDKzmV4SqcKzeCbdcJUb7GGRTP0LwxsCGnzk3wjMuHaGIBTG0XP49nVyZ3QiwOnq6sUCIyI_PFMUh1NRd1oSwVTvNVYRuS3mDsX5-rl3nUzIsWgaYoCTG_-YR3-vdbC2p2n7fJF1sF2koDrDycgdQ6k6RpCrSRFc_wYW74lGJzxJs43KiAOHI_NXqXQ/s320/SonyCapsule%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sony C37 capsule - rear view</td></tr></tbody></table><p><br /></p><p>The later C48 and C800 models use a different dual sided capsule with centre terminals, which looks similar to those used widely by Neumann (and almost everyone else.) The C48 is a versatile microphone with three available patterns, bass cut and pad switches. </p><p>Both the C38 and C48 models can run on 9V batteries and use a DC converter inside the microphone to generate the polarisation voltage for the capsule. These converters are tricky to repair when they fail.</p><p>Sam Inglis & I recently had an opportunity to compare a few Sony condenser microphones to see how they had evolved over time. On the day of testing we had access to a pair of C37p, one C38b, a C48 and a C450. In addition we looked at a Josephson C705 for comparison.</p><p>By comparing the microphones we hope to discover how these Sony LDC mics compare and are the new ones better than the old ones (or vice versa)? Does the capsule hold the key to the Sony sound, if there is indeed such a thing? And are the new capsules from Josephson good copies of the old Sony C37/C38 capsules?</p><p>As usual, the frequency sweeps are good for comparison purposes but are run in a small booth and should not be considered absolute measurements. The reference microphone is omnidirectional, which can cause a few inaccuracies when testing cardioid transducers. The dip around 12K is an artefact. Measurements were made at 30 cm distance from a concentric speaker. Measurements were made with a swept sine measurement and recorded using Fuzzmeasure Pro.</p><p><br /></p><p><b>1. Comparison of C37p, C38b and C48</b></p><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu_5lB1suT5786-nVWTP3TTxZUhX4eIj_LUO5dy8z-yCkQVg9UP1Jx_LuLnJwMpJo31CwkOzGI9XfXG0ae8u3G-gVtX24O178z6t5aEVjJVZMCaxzD0dpM0oKVmXEYE32IjhrYuKhsTT7_CdVUCroYZMgGzhK7CrEDwlfRS1zh7QCpuOhiJ_x2iTYGVw/s1017/Sony_C37_C38_C48.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="1017" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu_5lB1suT5786-nVWTP3TTxZUhX4eIj_LUO5dy8z-yCkQVg9UP1Jx_LuLnJwMpJo31CwkOzGI9XfXG0ae8u3G-gVtX24O178z6t5aEVjJVZMCaxzD0dpM0oKVmXEYE32IjhrYuKhsTT7_CdVUCroYZMgGzhK7CrEDwlfRS1zh7QCpuOhiJ_x2iTYGVw/s320/Sony_C37_C38_C48.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Comparison of C37p (lowest), C38(middle) and C<span style="text-align: left;">48 (top)</span></td></tr></tbody></table><div><br /></div><p>As one would expect, the major change between models is the increasing output level (and signal to noise). The C37p is a very early transistorised microphone and transistor technology changed rapidly in those early years. It has a nice sounding bass proximity boost, and the mic is equipped with four EQ settings marked M, M1, V1 and V2 to compensate. (M is the unfiltered output). The two C37s that we tested were very close, which is reassuring.</p><p>I own a C38b which I use it for my own recordings, and my perception is of a warm sounding microphone, without a harsh or hyped top end. I was surprised to see that it has a bit more of a top end lift than its predecessor. It carries the M, M1, V1 and V2 settings through from the C37 and also adds a high cut switch. The M1 position acts as a high pass filter whereas the 'V' or vocal positions are more like a long shallow shelf. </p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzfKLDiXaaST4mM69L5tvMUqOClUd3NE7QOkqZsrMB7NYiakduPVIZB2r_zn6kPncZ0N6O36DNQhoL3nW9CFZOz3xQGF0rDdPR7YDHD97ntqqemX1fVSYz4hxKJsDNiV3231iapFkhFL1Kr15CVkK8vKLpNwxPPOmHVy2U3KxYyOF8TOBEDRwu88o4w/s1017/SonyC38M_M1_V1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="1017" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzfKLDiXaaST4mM69L5tvMUqOClUd3NE7QOkqZsrMB7NYiakduPVIZB2r_zn6kPncZ0N6O36DNQhoL3nW9CFZOz3xQGF0rDdPR7YDHD97ntqqemX1fVSYz4hxKJsDNiV3231iapFkhFL1Kr15CVkK8vKLpNwxPPOmHVy2U3KxYyOF8TOBEDRwu88o4w/s320/SonyC38M_M1_V1.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">C38b filter - M (red), M1 (blue) and V1 (green)<br /><br /></td></tr></tbody></table><p>And the C48 is louder again. This is a more conventional multi-pattern microphone with electronic switching between cardioid, omni and figure-8. It also has bass cut and pad switches which are accessible via a sprung panel on the rear of the microphone.</p><p>In my experience the C48 is a top quality recording tool and makes a good alternative to a U87 - I know a few engineers who prefer it to the Neumann. Barkley McKay at<a href="https://valleywoodstudio.com" target="_blank"> Valleywood Studios</a> said "<i>one of the reasons I like the 48 is it’s gentle roll off before 16k - it’s a little like an enhanced ribbon.</i>"</p><p><b><br /></b></p><p><b>2. C48 vs C450</b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIwCjgGSliChirzHsbTJt9B28RLW2RaA9YLdHKSR5szqZBcI_iRxTpeIeYolLPITHhZY0-Xd-pTjIuowDausplHqP6QXa3kQwZ2mFHe-bD_lJTC1d3dZ10IMPAXu5d5CyZ7tTQ5nxmwgkHpQVOJ_tnkDGWeMEUHoX4ysQptzg37qnYYx9XRmmXVASNdA/s1024/Sony_C450%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIwCjgGSliChirzHsbTJt9B28RLW2RaA9YLdHKSR5szqZBcI_iRxTpeIeYolLPITHhZY0-Xd-pTjIuowDausplHqP6QXa3kQwZ2mFHe-bD_lJTC1d3dZ10IMPAXu5d5CyZ7tTQ5nxmwgkHpQVOJ_tnkDGWeMEUHoX4ysQptzg37qnYYx9XRmmXVASNdA/s320/Sony_C450%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sony C450 capsule, front. </td></tr></tbody></table><br /><p>The C450 is a less well known model which looks a lot like the C48 but with some cheesy 1980s stickers applied. However, the C450 has a smaller capsule, around 24mm diameter, and runs on a single 1.5V battery. We have not discussed or measured the C500 here because I don't have access to one, but I have a hunch that this is a similar size to the capsule in that model. Can anyone confirm that or share a picture of their C500?</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhazLjP--F4vdCMaGy2uuCIXK0PYad_c1_g06rsQDz0986UmSkCpbsOgco8imijhYZ-mmDshn4KqKmKi3y3_yeiEZQJM5933AwautLnNTO5wB2AXFAf99oJaCFOTx_-JZ91sv0Uhin3mf24V-pSAVRTMHSEeZ-p9R8cVk-l-0v24zGjEF-2kntOLxOZLA/s1024/Sony_C450%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhazLjP--F4vdCMaGy2uuCIXK0PYad_c1_g06rsQDz0986UmSkCpbsOgco8imijhYZ-mmDshn4KqKmKi3y3_yeiEZQJM5933AwautLnNTO5wB2AXFAf99oJaCFOTx_-JZ91sv0Uhin3mf24V-pSAVRTMHSEeZ-p9R8cVk-l-0v24zGjEF-2kntOLxOZLA/s320/Sony_C450%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sony C450 capsule - rear</td></tr></tbody></table><p></p><p>The C450 has an average output level around 11 dB lower than the C48, but is significantly brighter at the top end. It is equipped with high pass filter and -10dB pad switches, although you won't need the pad very often! The noise level is also a bit disappointing. It probably has a role on the right sound source but I haven't found it yet.</p><p><br /></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX6sacEEPXPoUSvsJJMvGeWewc70xFaX1d6cCccW71OIIGda4BxosHffMmks6OINmhNUTiINt1n-af94-8wJrODdwBZYiXMd5T6q-a3CPEq3anPpdBs_HiI4VevqTGzN2w1onWeXCqhNEJm36aNEeDDIVSKFyIfrvy14sxaJ901d1YK-MEPcUuL8EOFQ/s1017/SonyC48_C450.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="1017" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX6sacEEPXPoUSvsJJMvGeWewc70xFaX1d6cCccW71OIIGda4BxosHffMmks6OINmhNUTiINt1n-af94-8wJrODdwBZYiXMd5T6q-a3CPEq3anPpdBs_HiI4VevqTGzN2w1onWeXCqhNEJm36aNEeDDIVSKFyIfrvy14sxaJ901d1YK-MEPcUuL8EOFQ/s320/SonyC48_C450.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Frequency sweeps of C48 (top) and C450 (bottom)</td></tr></tbody></table><br /></p><p><b>3. Does the Josephson C705 sound like a better C37?</b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC6DzC7iso-xBPMk9JlFgOHm8vOyWOvP0lVRqlWPdg739J-mI5UeueTkU9Y8MxzrxPGWfZMjBUFyrI46EJJggK3z9w9_FNKisko_WXhcTU3gHmG5bkcUbnFHLQbKiFvQb3dOa-QrSEJOPWu2cCGlRFGRd-kX4kZV9PSLz7JPccVIoeEGnR4iFKkmLUTA/s1024/Sony_and_Jo%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC6DzC7iso-xBPMk9JlFgOHm8vOyWOvP0lVRqlWPdg739J-mI5UeueTkU9Y8MxzrxPGWfZMjBUFyrI46EJJggK3z9w9_FNKisko_WXhcTU3gHmG5bkcUbnFHLQbKiFvQb3dOa-QrSEJOPWu2cCGlRFGRd-kX4kZV9PSLz7JPccVIoeEGnR4iFKkmLUTA/s320/Sony_and_Jo%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Josephson C705 in the testing booth at Xaudia</td></tr></tbody></table><br />The Josephson C705 is an excellent microphone with a reassuringly solid feel, and does indeed sound much like a good C37p, albeit 12 dB louder and with an even better improvement in signal to noise. It is a transformerless circuit and is cardioid only (like a lot of C37 and C38 once the capsule becomes stuck!). It lacks the high pass filter options of the Sony microphones. The C705 it is not trying to be a clone or tribute in any kind of cosmetic sense. I admire Josephson because they do their own thing and try to make the best products they can. In this case they have done some clever things with the grill and acoustic environment around the capsule, moving the vertical support struts further back out of the way of the cardioid capsule. At around £2500 this is not a cheap option, but is a professional recording tool which will get you close to the Sony C37 sound.<div><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXSqreDGYg3wA-5b5cauMzWN26vj4HgP39BR4Lh6CuEUkEnZpRY4sJpkrz5AFjk6WajpL3cXQ677-1QZrBI32WI3WUB6ulOMyMmjcZuso2ltVe0vmp59QgswJ3K2kvYG0aUBzO0ahWVyB9o9B62SxsfW1cTQXPKeIUpQnFByS9BT4KKgaFATw4I-KrVQ/s1017/SonyC37_JosephsonC705.