It was the mid 1960’s and I was a teenager at school in Manchester. Only 30 miles from Liverpool. Before the age of discos. It was a fantastic time for live music. The Mersey boom was at its height and the pubs and clubs were rocking to the latest beat groups. (It is worth noting that none of the music clubs such as The Cavern in Liverpool, or The Twisted Wheel in Manchester, were licensed to sell alcohol. Nevertheless on a Saturday night their subterranean vaults were crammed with teenagers who had often queued for hours to see their favourite bands!)
In the 5th form some of my school mates formed a group. I used to lig along to their rehearsals in the school music room. They had a couple of Vox AC30 guitar amps and an old Selmer which was used for PA. I can remember the singer turning up one day with a very shiny new microphone. All black enamel and chrome, like the headlamp on a classic British motorcycle. Removed from it’s bright blue box the mic was duly plugged into the Selmer amp. The lads then launched into their version of Buddy Holly’s ‘Peggy Sue’. The assembled hangers-on (including myself) thought it sounded amazing!
Here in the UK although the Grampian DP4 enjoyed a good deal of popularity as a PA microphone, and also with amateur tape recording enthusiasts, it was never really thought of as a top quality professional instrument. Sennheiser had launched it’s superb MD21 in 1953 and followed it in 1960 with the MD421. Around the same time AKG gave us the D19 and the D24. The poor old Grampian was not quite in the same league. However, for a while the DP4 was used by the BBC for outside broadcasts and by their Wildlife Department in conjunction with the Grampian Parabolic Reflector. (As seen on the front cover of this issue of Tape Recording Magazine from 1969 )
A few weeks ago on TV I saw an old film clip featuring an impossibly young David Attenborough in the middle of the jungle somewhere clutching a Grampian Parabolic reflector with a DP4 mounted on it.
In the end Grampian Microphones were no match for the German. Austrian and American competition. As the 1960’s rolled on bands got louder, PAs got bigger, stage monitors were introduced and the omni-directional dynamic microphone fell out of use. Cardioids simply had more gain before feed back! By the mid-1970s the Grampian DP4 had disappeared from the stage and eventually the company went out of business.
So what does it sound like?
Grampian Brochures and Technical Information (These came in the box with my DP4.)