BBC L2 (STC4104 A) Lip Ribbon Microphone Circa 1955

When this BBC L2 (STC4104 A) first arrived, I thought that I might lavish some TLC on it’s battle-scarred wooden case to make it look a bit smarter. However, the more I look at it, the more I think that I shall leave it just as it is. This microphone has clearly been around the block a few times and has history. The two stickers on the lid are REPAIR and TESTED labels from the BBC Equipment Department in the mid 1980’s. By then it had already been in service for 30 years!

I always feel a bit sad when I see a vintage microphone advertised on a selling site as being “Unopened in original box”, or simply “NOS”. No history, just old. Certainly not the case for this BBC L2 (STC4104 A). Opening the lid of the box reveals a microphone which has had a lot of use!

Most high quality microphones spend their lives cosseted, and looked after by skilled engineers, in the well regulated environment of a recording or broadcasting studio. This BBC L2 lip ribbon microphone has spent its life on the road with journalists, commentators and broadcasting crew. What is really amazing is that it is still in great working condition, along with its original 3 position Equaliser.

The only down side to this piece of kit is that the microphone, equaliser, and case have a combined weight of 13lbs! Most of this is the equaliser. Later models dispensed with the EQ. Instead the MED BASS roll-off was built into the microphone. However, it is pretty clear from the big splodge of red paint, that even with this mic, MED BASS was the preferred setting.

History Lesson

The BBC designed the L2 in 1951 as an updated version of the L1 which had been in service since 1937. It arrived just in time to play a starring role in the televised Coronation of Elizabeth II, when it was used to capture the famous commentary by Richard Dimbleby in Westminster Abbey. Dimbleby was known as the “Voice of the Nation”, and so on this occasion the L2 was perhaps the “Ear of the Nation”, into which he delivered his stately measured tones. It was the first mass-televised event in Britain. Shops selling televisions ran out of stock as people bought them for the first time!

(Watch from 3.30m)

The BBC L2 (STC4104 A) also made it possible to clearly broadcast commentary from even the noisiest of environments.

This microphone has an extraordinary ability to cancel out and reject unwanted surrounding sounds. It is particularly insensitive at the sides of the mic in the dead zones of the ribbon.

Here is Kenneth Wolstenholme at the 1966 Football World Cup.

CLICK LINK below to hear the end of the match !

https://www.bbc.co.uk/sport/av/football/27005797

CLICK HERE to hear my STC4104 A in action!

CLICK HERE to hear the STC4104 A delivering a VOCAL. (Great new look for any singer!)

Technical Information

In previous posts I have occasionally (often) moaned about the difficulty of finding information about various vintage microphones. In the case of the L2 lip ribbon microphone, because it was designed by the BBC, there is a wealth of documentation available. Rather than writing a lengthy technical description myself, I would recommend reading the BBC Monograph which appears below. This explains the design and usage of this classic microphone in great detail.

P.S.  Today a version of the BBC L2 (STC4104) lip ribbon microphone is still made by Coles and is widely used by journalists and commentators all over the world.

bbc_monograph_07Download

STC4105A CARDIOID DYNAMIC MICROPHONE (1955- around 1970)

Released in 1955, the STC4105 is a small, black, unobtrusive, dynamic PA microphone, boasting a cardioid polar pattern and a brand new design of plastic diaphragm. Previous STC dynamics were made with aluminium diaphragms which were much more susceptible to changes in temperature and more easily damaged. The 4105 was also the first true cardioid, single diaphragm, dynamic produced by STC. Previous models such as the 4035 were essentially omnidirectional, but with some directionality at high frequencies.

Here below is the original STC4105A brochure with a full description and technical specification.

stc4105-tech-specDownload

BBC or NOT BBC?  

I have often seen it claimed, online (mostly in web forums and on selling sites), that the STC4105 was used by the BBC.  So far, I have found no detailed evidence to support that claim! The National Science and Media Museum here in the UK have one in their collection, which I am told came from the BBC, and the catalogue simply says “Used as hand-held reporter’s microphone”. However, as far as I can ascertain, the STC4105 does not appear in any BBC R&D technical report or in any BBC Training Manual. I can also find no photograph of it in a BBC studio or on an outside broadcast. Indeed, I can find very few period photographs of it in action anywhere! I had been hoping to unearth a wealth of pictures of it on stage with the rising stars of rock ’n’ roll, but sadly all I could find were a few images of British politicians of the 1960’s pictured at conferences. I think that the sad truth about the STC4105 is that although it had a good deal to recommend it, it was not a popular choice of microphone for either broadcasting or PA.

Pictured below.