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="1017" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXSqreDGYg3wA-5b5cauMzWN26vj4HgP39BR4Lh6CuEUkEnZpRY4sJpkrz5AFjk6WajpL3cXQ677-1QZrBI32WI3WUB6ulOMyMmjcZuso2ltVe0vmp59QgswJ3K2kvYG0aUBzO0ahWVyB9o9B62SxsfW1cTQXPKeIUpQnFByS9BT4KKgaFATw4I-KrVQ/s320/SonyC37_JosephsonC705.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sony C37p (purple) and Josephson C705 (green)</td></tr></tbody></table><p><br /></p><p>One final thought - Whilst doing some background reading for this post, I found that the older Sony mics were not highly regarded on internet forums back in the early 2000s, compared to Neumann and AKG. <a href="https://repforums.prosoundweb.com/index.php/topic,22407.msg304553.html#msg304553" target="_blank">Here is a certain Mr K,.H.'s informed opinion.. </a></p><p><i>"I never liked the C37A all that much, and would put it into the category "Post War Japan makes good" (as in their tiny late 1950s sports cars patterned after Fiats.) The C37A always struck me as a poor cousin of a ....?? Neumann mic: pretty poor craftsmanship, akin to what the Russians did in the 1970s; not much personality, pretty bad tube choice, cathode follower circuit with its associated gain and dynamic problems, etc... ...and then Sony went downhill from there with its FET mics... so I think."</i></p><p>I disagree. And the first thing I will do when I die and go to heaven or hell or Valhalla will be to march up to Frank Sinatra and ask him if he really did use a C37a! </p></div></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-59418886990861907462022-08-29T12:18:00.004+01:002022-08-29T12:18:50.866+01:00Electrovoice PL10<p>The Electrovoice PL10 is a cardioid dynamic microphone which looks very much like a cut down version of the popular RE20. It has no transformer or filter circuit but it still sounds excellent. These omissions presumably kept the price down.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_DU0sPCBvJu9j1_XF081vyAr2DKi41LNk8FJv1hqPx85cd6kFiuBpnOw2rep-qBTj8q_4SjIKUzK5lg9iaKxSWx8j7sV11rL5cU_9PDzTrHhPARNx7WqIfr78CJwKbc4vK7pimbxooFqn5YixhqKou46NEBzDkSEBoW5ztxGPJcsVAu3dgRy_N_i00g/s1024/EV_PL10_RE20%20-%202.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_DU0sPCBvJu9j1_XF081vyAr2DKi41LNk8FJv1hqPx85cd6kFiuBpnOw2rep-qBTj8q_4SjIKUzK5lg9iaKxSWx8j7sV11rL5cU_9PDzTrHhPARNx7WqIfr78CJwKbc4vK7pimbxooFqn5YixhqKou46NEBzDkSEBoW5ztxGPJcsVAu3dgRy_N_i00g/s320/EV_PL10_RE20%20-%202.jpeg" width="320" /></a></div><p>Just like the RE20, the foam that holds the capsule in place can cause trouble. Over time this can degrade into a sticky pulp and then the capsule becomes loose and rattles around and may eventually destroy itself. This microphone needs new foam and a good clean right away!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLgnrwC8lrGGJ74ChPMz04R0V6TVd76bBux3hxKaLKUijLP_Pvz3rb1gzi7G8RZGUU8_psnU9BcxvpufzcSvL3oMKsOh7GfaMWEV_0LFR7yES1LaA1RqIznazOYEEITxDcLVw8KcLyMuzfXrtInlf5RJa-c9hMSHFVXNVFV4HJ1Mv-yFvgAhpOTfU9-Q/s1024/EV_PL10%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="831" data-original-width="1024" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLgnrwC8lrGGJ74ChPMz04R0V6TVd76bBux3hxKaLKUijLP_Pvz3rb1gzi7G8RZGUU8_psnU9BcxvpufzcSvL3oMKsOh7GfaMWEV_0LFR7yES1LaA1RqIznazOYEEITxDcLVw8KcLyMuzfXrtInlf5RJa-c9hMSHFVXNVFV4HJ1Mv-yFvgAhpOTfU9-Q/s320/EV_PL10%20-%201.jpeg" width="320" /></a></div><p></p><p>The microphone body is in three parts - grill, body and base - which are screwed together and some kind of glue applied. I had to heat the threads and apply more force that I would like to break the glue and get the microphone apart. That was the hard part of the job, and once opened it is easy to remove the foam with a bit of isopropyl alcohol. As always, care must be taken around the diaphragm to avoid damage. The metal parts went into the ultrasonic bath and cleaned up nicely. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVLJakMhwb4NmfFQs_J_OsuDctQLSa4oNdCjwVCIFYmAwhwpZnNjDBh-3i-XYP9QcAWw0c_UDi-tbzEXIAx62JscBX44PRki1lW-HylcoRNnezMNik6OX0_GzgvRI8sydBuuhWXJVfz7Fkkjnn10KCzp7X0gtuf2XsPURxxEw07M-ND-cQELFXFae-3g/s1024/EV_PL10_RE20%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVLJakMhwb4NmfFQs_J_OsuDctQLSa4oNdCjwVCIFYmAwhwpZnNjDBh-3i-XYP9QcAWw0c_UDi-tbzEXIAx62JscBX44PRki1lW-HylcoRNnezMNik6OX0_GzgvRI8sydBuuhWXJVfz7Fkkjnn10KCzp7X0gtuf2XsPURxxEw07M-ND-cQELFXFae-3g/s320/EV_PL10_RE20%20-%201.jpeg" width="320" /></a></div><br /><p>Once back together, the PL10 is an excellent sounding dynamic microphone. The PL10 should be a cheap alternative to an RE20, but in fact they are scarce, and prices on eBay and Reverb may be higher than an RE20, which is a bit daft. </p><p>Here are some comparison frequency sweeps of the two mics conducted at around 25cm from the source (as usual take with a pinch of salt.)</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS95jrInmPAQSAkL1rXxfzu8DiyRwu-59mnokABqHP_UDECs3tXAdYBuYJSZYF-HKxbCz7aWiKAMGvrAmbApBYNl7I840mogrRK5kuaowTPrwZkpBq_arDxkjR3oOrTNiFmTQNYuVSwIn7Nq45HBtOwpUS9_KhsD2d_UpxmYXJigcbXENUvq2sav3yNQ/s1017/RE20Red_PL10Blue.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="1017" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS95jrInmPAQSAkL1rXxfzu8DiyRwu-59mnokABqHP_UDECs3tXAdYBuYJSZYF-HKxbCz7aWiKAMGvrAmbApBYNl7I840mogrRK5kuaowTPrwZkpBq_arDxkjR3oOrTNiFmTQNYuVSwIn7Nq45HBtOwpUS9_KhsD2d_UpxmYXJigcbXENUvq2sav3yNQ/s320/RE20Red_PL10Blue.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Frequency sweeps for RE20 (red) & PL10 (blue)</td></tr></tbody></table>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-16085060928835432022022-08-27T07:57:00.004+01:002023-04-02T17:18:59.353+01:00AKG D99c manual<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4o-I6fVLDO4ZQMnDchpRG819ZZl0qpZrmMcnxiMD1Vc4hP71opXwPF_yJ4KUEKQSuQIcZJwGf6pC9ImRM0uThFWI2I9ukqAUnQEsXcFaOAfSi092wUvA_Z3vgW4EFIlVipWQwE2-dMXryDxwlQuJg5J4tfyuHQB9odNUPNeZE_O2l7QgZ_WbSElyVDg/s1282/HarryManual%20-%204.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1282" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4o-I6fVLDO4ZQMnDchpRG819ZZl0qpZrmMcnxiMD1Vc4hP71opXwPF_yJ4KUEKQSuQIcZJwGf6pC9ImRM0uThFWI2I9ukqAUnQEsXcFaOAfSi092wUvA_Z3vgW4EFIlVipWQwE2-dMXryDxwlQuJg5J4tfyuHQB9odNUPNeZE_O2l7QgZ_WbSElyVDg/s320/HarryManual%20-%204.jpeg" width="256" /></a></div><br /><p></p><p><a href="https://xaudia.com/wp-content/uploads/2022/08/AKGD99c_Harry_Manual.pdf" target="_blank">Here is the German language manual for the AKG D99c, also known as Harry.</a></p><p><i><b><br /></b></i></p><p><i><b>An English translation courtesy of Google...</b></i></p><p>Our first artificial heads for experimental stereo listening were made in 1949</p><p>The Physics Institute of the University of Budapest conducted experimental tests. Many years of well-founded knowledge of the physical and physiological relationships of human hearing and the experience as a specialist company for electroacoustics have enabled us to make a noteworthy contribution to the artificial head stereo microphone, which has become current again, with the series production of a recording head within a short time. </p><p>The interest of a large circle of committed tape fans and serious amateurs in an inexpensive one, which has recently been aroused by many press reports and extremely positively rated AKG demonstrations among trade visitors. We can now match the artificial head for stereo recordings with the AKG D99c stereo recording head, which is available now.</p><p>The material structure of the head and shape of the ear cups, in conjunction with a simplified but acoustically effective simulation of the ear canals in connection with the two special dynamic transducer systems integrated in the head, are tailored to an optimal recording [which is] analogous to human hearing.</p><p>When listening through high-quality headphones - regardless of whether closed or open earphones are used - the listener experiences an intensive acoustic sense of space that cannot be achieved when recording with two individual microphones. </p><p>The artificial head as a physical structure itself is above all a prerequisite for the natural occurrence of the factors that determine the spatial impression, such as the difference in intensity, the difference in transit time and the frequency-dependent shadowing effect from one ear to the other. </p><p>The AKG D99c stereo recording head, with its optimally designed frequency response (it must be viewed with different criteria than usual microphones), always ensures consistent objective recording properties and can be used as a "double", so to speak, where you need to keep your own head free for directing.</p><p>The stereo artificial head recording is particularly interesting where moving sound events are involved. For example, playing, singing children, lively design of radio plays or reports; also outdoors, for example with passing cars, noises in the background and much more. </p><p>A further aspect: when recording conferences, it is easily possible for the listening recording clerk to concentrate on a specific speaker and to record his words due to the acoustic-spatial localisation. The spatially lively playback effect of the AKG stereo recording head D99c can be achieved with any AKG stereo headphones of your choice, regardless of whether the recording comes to the listener live via an amplifier or, as a tape recording, is listened to afterwards.</p><p><b>Technical specifications:</b></p><p>Frequency Range: 50-12500Hz</p><p>Sensitivity: 2.0mV/Pa = 0.20mV/ubar/channel</p><p>Impedance: 600 ohms per channel</p><p>Channel deviation: <3 dB for the entire transmission range</p><p>Optimum recording height by using an AKG floor stand.</p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-34154803588514287282022-08-26T08:40:00.005+01:002022-08-27T08:38:38.514+01:00Harry the Head - modification to condenser micsThe AKG D99C is a binaural dummy head microphone, often known as 'Harry the Head' or just plain Harry. Like me, Harry was born in the 1970s and still looks good for his age, albeit with a slightly fuzzy finish (which presumably is to reduce reflections). Inside his head there are two rather basic dynamic microphone which point upwards towards the vents in his ears.Harry may look good but many of his kind sound disappointing and the sensitivity is low. My own D99C sounded particularly poor with a lack of low end response and a sort of crunchy mid range. <div><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryvgixkrR4U4JeRM4uSuX5wcAFZJPsJ7Q6WJ6NFL-MJcmy2ayYr1dUy9Dn-Iv4PgWBjNAY5xySEQN753-5kgHul6cKLVx9LDPb8EAwVMp9xcl8HlWx2IOnFSK17z8TaEVDGMXDyhuYI87umTFA4SgM8Mj6JIDuvoQSYSo7WtUuhHR3j1C4Sycq4ZNtQ/s1117/HarryMod%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1117" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryvgixkrR4U4JeRM4uSuX5wcAFZJPsJ7Q6WJ6NFL-MJcmy2ayYr1dUy9Dn-Iv4PgWBjNAY5xySEQN753-5kgHul6cKLVx9LDPb8EAwVMp9xcl8HlWx2IOnFSK17z8TaEVDGMXDyhuYI87umTFA4SgM8Mj6JIDuvoQSYSo7WtUuhHR3j1C4Sycq4ZNtQ/s320/HarryMod%20-%201.jpeg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Harry the Head, or AKG99C to his friends</td></tr></tbody></table><p><br /></p><p>And so here is an easy way to improve the sound and sensitivity - fitting two small omnidirectional condenser mics inside will make Harry much more useable. What is more, this modification is completely reversible. You can go back to the former crunchy lo-fi tones or retain the vintage value for a collector in the future. </p><p><br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFNKAIv-igZr7lLazyP2Me2sdHW7tyBJ2VVpy65YD3WJOXnBRfV_INBi7Kmbr5FdiGf0UUcyBiBl_K7TDq8QF-_SCTDVCAzMigRwQQk04R6b3J9sFmoQ8uQ-OC9q0UcFlO82xpoXbveHkrU0VksrTH-IGGF9OHKc1PALJsSh-kQYylob-W5V0TZB0MSA/s1024/HarryMod%20-%204.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFNKAIv-igZr7lLazyP2Me2sdHW7tyBJ2VVpy65YD3WJOXnBRfV_INBi7Kmbr5FdiGf0UUcyBiBl_K7TDq8QF-_SCTDVCAzMigRwQQk04R6b3J9sFmoQ8uQ-OC9q0UcFlO82xpoXbveHkrU0VksrTH-IGGF9OHKc1PALJsSh-kQYylob-W5V0TZB0MSA/s320/HarryMod%20-%204.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption">Audio Technica <span>ES945. Remove the grills and mounting nuts<br /><br /></span></td></tr></tbody></table><br /></div><div>For the upgrade I used two Audio-Technica ES945* boundary condenser microphones, which can be found used for reasonable prices (I paid £33 each on ebay) and I made up two short and skinny XLR cables. You will also need some needle-nose pliers and a screwdriver. Let's go!</div><div><br /><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMcyvaH5Xa9ql1E2m_Xn4z9smcVefHAEBT9yp99uVSiGjWS7b-AUK2IAZG487N96Bpaor3TfE7RkHlKCaRczUgg3tFxfZyyZB-NyFscMqUsY7OYU4cHRyfacMwc9yE0Cgv2D8FESnReaTxTH_VGk2zh5vXu5kCd35MunpOCjYoDC5uk7dN00GAa1Snkg/s1024/HarryMod%20-%203.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMcyvaH5Xa9ql1E2m_Xn4z9smcVefHAEBT9yp99uVSiGjWS7b-AUK2IAZG487N96Bpaor3TfE7RkHlKCaRczUgg3tFxfZyyZB-NyFscMqUsY7OYU4cHRyfacMwc9yE0Cgv2D8FESnReaTxTH_VGk2zh5vXu5kCd35MunpOCjYoDC5uk7dN00GAa1Snkg/s320/HarryMod%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Microphones, cable and aluminium strain relief </td></tr></tbody></table><br /><p></p><p>Carefully peel off the base of the head, using a scalpel if needed to remove the glue. You can see two screws that secure the cable strain relief. Undo these. Remove the two circlips which hold the microphones in place. Then pull out the whole assembly of cables and two dynamic microphones.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAF_MjPjWuWNSUoCgWZ1X6c_EKLUystG_gqztCFesGbmIzU4SciYnRYrLULHqxK6F5-gFHEgufqHbjOzvrK8mF9Vl_8Dntl42zgv46fGK8MvobCPAPQ0fnl9T9aYLfJzsTkTBa8sGmpqqr0vNnAmhlnY1ha66pvCq7a8synbW9XbrruU4i5JYwTGJvhw/s1024/HarryMod%20-%208.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAF_MjPjWuWNSUoCgWZ1X6c_EKLUystG_gqztCFesGbmIzU4SciYnRYrLULHqxK6F5-gFHEgufqHbjOzvrK8mF9Vl_8Dntl42zgv46fGK8MvobCPAPQ0fnl9T9aYLfJzsTkTBa8sGmpqqr0vNnAmhlnY1ha66pvCq7a8synbW9XbrruU4i5JYwTGJvhw/s320/HarryMod%20-%208.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">End view of the AKG dynamic mics.</td></tr></tbody></table><p><br /></p><p>Undo the three small screws that hold the grill of the boundary mic in place and remove the grill. Also take of the big nut and rubber mounts if they are still attached. The mic is a little too narrow in diameter and I put a layer of heat string around it, but you could use some tape here. This stops the mic from rattling and moving around.</p><p>Then fit the cables and push the microphones into the holes in the head. You will notice that the mics are at 90 degrees to the ear-holes.</p><p><br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oyHp4r6xHF3nGGK8djclZ_Tx9P55BVN-3RZl7Vf0FNV4wcyqv0mogXMRHXalUwgCzX4VFzVQhxn5zuUyHpayGwKHJohE8ajOd95Lc1xe_x9qbAjpYPVdSp6YP3P09nhAdvzli6qSi0Hdwb0vHpKwBJ0BenZFR5jNJrABDsrNoFDUGSKk2WqdM3J6dA/s1024/HarryMod%20-%206.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oyHp4r6xHF3nGGK8djclZ_Tx9P55BVN-3RZl7Vf0FNV4wcyqv0mogXMRHXalUwgCzX4VFzVQhxn5zuUyHpayGwKHJohE8ajOd95Lc1xe_x9qbAjpYPVdSp6YP3P09nhAdvzli6qSi0Hdwb0vHpKwBJ0BenZFR5jNJrABDsrNoFDUGSKk2WqdM3J6dA/s320/HarryMod%20-%206.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New mic with shrink sleeve and XLR cable attached.</td></tr></tbody></table><br /><p></p><p>The next thing to note is that the position of the microphones is critical to the sound. If you push them too deep past the ear vents then the microphone is essentially blocked and sounds tinny and horrible. But too gar below the vent it will sound hollow. I placed them by ear (sorry for the pun), listening as I moved the mics up and down, and settling for an optimum position. just below the ear vent.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfEV_37We5yCeXHR-wnrg0qUgWHJbitQOQ2qI7IRR0jEwanX5boymcMAEFO2FBc3avNGq7MXxuVACiqXQCrkoP3Pg0gjjiimX6k52rG6GW33WT_6P_DWswm1mskv3Ixb3kzM9p5VzYf2gWA_RiZ6H7YmhSjWVfZN6r9Xp5d6RcZ64oNyWzM8Bp507aQ/s1024/Harry2%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="917" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfEV_37We5yCeXHR-wnrg0qUgWHJbitQOQ2qI7IRR0jEwanX5boymcMAEFO2FBc3avNGq7MXxuVACiqXQCrkoP3Pg0gjjiimX6k52rG6GW33WT_6P_DWswm1mskv3Ixb3kzM9p5VzYf2gWA_RiZ6H7YmhSjWVfZN6r9Xp5d6RcZ64oNyWzM8Bp507aQ/s320/Harry2%20-%202.jpeg" width="287" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Approximate position of the microphone inside Harry's head.</td></tr></tbody></table><br /><p>Once the mics are in position, thread the cables through the channels in the bottom of the head. You can replace the cable clamp if you wish, although that will require unsoldering the cables. (I used a hacksaw here to liberate the cables!). Then stick the base of the mic back on and the job is done. Now it is time to go out and record something.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdJVS-4LVqAkkBuxsX3M4bX9xTi2hJGzb_55AOGEMw62i3bxM9ihkjng_6SyxmTwLBmESZuWkSkzQABu0RC91d7yJ-NT7AA00F8fqaafDSq-6bznROHEW9u6MCumERAAs7dx2fRxo2_EIJVW9jUmRs4DMMxww7NiWyXY3_sLQeo1FaHQ_LdzB_ok6hg/s1024/Harry2%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="1024" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdJVS-4LVqAkkBuxsX3M4bX9xTi2hJGzb_55AOGEMw62i3bxM9ihkjng_6SyxmTwLBmESZuWkSkzQABu0RC91d7yJ-NT7AA00F8fqaafDSq-6bznROHEW9u6MCumERAAs7dx2fRxo2_EIJVW9jUmRs4DMMxww7NiWyXY3_sLQeo1FaHQ_LdzB_ok6hg/s320/Harry2%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Routing of the XLR wires under Harry</td></tr></tbody></table><p><br /></p><p>Personally I think that the AKG D99c, with it's cubist styling, is the best looking binaural head microphone, although the <a href="https://en-de.neumann.com/ku-100" target="_blank">Neumann KU100</a> at £6800 GBP must surely be a better microphone! </p><p>Whether <a href="https://en.wikipedia.org/wiki/Binaural_recording" target="_blank">binaural recordings</a> sound better or worse than spaced pairs or every other kind of stereo recording is a discussion for another day. </p><p>* I am sure that other models of boundary mics would work here just as well or better. I can imagine using a couple of Oktava MK012s with omni capsules, or even a pair of 451s if you want to stay with the AKG brand. Perhaps we should consider Harry to be a <i>microphone holder</i>, rather than just a microphone.</p><p><i><a href="https://xaudiaelektrik.blogspot.com/2022/08/akg-d99c-manual.html">Here is the German language manual for Harry, along with a translation (by google, sorry).</a></i></p><p><i>You can read more about Harry at <a href="https://www.vintagemicworld.com/html/Mic%20of%20the%20month%20November%202014.html" target="_blank">Vintage Microphone World</a>.