Labour Party Leader Hugh Gaitskell,  

Labour Prime Minister Harold Wilson and

Conservative Prime Minister Edward Heath. (Loving the look of boredom on the faces of the 3 guys on the left!  Is the bloke in the corner asleep?) Interesting to note that Heath is not addressing the mics and would probably have been better off with a pair of 4035s!

Pricing could have been a factor influencing the popularity of the STC4105.  In 1962 a Reslo RB/L (as used by The Beatles and The Rolling Stones) cost £9.12s. A Grampian DP4 (also popular with young performers) cost £8.0.  On the other hand the STC4105A cost £22.10!  In today’s money that would be more than £500.

So what does the STC4105A sound like? 

CLICK HERE for a Voice Test followed by Kalimba and Rainstick!

Conclusion 

The early 1960’s saw the arrival of exciting, and technically superior models from Germany, Austria and the USA. The days of the STC dynamic microphones, with their limited frequency response, and somewhat out of date styling, were numbered.

However, reading this warning from the brochure;

I can’t help wondering if the fortunes of the 4105 might have been different if   STC had followed their own advice and simply manufactured the mic with a ‘simple windshield’……….Perhaps a wire mesh ball with foam inside?  After all the frequency response is not that different to the Shure SM58, which came 10 years later!

STC 4035 Omnidirectional Dynamic (Circa 1953)

Designed in the early 1950’s and used extensively by the BBC, the STC4035 replaced the STC4017C which had been in service since 1938. Throughout the 50’s and 60’s the 4035, along with its Bakelite cousin the STC4032, were amongst the BBC’s primary outside broadcasting microphones. Apart from the casing and switching on the 4032 these two microphones were identical. Although both models had the same very effective wind resistant fine mesh grill, in the event of very high wind or rain the 4001.A. windshield could be added.

The 4035 was much lighter and smaller than the old 4017, and although it was essentially omnidirectional there was some directionality at high frequencies.

Here is a full description and technical specification.

stc4035-brochureDownload

Below is a pricelist from the late 50’s.

N.B. In today’s money £18.10.0 would be around £520.00.

At the BBC the 4035 was used for a very wide range of tasks.

Big Ben

In the mid 50’s an STC4035 with a modified connector/mounting attachment was installed directly beneath ‘Big Ben’ in the Elizabeth Tower at Westminster. This was connected to BBC Broadcasting House and used to broadcast ‘live’ the world famous clock chimes of this huge, iconic bell. My Dad (along with the rest of the British population) always used to set his watch by the BBC chimes.

Horse Racing

In order to capture the exciting thunder of horses’ hooves and all the thrills and spills of the race, BBC Manchester Radio OBs used to place a 4035 in every jump for the Grand National.

Wimbledon.

1962. Interesting arrangement of two STC4035s with windshields.
(Photo IET Archives)

They were also used as general effects mics at many other sporting, and outdoor events, very often used to pick up atmosphere and the sound of the crowd.

Perfect for Political Speeches

British Prime Minister Harold Macmillan in 1957 (Photo BBC)

STC Dual stand.

ITV arrived in the mid-1950’s and also found plenty of use for the mighty 4035!

1967 Coltishall Airshow AngliaTV:  STC 4035 in a Grampian Parabolic Reflector. (Photo Dave Taylor).

I love the look of dedicated concentration, trying to focus the dish on high speed aircraft using only headphones!

The 4035 connection socket is the same as most STC microphones and requires the 4069A plug (which is still widely available).  Interesting to see the screw heads in this picture. These can be undone to separate the upper and lower halves of the microphone for repair. Normally they are covered with hard wax.

So……. What does it sound like?  CLICK HERE for audio clip.

Conclusion

If there was a competition for the world’s most boring looking, least stylish microphone, the STC4035 would definitely be in the running, with its dull grey/black finish and uninteresting shape. Also, unfortunately, unlike the ‘Apple and Biscuit’ STC4021 or ‘The Stick’ STC4037, the poor old 4035 doesn’t even have an amusing nickname! However, good looks aren’t everything and if you are simply looking for a robust ‘workhorse’ microphone with a reputation for being completely reliable, even in the most adverse conditions, then the STC4035 is definitely worth considering!

Remembering D-Day June 6th 1944

CLICKHEREJohn Snagge announces the D-Day Landings in France 75 years ago today.

The STC4017c was used by the BBC throughout World War 2 to broadcast many momentous events and speeches. Possibly the most important communication tool of the 20th century it was the first microphone robust enough to withstand the rigors of serious outside broadcasting in a war zone.

For more information https://martinmitchellsmicrophones.wordpress.com/2013/06/21/stc-4017c-dead-or-alive/

Wind Shield 4001.A. to fit STC4032 and 4035

In the post yesterday came a small cardboard box  containing a very pleasant surprise. On reading my last post on the STC4032, one of my readers had observed, that I didn’t have the 4001.A. wind shield. These days they are extremely hard to find. He happened to have 2 and so he sent me this as a present! That is very kind and made my day. So, a big thank you to John Machling

And it is in absolutely perfect condition!

The construction of the wind shield is interesting, consisting of a cleverly designed dome of fine wire mesh packed with rubberised hair and other fibres. (Even the thickness and spacing of the wire and hair/fibre is critical! ) An airtight rubber seal easily attaches the wind shield to the mic.

No. It is not a nest for an extremely small bird!

To understand exactly how this slightly crazy-looking piece of vintage British technology works it is worth reading the original patent application which explains all. 

Patent Application for STC4001.A.

With the wind shield in place, the level of noise caused by winds in the range of 10 – 30 mph  is reduced by up to 16 db, with surprisingly little effect on the frequency response. It also provides a valuable additional layer of waterproofing. It certainly looks like it should be very effective, and as soon as we have some really bad winter weather I will get outside and record a demonstration!

 

STC4032-D Outside Broadcast Microphone Ex BBC Circa 1955

From the earliest days of outside broadcasting and recording, keeping the microphone dry has always been something of a challenge. Condenser microphones in particular don’t function well in damp conditions, and pretty much any mic can be completely ruined by a good soaking.

These days’ companies such as Rycote make windshields and water resistant protection to cover a wide range of different professional microphones. Back in 1955 STC came up with their own neat and convenient solution to the problem.

Advertised rather grandly as being ‘an all weather instrument’ with ‘full marine and tropical protection,’ the STC4032 is a robust hand-held, omnidirectional, dynamic microphone with a moisture resistant black Bakelite body. The grill is a dual layer of fine stainless steel mesh and an optional windshield (pictured above) may be added to give an additional 15db noise free performance in high winds and additional protection from the rain. The handle incorporates a switch, which can be wired to provide muting or remote start/stop function for a tape recorder (such as the E.M.I Midget).

This super lightweight setup was used by BBC outside broadcasters from 1955 until the mid-60’s and weighed a mere 14lbs!  You may laugh…….. But this was a vast improvement on carting round the previous equipment…….. a BBC Type C portable disc recorder weighing 44lbs!!!   (see pic below)   Perfect for recording in a gondola!                                                                                                     Michael Reynolds reporting for the BBC in Venice 1946.

Can’t imagine the rocking of the boat helped the disc cutter very much. The mic is an STC4017c and none of this gear is waterproof (apart from Michael’s sturdy military raincoat!)

Legendary sports commentator David Coleman with his trusty STC4032 in hand.

The following is a hilarious period piece, almost like something out of Monty Python:

Alan Whicker interviews Beatniks in Newquay in 1960  (STC4032 appears at 5min 50secs)

https://www.youtube.com/watch?v=W3WfXA9JL9w&t=350s

This picture of actress and opera singer Rosalina Neri being interviewed for the BBC really deserves a suitable caption!                       ………………………………………………………………………………

Although it looks somewhat like a World War 2 battlefield telephone, in terms of technical performance the STC4032 is exactly the same as the STC4035 studio microphone, and very similar to the famous Apple & Biscuit STC4021. It has a notably smooth frequency response from 30Hz to around 10 kHz, with a presence peak of around 5db at 6.5kHz . The only difference with the 4032 is the water resistant case.

Technical Specifications.

STC4032

Here is a short demonstration of the STC4032-D

In Conclusion.

Although ostensibly designed for outside broadcasting, the STC4032 is a high quality dynamic microphone that could be used for many different tasks.

Click Here for a short except from Suite for Soprano Saxophone and Church Organ – ‘In Remembrance’ composed and performed by Patsy Gamble with Jonathan Hope on Sat 11th Aug 2018 in Gloucester Cathedral. Photograph by Duncan Laker.

Click Here for a short clip of Acoustic Guitar. Many thanks to Joe Martin for the brief impromptu solo.

P.S.

For those who are interested in the history of broadcast recording I would thoroughly recommend these 3 sites which are a rich source of fascinating information:-

http://rfwilmut.net/broadcast/recording.html

http://museumofmagneticsoundrecording.org/StoriesBBCEMI.html

http://www.orbem.co.uk/repwar/wr_recorders.htm

The STC4001B Acoustic Baffle for the STC4021 (Apple & Biscuit) circa 1935.

The very first post that I wrote for this blog back in 2012 was about the STC4021 (Apple & Biscuit). Still one of my favourite microphones.  I even made a YouTube video to go with it! In the course of the video I mentioned the STC4001B Acoustic Baffle. According to the STC brochure this could be purchased to modify the frequency response and directionality of the microphone. These days the 4001B Acoustic Baffle is very hard to find. So imagine my surprise when a brand new old stock 4001B (still in the box) appeared on eBay. 