</i></p><p><i>Update 26 August - this post has been called 'Sacrilege' by Heinbach... "<b>I call sacrilege. The grainy tone of Harry is part of its Charm</b></i>." </p><p><br /></p></div></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-83283438209397699262022-08-21T08:38:00.002+01:002022-08-21T08:38:14.270+01:00Xaudia Active Dynamic Microphone (ADM)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEick3RJ8FYs0vk9xQVFl5II2EB_YqiS3zRAdG57k-6iExgtaVslPY3kAhatTek0mvc1biF-DfItQHUR-hulNQeOx-_sOlKlSjzNmb84rHKxEecXJf1pvj4Nn6uOvIk4I948q5wKMhaypnLSVITCojXACVFQwwzT9DQ7EsiFO5OXo86Is9cUgDgOTyS7xA/s1037/Xaudia_ADM%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1037" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEick3RJ8FYs0vk9xQVFl5II2EB_YqiS3zRAdG57k-6iExgtaVslPY3kAhatTek0mvc1biF-DfItQHUR-hulNQeOx-_sOlKlSjzNmb84rHKxEecXJf1pvj4Nn6uOvIk4I948q5wKMhaypnLSVITCojXACVFQwwzT9DQ7EsiFO5OXo86Is9cUgDgOTyS7xA/s320/Xaudia_ADM%20-%201.jpeg" width="316" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>The ADM is my take on the 'Speaker as microphone' concept. You may have come across this idea elsewhere, in certain vintage microphones, perhaps using a larger speaker as a sub-mic for kick drum, or in some boutique models, some of which are a bit low fi, but can be surprisingly good. </p><p>A small speaker and a dynamic moving coil microphone operate on the same principles, with the differences being in the details such as mass of the coil and diaphragm. Ideally a speaker should be robust and handle some power, whereas a microphone element might be as light and sensitive as possible. Headphone speakers are generally small and light and can make decent microphones. One classic example is the Beyer M380 which uses the same element as (older) DT770 headphones.</p><p>The ADM uses a genuine new-old-stock Sennheiser headphone speaker which sounds very nice when reversed and used as a microphone. Like the Beyer M380, this has a figure-8 pickup which means that it also has a decent proximity effect and good side-rejection. The impedance of this speaker is a little higher than most microphones, and so I have fitted a phantom powered balanced buffer circuit to lower the impedance, reduce the noise floor and increase the common mode rejection, as well as increasing the output level. Overall it works very nicely.</p><p>I have a limited supply of parts and so this will inevitably be a limited run. </p><p>Further details and sound clips to follow soon. Available from September 2022 at £199 plus postage.</p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-4024403536027912522022-08-05T21:05:00.002+01:002022-08-05T21:17:43.393+01:00Calrec 6-series Microphone Upgrades<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOD3cmDfJQtKGfNiRnozu64_iXmyzduC_SaHYaMiprIW5a4scnZCbXQhCgNrmybcg1AZYKOSd-Gw3FXIFVYeNhXK8CAqmi3QFwJOLGObJ7czuvEu-UKAeq8A5pgoW_0iMkwD7cdrbvmom5lANH8uNTXeek-JYmYZTd5AVa0XQXpZlynJZajR6dQSYtyA/s1024/Calrec%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOD3cmDfJQtKGfNiRnozu64_iXmyzduC_SaHYaMiprIW5a4scnZCbXQhCgNrmybcg1AZYKOSd-Gw3FXIFVYeNhXK8CAqmi3QFwJOLGObJ7czuvEu-UKAeq8A5pgoW_0iMkwD7cdrbvmom5lANH8uNTXeek-JYmYZTd5AVa0XQXpZlynJZajR6dQSYtyA/s320/Calrec%20-%201.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>These Calrec small diaphragm condenser microphones have been kicking around in the workshop for several years. They sound nice but the noise floor was always too high to be of much use, and they also need a specific power supply rather than standard 48V phantom. And they are difficult to service because the high impedance section of the circuit board is potted in what looks like epoxy resin - including an electrolytic capacitor. If anything goes bad in there then it is near impossible to replace.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFMH56CXknRy53ffMSz5XGAPe831fUq6Xr3n4MPJGToIKdHfz88sjj-fZw6C-m3Y5s5JzZvcoubJTAufWGfITGGkujj7WfM829PUwCgtiXDK6G7D_u9u67KriSxBy_F9o2At-FK7RcmsUQbEy2Hu8qs20mYem930GUh9Ku9u_A_R1h_w663ZHBEC6mzg/s1024/Calred_Mod%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="857" data-original-width="1024" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFMH56CXknRy53ffMSz5XGAPe831fUq6Xr3n4MPJGToIKdHfz88sjj-fZw6C-m3Y5s5JzZvcoubJTAufWGfITGGkujj7WfM829PUwCgtiXDK6G7D_u9u67KriSxBy_F9o2At-FK7RcmsUQbEy2Hu8qs20mYem930GUh9Ku9u_A_R1h_w663ZHBEC6mzg/s320/Calred_Mod%20-%201.jpeg" width="320" /></a></div><div><br /><div><br /></div><div>Consequently these never got used and nobody wanted to buy them.</div><div><br /></div><div>I decided to hack them and my approach to these was to do a full rebuild using a new circuit board from <a href="http://russelltechnologies.co.uk/microphones.html" target="_blank">Russell Technologies</a>. The new circuit is based on designs by Okatava and Schoeps, and is a simple two stage transformerless design. It works well with the Calrec capsules and sounds nice and full without being overly bright.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH0pA2Q6LiUB2nuTBcMBt3hjNfvAtrBbicWaQaylt1zFE4L397aiUuwq9wyJ-DuKLluKWmYxc7r5xJVZxeQmuvO4NOk79ur0mlc-uskkxzL3x_Zh3NPy1m7_C0g4N8D55Z6cS_Uog5h809VISVZdYCWDm51CCy7zjpFf54SY5wAv3ze16-78tflOphIQ/s1024/Calred_Mod%20-%202.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH0pA2Q6LiUB2nuTBcMBt3hjNfvAtrBbicWaQaylt1zFE4L397aiUuwq9wyJ-DuKLluKWmYxc7r5xJVZxeQmuvO4NOk79ur0mlc-uskkxzL3x_Zh3NPy1m7_C0g4N8D55Z6cS_Uog5h809VISVZdYCWDm51CCy7zjpFf54SY5wAv3ze16-78tflOphIQ/s320/Calred_Mod%20-%202.jpeg" width="320" /></a></div><div></div><div><br /></div><div>A couple of things to note. The connection to the capsule is made by a copper spring, This needs to be removed from the old circuit board, cleaned and soldered onto the new board. The rear of the capsule should also be cleaned to remove any oxidation.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFSpcBP5R8J6uR2l2ahTMhX4iJIXLuzlu0GLs9RP7qT_dCnorfxIxX0FD6bfjqAfO7LmSJQzz94wk746ldVVNeGfKPZ_YTbIs-1Zp-R_Xgb-AVbSbXeMiuEdjXgSUGfQLSjj-spjJM7gxGVzzsR7uWpgxmTkbfK0XyCzPoxD767hyuUSAeUaeX87Kuw/s1024/Calred_Mod%20-%203.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="847" data-original-width="1024" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFSpcBP5R8J6uR2l2ahTMhX4iJIXLuzlu0GLs9RP7qT_dCnorfxIxX0FD6bfjqAfO7LmSJQzz94wk746ldVVNeGfKPZ_YTbIs-1Zp-R_Xgb-AVbSbXeMiuEdjXgSUGfQLSjj-spjJM7gxGVzzsR7uWpgxmTkbfK0XyCzPoxD767hyuUSAeUaeX87Kuw/s320/Calred_Mod%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Top - New circuit board with spring and locking ring..</td></tr></tbody></table><div></div><div><br /></div><div>Secondly, there is an internal locking ring which holds the circuit in place. This is expanded using a grub screw. This ring needs to be re-used here to ensure a little compression of the spring and good contact with the capsule back plate.</div><div><br /></div><div>Xaudia can offer this as a repair upgrade service. Please<a href="http://xaudia.com/contact/" target="_blank"> get in touch</a> if you need further information.</div><div><br /></div></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-52161833110670285112022-07-25T18:30:00.006+01:002022-07-27T17:34:46.909+01:00 Swapping the motor in Beyer ribbon microphone.<p>Beyer sell replacement motors which allow repair of some of their microphones although the cost in the uk is rather high. Swapping the motor is a bit fiddly but can be done with patience and care. This is more or less how I do it, although the models do vary a bit and you may need to improvise.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmuG6P6jFUulDKguoDuUVdeHp_A9CpYFxxbsbL1SaT5M1djqxCypV5Jx12_kkKiL926YOrRcdOroSqNZKCTo9lva9CcUzBTdWexSBOOgzrMS80z-ibo-mljr1YdX1kYYX688tA6_WtKkcVjwTEcaoAQbiuLK8Q68dB1o4bBGz_Hu51ugAcImiR1NNSg/s1024/BeyerMotorSwap%20-%201%20(1).jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="815" data-original-width="1024" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmuG6P6jFUulDKguoDuUVdeHp_A9CpYFxxbsbL1SaT5M1djqxCypV5Jx12_kkKiL926YOrRcdOroSqNZKCTo9lva9CcUzBTdWexSBOOgzrMS80z-ibo-mljr1YdX1kYYX688tA6_WtKkcVjwTEcaoAQbiuLK8Q68dB1o4bBGz_Hu51ugAcImiR1NNSg/s320/BeyerMotorSwap%20-%201%20(1).jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beyer M160 motor with rounded edges (left).</td></tr></tbody></table><p></p><p>First note that Beyer motors may have round or square edges at the rear of the magnets. For many microphones this won't matter, but the M160 grill will only accept motors with rounded magnets. In the picture above it looks rather crude like it was rasped down with a file! It is probably possible to make a square edged motor fit an M160 but the magnetic filings would surely wreck the ribbon,</p><p>Also worth mentioning is that Beyer M160 and 130 have two ribbons whereas M260s have a single ribbon.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizw882Jc0ZnBLWkZzH0IIP8wsEaXzx4mx-oNSyNJvVfvujyQxdCEfAD1qvofHkUeIJ2StdEcwuenGt-XLDq58m-IbDZo3lX34uPCq2nSRyD5mAAfDzC7pLUwMCu5yU3NoX_t5r42TS56qTKmFYPdx0YjGFGSIsM1BAKCMysQezgJQL6145etMNTZ8q0Q/s1024/BeyerMotorSwap%20-%204.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizw882Jc0ZnBLWkZzH0IIP8wsEaXzx4mx-oNSyNJvVfvujyQxdCEfAD1qvofHkUeIJ2StdEcwuenGt-XLDq58m-IbDZo3lX34uPCq2nSRyD5mAAfDzC7pLUwMCu5yU3NoX_t5r42TS56qTKmFYPdx0YjGFGSIsM1BAKCMysQezgJQL6145etMNTZ8q0Q/s320/BeyerMotorSwap%20-%204.jpeg" width="320" /></a></div><p></p><p>To exchange the motor, first one needs to remove the socket and unsolder the connector and transformer. The socket may be glued, screwed and/or pinned in place. Remove the screws or pin. If the socket does not slide out then it is glued and will need heating until the glue fails. Do this at your own risk! </p><p>Then unsolder the socket, remove any rubber grommets and unsolder and remove the transformer.</p><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8GSB-VzokYvdfKr944TiEmboJm3ShFePDuIda9J24D_CWVKrfXJ0tKG75MgtqT5ARXnUwCC6FJnR1G9k56MHUxPtcdSDM2VSwuMoa3TG_gIEOJd9VQk9yaMrQxE13wAAO0nmHr-N135q9TcrrrJNzRlZ7WkxuVK7BthuRMs8tNiUBNw3fE6tNW0k1HQ/s1024/BeyerMotorSwap%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8GSB-VzokYvdfKr944TiEmboJm3ShFePDuIda9J24D_CWVKrfXJ0tKG75MgtqT5ARXnUwCC6FJnR1G9k56MHUxPtcdSDM2VSwuMoa3TG_gIEOJd9VQk9yaMrQxE13wAAO0nmHr-N135q9TcrrrJNzRlZ7WkxuVK7BthuRMs8tNiUBNw3fE6tNW0k1HQ/s320/BeyerMotorSwap%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beyer M260 with socket and transformer removed</td></tr></tbody></table><p>The next job is to pull the motor through the acoustic labyrinth but keep in mind that you will need to reverse the process in a few minutes. I usually solder an extra piece of wire into the end of the motor leads which will let me pull the new motor wires back into place.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjki1tVd5MugRp4loQ1pqcH-D9unKbod1mnuEJTGm2A_qGVv17AdbYf9vpkcoLcML9YZk2ZBRzhTNt08AOgBCztMwvvgG6GPa341BOwAUHPUDB1WB8DGJoSmd5vUpByabUWG213bg4aBXB-temM8X0BRGhsz3euvWsxRTMpCASC42RbeSMysQo7CxhjfA/s1024/BeyerMotorSwap%20-%202.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjki1tVd5MugRp4loQ1pqcH-D9unKbod1mnuEJTGm2A_qGVv17AdbYf9vpkcoLcML9YZk2ZBRzhTNt08AOgBCztMwvvgG6GPa341BOwAUHPUDB1WB8DGJoSmd5vUpByabUWG213bg4aBXB-temM8X0BRGhsz3euvWsxRTMpCASC42RbeSMysQo7CxhjfA/s320/BeyerMotorSwap%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Remember to solder on a guide wire before you remove the motor</td></tr></tbody></table><p></p><p>Once this is done you can pull the motor out and then unsolder, leaving the new wire in place.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwW-euSPscrUdRJ4lEOo5Zkz5E34mE8_AiH2662u5MWWgpA1NS2E95dkk61CqgqEnQZd_G7Nlj5WhRAjctm3wUzdIezKbKYClZpo8zp0As5dYmkrgfawipdJIs_HrNSkIfl1ChXC8tSz9gUHfS6KbPTuOxfyXuETc83hgdxhIMaaLTAPIa7mldG8nfCQ/s1024/BeyerMotorSwap%20-%203.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwW-euSPscrUdRJ4lEOo5Zkz5E34mE8_AiH2662u5MWWgpA1NS2E95dkk61CqgqEnQZd_G7Nlj5WhRAjctm3wUzdIezKbKYClZpo8zp0As5dYmkrgfawipdJIs_HrNSkIfl1ChXC8tSz9gUHfS6KbPTuOxfyXuETc83hgdxhIMaaLTAPIa7mldG8nfCQ/s320/BeyerMotorSwap%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pull the motor and guide wire through the body</td></tr></tbody></table><p></p><p>Unsolder the old motor and then reverse the process. Solder the new motor wires onto the guide wire, pull through the labyrinth and then unsolder. That parts is easier said than done because you are pulling some stiff wires around a bend that you can't see. Reattach the transformer and socket. </p><p>The only job left to do is to check the polarity of everything. Beyer do not always colour code their wires so you have to guess. Compare the microphone to a good modern mic. If your repaired Beyer is out of phase then simply reverse the wires at the XLR or din plug.</p><p>As a final warning, I have found that Beyerdynamic parts vary a lot and they do love to glue stuff together - why spend money on a screw or two when a tube of glue will do? Be prepared for a certain amount of frustration and keep the swear-box to hand.</p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-44227664595580897452022-07-04T21:10:00.012+01:002022-07-05T22:39:07.209+01:00Synchron / Vega S10 Microphones<p>The Syncron Corporation are generally credited with launching the first transistorised capacitor microphone back in 1964 -<a href="https://xaudiaelektrik.blogspot.com/search/label/syncron"> the AU-7a,</a> which was priced at $169.50 USD. In their own marketing, the manufacturer claimed to have built "the first microphone to successfully employ the Field Effect Transistor." At the time, competitors such as Neumann were selling microphones with tube circuits such as the KM64 and U67 which required a separate power supply. The Syncron mics ran on batteries which saved lugging around an extra box and cable. I know we all love and revere the old Neumann tube microphones, but few would argue that they take longer to set up and warm up than a solid state mic.</p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT_qnp2oWcDQu9p-JDllHf8SmorxiUBOIUZnl0v1x91xpsiP3O8Y0sdG-knFrG5Nv0OPYUqm-iqksEm8jF3xXVDvZyaSx4W3nqqxKtMMPc8spTaqGkv_4QwICi7BYNn9uXD5r_pJjWq--1BS-GG-EhsPuJsvrNxn77ZIfeuEdzyzLugc244NrVfPv7rw/s1145/VegaS10%20-%204.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1145" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT_qnp2oWcDQu9p-JDllHf8SmorxiUBOIUZnl0v1x91xpsiP3O8Y0sdG-knFrG5Nv0OPYUqm-iqksEm8jF3xXVDvZyaSx4W3nqqxKtMMPc8spTaqGkv_4QwICi7BYNn9uXD5r_pJjWq--1BS-GG-EhsPuJsvrNxn77ZIfeuEdzyzLugc244NrVfPv7rw/s320/VegaS10%20-%204.jpeg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Syncron-Vega S10 microphons</td></tr></tbody></table><p>Following the AU7a, Syncron launched their second and final microphone, which was a rather nice small diaphragm condenser known as the S-10. By this time, the brand was owned by 'Vega Electronics Corporation' and had the address on their documents had moved from Connecticut to Santa Clara in California. The price for new microphones was $260. </p><p>I was sent three S-10 microphones to clean, service and convert to phantom power for a customer. These mics were badged 'Vega'./ Like the AU7As, they were designed to run on two obsolete batteries, and so being able to run on standard +48V would be make them much more useable.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5pTXmW7S010ubLseiUIOvI1GXqULs0j0oQOobjz35xrdRLSRmoQY2qflli_4p8NvyxGMpiOpZtpp92JURmCj7R3xjLD8v1Hc4uuOL4TcqDdDoakSq0CvzetOxcuj39d550bwiS3806QASxTVEZrxNAto9B7FIlkW1UWJWMhJu9wPBRBcbUGKtZAttw/s1024/SyncronS10%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="783" data-original-width="1024" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5pTXmW7S010ubLseiUIOvI1GXqULs0j0oQOobjz35xrdRLSRmoQY2qflli_4p8NvyxGMpiOpZtpp92JURmCj7R3xjLD8v1Hc4uuOL4TcqDdDoakSq0CvzetOxcuj39d550bwiS3806QASxTVEZrxNAto9B7FIlkW1UWJWMhJu9wPBRBcbUGKtZAttw/s320/SyncronS10%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vega S-10 original circuit and transformer, </td></tr></tbody></table><p></p><p>The mics were a bit of a mess. They had been stored damp at some point and showed corrosion inside and out. I wanted to be sympathetic to the original simple circuit They are a one-transistor circuit with an output transformer, much like a Neumann KM84, and so for the phantom conversion I decided to re-build with a KM84 style circuit, keeping the original transformers. </p><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_M65MzsyPkqel4RrpwJYyX3_2IO0zm-OPq8ok6CwKOikXSJ4v7bm6ksI_Bxe1t-JcHkFOarkDlN2YGkkSGp5_RD_AmZeCLYwsLDJNADNBCTgSW7Pg4UTIp-c49pJKC3oBupXTqtdeS52FL4bOe13eVz8hXpoW4QkRmfNJ652FmF1HrhIn4isyXIWWw/s1024/VegaS10%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="784" data-original-width="1024" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_M65MzsyPkqel4RrpwJYyX3_2IO0zm-OPq8ok6CwKOikXSJ4v7bm6ksI_Bxe1t-JcHkFOarkDlN2YGkkSGp5_RD_AmZeCLYwsLDJNADNBCTgSW7Pg4UTIp-c49pJKC3oBupXTqtdeS52FL4bOe13eVz8hXpoW4QkRmfNJ652FmF1HrhIn4isyXIWWw/s320/VegaS10%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">KM84 type circuit - Russell Technology board</td></tr></tbody></table></div><p>With a bit of improvisation I was able to rebuild the circuits using circuit boards from <a href="http://russelltechnologies.co.uk/gord01.html" target="_blank">Russell Technologies</a>, utilising the space freed by removing the batteries to house the phantom circuit and the transformer. The circuit boards were originally designed as an upgrade for the AKG C480B, and uses a smaller transformer than the Vega. To accommodate the larger transformer I hacked off the end of the board and wired the transformer directly.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOn3zQZp-yN9R9gxujO05kqDsmuVZxsDwf12Up6YRrIkMSugioHZ-3I3_Rl88-wXETXinzLnJdwfKh8rIA96GtlqKfMQtou_iPTVZsWpGATwuwdQAMHeU5iLs7uELFj-Y3PicV1wheCsfd87IovV8NN19VvujCZUM39PjCzV050kP4NCqS7VPiE1vdHA/s1024/VegaS10%20-%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOn3zQZp-yN9R9gxujO05kqDsmuVZxsDwf12Up6YRrIkMSugioHZ-3I3_Rl88-wXETXinzLnJdwfKh8rIA96GtlqKfMQtou_iPTVZsWpGATwuwdQAMHeU5iLs7uELFj-Y3PicV1wheCsfd87IovV8NN19VvujCZUM39PjCzV050kP4NCqS7VPiE1vdHA/s320/VegaS10%20-%202.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">PCB from Russell Technologies - rear</td></tr></tbody></table><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyT4OuhGrudqNvMS4Ldi_V_UdTEzLzYydmnPF6-a6umsxfK6hNnfgQ4D4C7tYaGti8OYclyqrpTxJMzyJCimF3E3ZyQsDNLPhpp2Bm7Qx-uAiYZlxd-qMIYb4_eIY7LKhpW9iWRVxDjZirhOtqq9leXRgvwk7AGyw-ExmrUOvaHbrD8DSF4LyApjKbng/s1024/VegaS10%20-%203.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyT4OuhGrudqNvMS4Ldi_V_UdTEzLzYydmnPF6-a6umsxfK6hNnfgQ4D4C7tYaGti8OYclyqrpTxJMzyJCimF3E3ZyQsDNLPhpp2Bm7Qx-uAiYZlxd-qMIYb4_eIY7LKhpW9iWRVxDjZirhOtqq9leXRgvwk7AGyw-ExmrUOvaHbrD8DSF4LyApjKbng/s320/VegaS10%20-%203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">S-10 with new PCB and transformer in place.</td></tr></tbody></table><p></p><p>These microphones used a 4-pin XLR output. The fourth pin was used to make a connection to the battery within the plug of the connecting cable, which means that the batteries would not go flat so long as the microphone was unplugged between sessions. I swapped these for standard 3 pin XLRs of course.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHcRWrQbC4IAnSq-U9P0n2SjCb6wp8OW18oIbNJTg9w7SPhvIazBLQwwU8yBCswAnwKFpERWW5Gfd0u0a6Iq9cPDrVtMH607W-6toP2VWlCjWcncC3z8Igt5vKm8W0r0IPqz8vL8DYWE9PGW7wOFHjlBylsVoNFjJMc38vAiENzhg3UVt4QgGk1kRxgQ/s1156/SyncronS10%20-%202.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1156" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHcRWrQbC4IAnSq-U9P0n2SjCb6wp8OW18oIbNJTg9w7SPhvIazBLQwwU8yBCswAnwKFpERWW5Gfd0u0a6Iq9cPDrVtMH607W-6toP2VWlCjWcncC3z8Igt5vKm8W0r0IPqz8vL8DYWE9PGW7wOFHjlBylsVoNFjJMc38vAiENzhg3UVt4QgGk1kRxgQ/s320/SyncronS10%20-%202.jpeg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Is four better than three? No.</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div>Although we started with three microphones, one capsule was bad and one transformer was open circuit, so we have two nice condenser microphones, which are well balanced and sound good. The sound is a little less bright and a touch warmer than a KM84. I liked these microphones and was sorry to see them go home.<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-upVXLLV-vwgtqhtM0iia54ucPPhDxiQYpO5_F60jpHGbc6dN4k97fW8MUch6BmAabCysQQYf3BoC7ji4vo8xTv6UUkYw9pIVgm0tkD9Hlgyv1InOo_HoqsTQBvw583Cw0f6XPqMDMbmgxKNeIRl2Py8l8zmek2rOknLrOj42Beuj7PrcG0hrFk_pUQ/s1024/VegaS10%20-%205.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-upVXLLV-vwgtqhtM0iia54ucPPhDxiQYpO5_F60jpHGbc6dN4k97fW8MUch6BmAabCysQQYf3BoC7ji4vo8xTv6UUkYw9pIVgm0tkD9Hlgyv1InOo_HoqsTQBvw583Cw0f6XPqMDMbmgxKNeIRl2Py8l8zmek2rOknLrOj42Beuj7PrcG0hrFk_pUQ/s320/VegaS10%20-%205.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Syncron-Vega S-10 microphones</td></tr></tbody></table><p></p><p style="text-align: left;"><b>Update</b>.</p><p style="text-align: left;"> Jason at Crunch studios kindly shared the photo below and sound clip of his Vega S-10 in action.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnOMueYxGCNO8LPVSM9jafXNfDLjkj5c1_b-fLHYCBbrnv_UqqRzxDXFdRx9eYg94AcCCAETdpRKkVICoShSnkUvptS9TsPcIoXu5QIAKAmCmUeA4zK10cTth_XloObwIFlXQYh0714zPcfpHPUon57QmoZtZGgBjO3adTcd36t0q-bZZTBpCFA87nYA/s900/IMG_0027.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="900" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnOMueYxGCNO8LPVSM9jafXNfDLjkj5c1_b-fLHYCBbrnv_UqqRzxDXFdRx9eYg94AcCCAETdpRKkVICoShSnkUvptS9TsPcIoXu5QIAKAmCmUeA4zK10cTth_XloObwIFlXQYh0714zPcfpHPUon57QmoZtZGgBjO3adTcd36t0q-bZZTBpCFA87nYA/s320/IMG_0027.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Recording drums with the S-10 at Crunch Studios</td></tr></tbody></table><div><br /></div><b>Sound clip of the S10 in action:<br /></b><p><br /></p>
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<source src="http://xaudia.com/wp/wp-content/uploads/2022/07/Syncron-Vega-S10-DRUM-TEST.mp3" type="audio/mpeg"></source>
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<p><br /></p><p><a href="https://coutant.org/syncron/" target="_blank">You can read more about Syncron microphones at the Coutant website.</a> </p><p><i><a href="https://www.facebook.com/thecrunchnorwich" target="_blank">Thanks to Jason Baldock at Crunch Studios</a></i></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-45140972960651462982022-06-28T20:24:00.007+01:002022-06-28T21:31:44.269+01:00Testing the Sennheiser MD409 family<p>I recently had the opportunity to test a bunch of Sennheiser MD409 and related microphones. These small dynamic microphones command eye-watering prices because they were used by a couple of famous rock bands in the 1970s. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JhaPhRHdYoYAcXtX6stRqAih88KVMpKTPq9CPOjnquGdDJXgk0ARqhJvnR5KWD8qOURRMdvC6rpAfyzLcDoUglOpkn2S59lx8J2n4lGqRz3kycaISvGPKAiE4Dz_F4rx1HgIfziVZQ9J8Vm-mzGE0LBgB5xSZkO3NeDTPtoxL3iSEjmgcTRMEM51GA/s1024/MD409%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JhaPhRHdYoYAcXtX6stRqAih88KVMpKTPq9CPOjnquGdDJXgk0ARqhJvnR5KWD8qOURRMdvC6rpAfyzLcDoUglOpkn2S59lx8J2n4lGqRz3kycaISvGPKAiE4Dz_F4rx1HgIfziVZQ9J8Vm-mzGE0LBgB5xSZkO3NeDTPtoxL3iSEjmgcTRMEM51GA/s320/MD409%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Devices under test - five MD409s, BF509, MD609 and another.</i></td></tr></tbody></table><p>The prices seem high for such a simple device - the microphone consists only of two grills, stem with an XLR socket, frame, and capsule, along with some foam and a couple of screws to hold everything in place. There are no transformers in these microphones, and the output runs straight from the capsule to the XLR socket.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgStFEbJjt8DEiEpJdopGHwLohFeqx9RiaogNCNB93U4Bx3sp1MXfwYxS1dJqVWXJKDoKYzRaaqCKAGo6Xwk4Vl5gY5JH9YINoAiptS0T6pWUd7eC7BLSZTJjXBeoNKQ__uSrGxNp6BKF7wDVVTclh1yiKTHFBg6DO3GOHqwA0wXr8T75JMhpfJcaEUCA/s953/28-03-22-004952.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="953" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgStFEbJjt8DEiEpJdopGHwLohFeqx9RiaogNCNB93U4Bx3sp1MXfwYxS1dJqVWXJKDoKYzRaaqCKAGo6Xwk4Vl5gY5JH9YINoAiptS0T6pWUd7eC7BLSZTJjXBeoNKQ__uSrGxNp6BKF7wDVVTclh1yiKTHFBg6DO3GOHqwA0wXr8T75JMhpfJcaEUCA/s320/28-03-22-004952.JPG" width="320" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHL0T2UnobvYSxmCQvoHCNC-GSMJowWNJXNIGMrkv5TYZtXvqb_y0Q-976qShfXnfu--uJUbKqDr15We9sSkSCWNfeyX8LVWUFCH-bNujYOJrucwUyLs92L9iriZahBqB-M_8XxHuvoKNQblHUQA5QxdhXrI0elVZLAQZs__tTHdyaJqUzsAg_oD26AA/s985/28-03-22-004953.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="812" data-original-width="985" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHL0T2UnobvYSxmCQvoHCNC-GSMJowWNJXNIGMrkv5TYZtXvqb_y0Q-976qShfXnfu--uJUbKqDr15We9sSkSCWNfeyX8LVWUFCH-bNujYOJrucwUyLs92L9iriZahBqB-M_8XxHuvoKNQblHUQA5QxdhXrI0elVZLAQZs__tTHdyaJqUzsAg_oD26AA/s320/28-03-22-004953.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Inside the MD409. Photos by Lester Smith at Abbey Road.</i></td></tr></tbody></table><p>All of those parts except from the capsule are also found in the current e609 model, which is not revered in the same way and can be found new or used for less than the price of a Shure SM57 .</p><p>So the magic must be in that capsule.... right? Similar looking capsules were used in various other Sennheiser and re-branded models, although there can be subtle differences especially in the baffle at the front and the vents in the rear. The 402/3 capsule is often mentioned in internet chat rooms as a close alternative, and so I tested one for comparison, wired into the body of a similar looking Chinese mic.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKb87NqEeCFc_SQD_GAldYGj5Mxh64ta6Upy8ngjr1rhUKO9uv_A6Gn333zNPnJGnLR1gG7TqJ68Fv7jn1Yahaoa8Ufb0PPprT7zeVb6P2dB-V8hgOBNziGvCXRFdF5fqQpYX6LOR-Y2HTZI2vjpC6xCaz63mr2RcU2h2SQgIKIknP4rvCQy0vwhI0og/s1024/402capsule%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1024" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKb87NqEeCFc_SQD_GAldYGj5Mxh64ta6Upy8ngjr1rhUKO9uv_A6Gn333zNPnJGnLR1gG7TqJ68Fv7jn1Yahaoa8Ufb0PPprT7zeVb6P2dB-V8hgOBNziGvCXRFdF5fqQpYX6LOR-Y2HTZI2vjpC6xCaz63mr2RcU2h2SQgIKIknP4rvCQy0vwhI0og/s320/402capsule%20-%201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Sennheiser 402/3 capsule</i></td></tr></tbody></table><p>For the test I had access to five MD409-U3s, one BF509 and one e609, as well as a 403/3 capsule in a replica body. </p><p>The questions I wanted to ask are as follows....</p><p>Firstly, do MD409s age well and remain consistent? In other words, if we have a conversation about "the 409 sound", are we even talking about the same sound? </p><p>Secondly, is the BF509 really the same microphone?</p><p>And thirdly, (for those of us without deep pockets), how close can you get with either an e609 or a reportedly similar alternative like the 402/3 capsule?</p><p>Tests were performed in the booth at <a href="https://www.extinctaudio.co.uk" target="_blank">Extinct Audio</a>, with a swept sine wave method. Here's what we found.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL1k6eiGmdhaj6Z0-rCdSeOMhFXT1WpVRfa5kc3b-edzhSEe5NbVPYCqoFQbwUfHF5TTwSj9Vz_hrQqzwMuS9eQYdyvZWRJowmeGqEMo1ppa1rlGfPic0Cx4HCu5p1yKBOYStMeV_tnlx-kSjBDOGQxhmEpajhRFh34pMsqUAS4BIjkxEf5ANZ2YqS4w/s963/5xMd409.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="405" data-original-width="963" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL1k6eiGmdhaj6Z0-rCdSeOMhFXT1WpVRfa5kc3b-edzhSEe5NbVPYCqoFQbwUfHF5TTwSj9Vz_hrQqzwMuS9eQYdyvZWRJowmeGqEMo1ppa1rlGfPic0Cx4HCu5p1yKBOYStMeV_tnlx-kSjBDOGQxhmEpajhRFh34pMsqUAS4BIjkxEf5ANZ2YqS4w/s320/5xMd409.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1. Frequency sweeps of five MD409-U3 microphones.</td></tr></tbody></table><p>1. The MD409s are very consistent. We tested five used MD409s and four of them were very close to each other, with a fifth mic showing just a little less bass. The signature sound of these capsules is a 5dB presence bump in the 100 to 200 Hz region, with a dip below 100Hz.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQF2mZ22JVHOM_f7jJPxDADWMMymWs2dz-a4nKPmZ38kBzliUOc_0JJ9bpr8ZGqk3tJYQtETORV4O4HYDwyOEqA8hGNJ7YEC8CvuNe8M3gb-Hv5yUFbaa4xoy3sZ7giRnRQOaE40drUcZpuOu1iKEkCi6GsQLPFa3iN7R0SoApN3bUbkdPPRlNPrN1RQ/s963/MD509GreenvsMD409Red_VsMD609Blue-2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="405" data-original-width="963" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQF2mZ22JVHOM_f7jJPxDADWMMymWs2dz-a4nKPmZ38kBzliUOc_0JJ9bpr8ZGqk3tJYQtETORV4O4HYDwyOEqA8hGNJ7YEC8CvuNe8M3gb-Hv5yUFbaa4xoy3sZ7giRnRQOaE40drUcZpuOu1iKEkCi6GsQLPFa3iN7R0SoApN3bUbkdPPRlNPrN1RQ/s320/MD509GreenvsMD409Red_VsMD609Blue-2.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">2 & 3. MD409, BF509 and e609 microphones compared.</td></tr></tbody></table><p>2. The BF509 sounds similar and the sweep and falls within the range of the five MD409 that we tested. </p><p>3. The e609 is another nice microphone but is a little different to its predecessors. It also has a low end bump, a bit broader than the MD409, and has a broad lift around 5KHz. The top end rolls off a bit earlier than the older mics, which you may notice if you haven't stood in front of a guitar amp for a couple of decades. Your dog will know. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGsAIkvP_FAICaLWRjKRSchVojWy7BA4F5bV9IoXeFm5v_PI5UjGO7yRhMX4AhJkhOzZOO-59pl6jDglrEi0gbOh99-Z5vX4oGLUULD9qO5pvIWgl6eadPTn7lE0m9t8z7pjDXuJ09Gz_DQIA4E6qQ0yVLDVQ6AAGw4LMZnniuD0e84Ebvf67kJ4quA/s963/402purpleVsMD409Red.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="405" data-original-width="963" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGsAIkvP_FAICaLWRjKRSchVojWy7BA4F5bV9IoXeFm5v_PI5UjGO7yRhMX4AhJkhOzZOO-59pl6jDglrEi0gbOh99-Z5vX4oGLUULD9qO5pvIWgl6eadPTn7lE0m9t8z7pjDXuJ09Gz_DQIA4E6qQ0yVLDVQ6AAGw4LMZnniuD0e84Ebvf67kJ4quA/s320/402purpleVsMD409Red.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">4. MD409 compared with a 402/3 capsule</td></tr></tbody></table><br /><p>4. The 402/3 capsule tested lacks the low end bump but shows a very flat response. It is nice but not the same.</p><p>In summary, the MD409s were consistent and the BF509 seems to be the same microphone. The e609 is a little different, but with a touch of EQ it makes a good substitute for those who can't afford the current vintage prices, or who don't want to take their precious artefact on tour.</p><p><i>Thanks to Sam Inglis for help with this article.</i></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-81616471179279066572022-05-28T10:37:00.004+01:002022-05-28T10:53:16.702+01:00We have a Reverb store!<p><a href="https://reverb.com/uk/shop/extinct-s-gear-bazaar" target="_blank"><br />We have opened a store on Reverb.com for Extinct Audio parts and accessories.</a></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivsuOycieyVoeIuE15FiV-fIOvJCQqQFerm62OFGlUjhC2YuWnn0SLHgGzJvib40ZxqOeXltgH7ewnx36SYsZBp0QUs5W79JV93yRSfCe6idGSBiQkIDP8XsQjsS5C82q9zmncYd0aME_xYoUVl3uiUKrVJj6bGu5xOzwGQqkZviWlgi7xlWLS5kr7ig/s1794/Screenshot%202022-05-28%20at%2010.01.08.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1466" data-original-width="1794" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivsuOycieyVoeIuE15FiV-fIOvJCQqQFerm62OFGlUjhC2YuWnn0SLHgGzJvib40ZxqOeXltgH7ewnx36SYsZBp0QUs5W79JV93yRSfCe6idGSBiQkIDP8XsQjsS5C82q9zmncYd0aME_xYoUVl3uiUKrVJj6bGu5xOzwGQqkZviWlgi7xlWLS5kr7ig/w320-h261/Screenshot%202022-05-28%20at%2010.01.08.png" width="320" /></a></div><p></p><p>The motivation behind this is the recent changes to import laws from the UK into Europe.</p><p>For orders of new goods under €150, we can ship direct without any additional taxes to be paid on import to the EU. The customer still pays the tax but it is collected by Reverb at the point of sale. This means that there are no unexpected bills to pay when you receive the order. Consequently we would encourage our friends in the EU to buy accessories though our Reverb store.</p><p>The store sells our thread adapters, transform boxes and splitters.</p><p>This only works for lower value orders and so the shop will just be for parts and accessories. If you wish to order Extinct Audio microphones then you will still need to either buy direct from the <a href="https://www.extinctaudio.co.uk/shop/" target="_blank">Extinct Audio web shop</a>, or from one of <a href="https://www.extinctaudio.co.uk/contact/" target="_blank">our international dealers</a>.</p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-13582548661676384952022-05-13T06:32:00.008+01:002022-07-31T11:20:38.976+01:00Beyer M30 - a super-rare early ribbon microphone<p>To the best of my knowledge, this M30 is the earliest production model Beyer ribbon microphone. (Do please send me a message if you know of an earlier one). Here it is pictured with a modern M160 for scale.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNsA27R2obxrnZeRk-cs0fV5Jh1d1mwo21CaGwRvF1hU0R1EJX-y72CD_ImaxGgM3MOMelyMdQn5pV6upYoGCuC1D4U4-9Lp-_tZI6hzM3ElLXEeQ1ZReEl4dXOanR2GUeARk68meHUvzjRlP-ichZo46PmpQjONZftWxMmhRNHugZbNYITRcwfOYUJQ/s1024/BeyerM30%20-%206.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNsA27R2obxrnZeRk-cs0fV5Jh1d1mwo21CaGwRvF1hU0R1EJX-y72CD_ImaxGgM3MOMelyMdQn5pV6upYoGCuC1D4U4-9Lp-_tZI6hzM3ElLXEeQ1ZReEl4dXOanR2GUeARk68meHUvzjRlP-ichZo46PmpQjONZftWxMmhRNHugZbNYITRcwfOYUJQ/s320/BeyerM30%20-%206.jpeg" width="320" /></a></div><p>This microphone came in for repair with most of the original piston ribbon in place. The first thing that leaps out is that, from the outset, Beyer went in their own direction for corrugating the ribbon. </p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ22ewe4x-SNphm6cJb1ZzOOTCdd8GbhaTT1UbdxqBix3bEJgGWAng_atg9th78xvLZqJF_OoqXjpVzdPerGZHuDd9kAwulzI4lFl0MIDvzoBL9y50lubo77vBCJV3jt1j21z3amXCjKDiwDEGUvFdPdl6oI7vgo4Y11V77tEWOifmSxZKBeD9XLJWGQ/s1024/BeyerM30%20-%204.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ22ewe4x-SNphm6cJb1ZzOOTCdd8GbhaTT1UbdxqBix3bEJgGWAng_atg9th78xvLZqJF_OoqXjpVzdPerGZHuDd9kAwulzI4lFl0MIDvzoBL9y50lubo77vBCJV3jt1j21z3amXCjKDiwDEGUvFdPdl6oI7vgo4Y11V77tEWOifmSxZKBeD9XLJWGQ/s320/BeyerM30%20-%204.jpeg" width="320" /></a></div><p>I have heard a couple of suggestions about why this may be. Pistonic ribbons are in theory more efficient as the ribbon moves through the magnetic flux in a flat manner although my own measurements suggest that it only gives a couple of dB at best. Perhaps the most convincing one was Wes Dooley's suggestion that they were circumventing RCA patents for the more common wiggly ribbons. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTmodps5Fj-NmRinCDlvUtw3g8l3QljuLfYi_hm0eVOUsHwMrPxZiCKxQG5Iz1GPZQO-tctAZWrDQlFH5q5Yn2ujokdIuPoLEpFkwEXgVg111dXCdJvO_5d2IUn9jskAV0CcTjzXuFrjOB7ytlmen0sz_otywpYIZG8EUadLBPGTkYdfE3wRSNEmfyrw/s1024/BeyerM30%20-%203.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTmodps5Fj-NmRinCDlvUtw3g8l3QljuLfYi_hm0eVOUsHwMrPxZiCKxQG5Iz1GPZQO-tctAZWrDQlFH5q5Yn2ujokdIuPoLEpFkwEXgVg111dXCdJvO_5d2IUn9jskAV0CcTjzXuFrjOB7ytlmen0sz_otywpYIZG8EUadLBPGTkYdfE3wRSNEmfyrw/s320/BeyerM30%20-%203.jpeg" width="320" /></a></div><p>The magnetic circuit itself is a work of art, bringing the field from the large block magnet to the sides of the ribbon through four arms. The body of the microphone is chromed brass with one of the most substantial grills that I have ever seen. And the output transformer is a large toroidal type similar to those found in the earliest Oktava microphones and also old <a href="http://xaudiaelektrik.blogspot.com/2013/03/motm-siemens-telefunken-m2011-ribbon.html">Siemens M201 ribbon mics.</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyiK4DFXToQFy3v5i40DUIh5ZajNB6MrSOsRva_iGMXeT49Qj9_25O-F4CkT_CerC-LFRZPKjpgdH1cMEYCuxSfdCAz8Ydj4ArieUlL1lLCQBZz2FKjyXZiPIPMwCPssu4d4Djxnj5fu9phC_jpIjrmTsPQS8jY3R7agNCnc7VbPV_mmmRMHGKLASYKA/s1200/BeyerM30%20-%202.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyiK4DFXToQFy3v5i40DUIh5ZajNB6MrSOsRva_iGMXeT49Qj9_25O-F4CkT_CerC-LFRZPKjpgdH1cMEYCuxSfdCAz8Ydj4ArieUlL1lLCQBZz2FKjyXZiPIPMwCPssu4d4Djxnj5fu9phC_jpIjrmTsPQS8jY3R7agNCnc7VbPV_mmmRMHGKLASYKA/s320/BeyerM30%20-%202.jpeg" width="273" /></a></div><p>I have talked to a lot of customers about this subject and there is a roughly equal split on which type of ribbon sounds 'better', with some preferring RCA style and others insisting that pistonic is best. The reader can make their own mind up about that! However, from a technical perspective, I have the equipment to make the wiggly ribbons but not the pistons. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzb1GXirB-1twhuRBrcg4p8P5UKM5FbJxuH_f7E2rd_EY5OiStsTusZi7WfL7U1iw9PpyQNJp8e_LJw8H_ae9DB-pclwOQ_ZxkXpbi4HSlfg2LfFuXxLkrHoPp_c0MTV5Es3NBLqzLHMxpmO0_AWGC4EW65fUgOwWodrZsV32moJcj_U7cLGqAe_ApxQ/s1024/BeyerM30%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzb1GXirB-1twhuRBrcg4p8P5UKM5FbJxuH_f7E2rd_EY5OiStsTusZi7WfL7U1iw9PpyQNJp8e_LJw8H_ae9DB-pclwOQ_ZxkXpbi4HSlfg2LfFuXxLkrHoPp_c0MTV5Es3NBLqzLHMxpmO0_AWGC4EW65fUgOwWodrZsV32moJcj_U7cLGqAe_ApxQ/s320/BeyerM30%20-%201.jpeg" width="320" /></a></div><br /><p></p><p>From a historical perpective, it was nice to see the old ribbon. But it was somewhat damaged, a little corroded and stuck to the side of the motor. I took lots of photos and asked Marco, the owner, if he wanted a museum piece or a working microphone. It can be hard to make these decisions but we went ahead and repaired the microphone, which sounds rather lovely with a new ribbon in place.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwXpgCLNLBjMhwxSg81ms66i63fFRfdzmxegswT5JQCSTMkNie9FHbuSXTfupdfw8DGgwStQnO9uJYDJhLIvqjHUFod9e1kHJ1Jcy1I5TPQJySVnl0pQbWHAkC6mdxR3TEVyT2vPbcB6w7r7tV1fLsuGuzjIFrElAS-du5UjBocjnP_TsZ0VySGtk_rw/s1024/BeyerM30%20-%205.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwXpgCLNLBjMhwxSg81ms66i63fFRfdzmxegswT5JQCSTMkNie9FHbuSXTfupdfw8DGgwStQnO9uJYDJhLIvqjHUFod9e1kHJ1Jcy1I5TPQJySVnl0pQbWHAkC6mdxR3TEVyT2vPbcB6w7r7tV1fLsuGuzjIFrElAS-du5UjBocjnP_TsZ0VySGtk_rw/s320/BeyerM30%20-%205.jpeg" width="320" /></a></div><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcDg3NGd48_b_eQoIK_tmvh_SL0pUmGmNMd_y-NZ732aiKbWeSKWiFQGWDrKglWo7HB1EOyUW96laRhAniCBBsAnAH4tByfBClKoJ26VdL87JUmYFBUtUCbzaUk0_6CY19dEj8qq-mXdOs6OhcS5VIhzk4xQKL-M5dOcAM35aPQ84Ffi8wPEK2e4mDWg/s1024/BeyerM30%20-%207.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcDg3NGd48_b_eQoIK_tmvh_SL0pUmGmNMd_y-NZ732aiKbWeSKWiFQGWDrKglWo7HB1EOyUW96laRhAniCBBsAnAH4tByfBClKoJ26VdL87JUmYFBUtUCbzaUk0_6CY19dEj8qq-mXdOs6OhcS5VIhzk4xQKL-M5dOcAM35aPQ84Ffi8wPEK2e4mDWg/s320/BeyerM30%20-%207.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Marco kindly shared a recording he made with the M30. The microphone was positioned around 40-50 cm from the singer, and the band performed in a 'small shack' of about 4,5 x 3,5 m. There is naturally some spill from other instruments in the M30 but it gives a good indication of how well an old ribbon microphone like this can perform. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><figure><figcaption>Listen to "Old Devil Moon" by Binky All Stars</figcaption></figure></div><figure>
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<p><i>Thanks to Marco at <a href="https://www.vintagemicworld.com/html/Mic%20of%20the%20month%20March%202019-Beyer%20M%2030.html" target="_blank">Vintage Microphone World</a> for sharing his insight, microphones and recordings. His book '<a href="https://www.witnessesofwords.com/en/" target="_blank">Witnesses of Words</a>' is well worth checking out.</i></p><p><b><i>Update 31 July 2022</i></b></p><p>Thanks to Raphael and Carsten at <a href="https://www.echoschall.de/ueber-echoschall/mikrofonverleih-in-berlin.html" target="_blank">Echoschall</a> in Germany for sharing this page from an old Beyer catalog. The page shows that the M30 was priced at 700 Deutschmarks which was a lot of money at the time. There was also an M31, which I have never seen. The term "<i>Geschwindigkeitsmikrofon</i>" translates as "<i>velocity microphone</i>".</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBKt8mGTzTFwHGB4Jz1Uf1DttYFwUnjm6RxYgg_HL2h6ZtnmYXXfnFyh8IKGUmGoeARprL7TMUPTSXaPcUIy5qvvy8sAZp0SOHTqOMpcMk1g4P4cd7sdsMR4NkqDRS3tVcXHoNCtQfBMJTjJVZlydt8Kx6qKW6jSykOcBgvHVyvEDImMTCqoZc5jcvVg/s4032/BeyerCatalog_M30.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBKt8mGTzTFwHGB4Jz1Uf1DttYFwUnjm6RxYgg_HL2h6ZtnmYXXfnFyh8IKGUmGoeARprL7TMUPTSXaPcUIy5qvvy8sAZp0SOHTqOMpcMk1g4P4cd7sdsMR4NkqDRS3tVcXHoNCtQfBMJTjJVZlydt8Kx6qKW6jSykOcBgvHVyvEDImMTCqoZc5jcvVg/s320/BeyerCatalog_M30.jpeg" width="320" /></a></div><br /><p><br /></p><p><br /></p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-47048790606866561452022-05-02T13:39:00.004+01:002022-05-02T13:54:51.815+01:00B&O BM5 stereo collet repair<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw_cRJlKy6H8hcIxY9vOxcA_4J5ccF-87vyz6Xs74MU5TTEsssRojyM4a145yh29lv8ga97jW4q3uHxhF2ADstrwXVOfzGvb-6A23qcO70Lx-7Uecd9lOEEXb2xQ3lkvDLBZA1jM9wf8gbMvZs5X3tMcT0iTn0Ibr4lmzDNCxJrJtKT4obn2bGR2psiw/s1024/BM5_collet%20-%201.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw_cRJlKy6H8hcIxY9vOxcA_4J5ccF-87vyz6Xs74MU5TTEsssRojyM4a145yh29lv8ga97jW4q3uHxhF2ADstrwXVOfzGvb-6A23qcO70Lx-7Uecd9lOEEXb2xQ3lkvDLBZA1jM9wf8gbMvZs5X3tMcT0iTn0Ibr4lmzDNCxJrJtKT4obn2bGR2psiw/s320/BM5_collet%20-%201.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>This is a really common problem with B&O stereo microphones. They snap in half! At the time of writing I have over ten broken BM5s in my inventory and some repairs for customers, and so clearly something needs to be done.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9s8nB8uNcXYT_Y1eBGGmhU8fZ-YyPSq__FcDfCVjyiSROEGOi5DjUOAoM7FOWKJrdokiMADGU0IArL7KrzJLl1aRqa71CJa9N00kCKr2x3UHECBzwUEY9yGM4R8BuLONtmbk6en6B_wgYeji95PUpnOj5TrrwQ8who5PCqyL7x83ATod7WzJD5K5YHQ/s1024/BM5_collet%20-%202.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9s8nB8uNcXYT_Y1eBGGmhU8fZ-YyPSq__FcDfCVjyiSROEGOi5DjUOAoM7FOWKJrdokiMADGU0IArL7KrzJLl1aRqa71CJa9N00kCKr2x3UHECBzwUEY9yGM4R8BuLONtmbk6en6B_wgYeji95PUpnOj5TrrwQ8who5PCqyL7x83ATod7WzJD5K5YHQ/s320/BM5_collet%20-%202.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>The rotating mechanisms were (usually*) made from plastic. With time and use, the plastic parts become brittle and the teeth break away. First the mic becomes wobbly and then can break away completely. These parts are also make the top part of the microphone difficult to service because it can be impossible to remove the collet without causing further damage.</p><p>And so I commissioned some replacement collets and can now offer repairs for this problem.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpqgGwiNoRNY7poLoM65n6Vqp9F7dZy4gM42TClKLXMtB0Q_j895qlhJNuRez2ACLAZhZQTfKjlScwi-u3o0WATbzpC3qahSKe33eXzGctVXjAM0U2UszV5Fe__MGIpWw-HnKHX6NEL5VGQz1iGBoiyUQOevJSsAwaxcgmTgb1_YpUlsOL7chKZrjkYQ/s1024/BM5_collet%20-%203.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="Brass collet for BM5" border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpqgGwiNoRNY7poLoM65n6Vqp9F7dZy4gM42TClKLXMtB0Q_j895qlhJNuRez2ACLAZhZQTfKjlScwi-u3o0WATbzpC3qahSKe33eXzGctVXjAM0U2UszV5Fe__MGIpWw-HnKHX6NEL5VGQz1iGBoiyUQOevJSsAwaxcgmTgb1_YpUlsOL7chKZrjkYQ/w320-h320/BM5_collet%20-%203.jpeg" title="Brass collet for BM5" width="320" /></a></div><br /><p>The replacement part is machined from brass and won't break easily. There is some re-wiring to be done. The BM5 used a 9 pin socket which was not easy to replicate. And so we simply run the wires through a hole in the collet and solder together. The socket can get oxidised and noisy anyway, and there is no real need to remove the top part in general use. </p><p>Using a brass collet has the additional benefit of making a good electrical contact between the top and bottom mic, which means better grounding.**</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dx4891cQypJvx_3EJSob-KI4RYleJFTXBt0ZxUu5VjkjH7tZT1ueMfISNvI9KH04C3GWHVqb9b1iW-OoH_EiQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div><br /></div>Here is the repaired rotating mechanism which should be good for another few decades of use.<div><br /></div><div>These parts are made specifically for Xaudia in the North of England.</div><div><br /><p><i>Notes.</i></p><p><i>* Some later BM5s used a different design with steel parts. B&O clearly realised that they had a problem. </i></p><p><i>** I<a href="http://xaudiaelektrik.blogspot.com/2014/02/bang-and-olufsen-bm5-grounding-issue.html"> have addressed the grounding issue in an earlier post.</a></i></p></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-48738563272492138632020-11-29T07:58:00.002+00:002022-07-02T21:21:56.325+01:00<p> </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxpqXNWa1o-6speqbrrP6NUP-dhrsbQxQ2uDMKeSzleJ2q2M9KlBjXLqaJQqwTMXgbZetuMKZF8gmI2HLDVTQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><p></p><p><a href="https://www.instagram.com/yuuuchennw/" target="_blank">Yuchain Wang</a>, musicial and producer from New Taipei City in Taiwan, shared this cover version of Joni Mitchell's '<i>A case of you</i>'.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EcNSGrx_qks/XsjCR_Vzv7I/AAAAAAAAFTw/vVKigBf9bZEeIccNEag5msDu4BAHXgSmgCPcBGAYYCw/s600/Lustraphone%2B-%2B3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://1.bp.blogspot.com/-EcNSGrx_qks/XsjCR_Vzv7I/AAAAAAAAFTw/vVKigBf9bZEeIccNEag5msDu4BAHXgSmgCPcBGAYYCw/s320/Lustraphone%2B-%2B3.jpeg" /></a></div><br /><p><br /></p><p>The vocals were recorded using an upgraded Lustraphone VR53 ribbon microphone. I fitted the microphone with new ribbon and magnets. The Lustraphones are a bit notorious for having a weak output signal and a very dark tone, but the changes make a big improvement to their usability. </p><p><a href="https://xaudiaelektrik.blogspot.com/2020/05/lustraphone-vr53-upgrade.html">You can read more about the magnet upgrades in a previous post</a>.</p>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0tag:blogger.com,1999:blog-443592324338154017.post-83390496091616749232020-11-29T07:33:00.001+00:002020-11-29T07:33:11.323+00:00Andrew Cadie - Down Where the Drunkards Roll<div style="text-align: center;"><iframe frameborder="0" height="270" src="https://www.youtube.com/embed/JORJjstug1s" width="480"></iframe></div><div><br /></div><div>Andrew Cadie recorded this great version of Richard Thompson's song, 'Down where the drunkards roll', using just a pair of B&O BM6x microphones to pick up his voice and acoustic guitar.</div><div><br /></div><div><div><br /></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PnrxgkplZnc/X8NMwWBkEkI/AAAAAAAAFkQ/QMZJm9B_u9oSijaL5JrkJ6iXwxTXH7X6QCLcBGAsYHQ/s1263/BM6pair.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1263" data-original-width="1080" height="320" src="https://1.bp.blogspot.com/-PnrxgkplZnc/X8NMwWBkEkI/AAAAAAAAFkQ/QMZJm9B_u9oSijaL5JrkJ6iXwxTXH7X6QCLcBGAsYHQ/s320/BM6pair.jpeg" /></a></div><br /><div><div>You can hear more of Andrew as he will play some recent compositions and a handful of cover versions, on Thursday 3rd December 2020 at 20:00 (Ger) / 7pm (UK) - all from his cozy studio couch. You can tune in at his<a href="www.facebook.com/andrewcadiemusic" target="_blank"> facebook page</a> or <a href="www.youtube.com/slimcadie" target="_blank"> youtube channel.</a> </div></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-oqC8ffjuhNY/X8NOkbSecCI/AAAAAAAAFkk/rDD67_cQylcts_eZmmAIyUA_5hwLVmY4ACLcBGAsYHQ/BM6%2B-%2B1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1024" data-original-width="1024" height="320" src="https://lh3.googleusercontent.com/-oqC8ffjuhNY/X8NOkbSecCI/AAAAAAAAFkk/rDD67_cQylcts_eZmmAIyUA_5hwLVmY4ACLcBGAsYHQ/w320-h320/BM6%2B-%2B1.jpeg" width="320" /></a></div><br /></div><div><br /></div><div>Andrew's microphones were upgraded here at Xaudia, and fitted with new ribbons and magnets, and an upgraded transformer. These changes raise the output level and reduce the noise substantially, turning them into very fine ribbon microphones.<div class="separator" style="clear: both; text-align: center;"><br /></div></div>xaudiahttp://www.blogger.com/profile/13103619309032480628noreply@blogger.com0