So I thought I had better ‘Buy it now‘ and make another video to celebrate the occasion!

 

STC4113 Cardioid Ribbon Microphone (c.1967) Restoration

I have recently been generously given this STC4113 cardioid ribbon mic which is rather in need of some TLC. The socket on the bottom is badly damaged and I don’t even know if it works. I think that it will make a nice little restoration project. However, as yet, I haven’t fathomed out how to take it apart!

The 4113 was designed by Michael Gayford (STCs chief designer) who was also responsible for the 4104 noise-cancelling lip mic, and played a key role in designing the famous BBC / STC4038 which is still made by Coles today.

In today’s money 11gns (ie £11.11s) is worth about the price of a Shure SM58

Although it was the cheapest of STCs microphones the 4113 features an unusual and innovative design and Gayford’s  patent (filed in 1963) makes interesting reading.

Michael Gayford’s Patent for the STC4113

The plastic horn arrangement used in this mic to create a cardioid polar pattern appears to be somewhat similar to the one that is to be found in the Beyer M260.  In both mics the plastic horn causes a shift in the phase relationship between the front and rear of the ribbon thereby modifying the polar pattern from the usual figure of eight to hypercardioid in the case of the Beyer, and cardioid in the STC.

So on with the restoration. My first job is to sort out that connector…….. I will report back.

SOME WHILE LATER……………………………………………………………………………..

The connector problem has been solved. Preh, the company who made the original connector still make exactly the same connector. So I have bought a brand new replacement!

Having prised off the grill it was immediately obvious that the ribbon was in need of replacement.  So I decided to take the whole thing to pieces and re-build it! As you can see in the pictures below the plastic horn is glued to the circuit board, which makes it a bit of a pig to get apart! After prising it all all round with the blade of a knife the glue eventually gave way without breaking the board. Phew!!

And now all I need to do is to make an new ribbon, line it up in that gap, get it nicely tensioned and do up the clamps without breaking it!!!!!

This may take some time …………………………………………..

Da Dah!

Fully restored and repainted !!                                                                                      OK now to find out what it sounds like……………….

CLICK HERE for  my first recording which is a simple voice test.

And now for something completely different………

 CLICK here for Ukulele and Flugelbone!

How to get that Vintage Mono Sound. A 1930’s Microphone Shoot-out!

In this age of manicured digital perfection, where nothing is quite what it seems,  I look back with nostalgia to a time when recording was all about capturing a performance by a great artist and not about manufacturing one!

At the present time when  so much R & D is being expended on surround sound, virtual reality and other forms of immersive audio, I find myself taking a renewed interest in Mono! Just as black and white photography still has it’s charms I think that there is a good deal to recommend about sound recorded in Mono.  Genuine Monophonic recordings made with just 1 microphone are completely phase coherent and coming from a single point there is something very focused and unambiguous about the sound. The listener’s attention is concentrated completely on the music and not distracted by artefacts of  multi-channel production. Recordings made in this way can also provide the listener with an excitingly honest account of a real performance. The balance is simply what felt right to the performers (or conductor) at the time and there is little scope for fiddling around with the mix afterwards. For the engineer the art of Monophonic recording is in carefully choosing the right microphone and positioning it in exactly the right place, ie the perfect listening position.

Virtuoso gypsy jazz duo ‘Echoes of France’ (Fenner Curtis violin, and Andy Wood guitar) were looking for an authentic 1930’s/40’s sound for their latest recordings, harking back to the golden years of Django Reinhardt & Stephane Grappelli.  We had a very pleasant session experimenting with vintage microphones. In the space of a few hours recording in glorious Mono we laid down 12 complete tracks.  No overdubs, no mixing, no editing, no plugins, no special effects! However, what we did end up with is  3 different microphone recordings to choose from!

The  shoot-out is between the mighty Siemens SM3 ribbon mic, an STC4017 and an STC4021.  Although they are all from the 1930’s each of these microphones has a very distinctive tonal character.

Take a listen to this short clip of each of the three mics. CLICK HERE.

Please leave any comments below and vote for the winner.

When I told my photographer that this picture was for a Microphone Shootout she suggested that perhaps they should be wearing cowboy hats for the occasion !!!

The Real King’s Speech!

Every time ‘The King’s Speech’ is re-run on TV I find myself foaming at the mouth and whining-on about the microphones…… or more specifically about the WRONG BBC microphones! This annoys the hell out of my family, and so I thought I would get it off my chest in a blog post!

Don’t misunderstand me, I love the film. Fabulous acting  etc  etc. BUT…………….. The spring mounted carbon microphones that appear throughout, and most irritatingly of all in that final speech, were phased out by the BBC around 1935!!!! Surely the producers knew that? Perhaps they thought the carbon mics looked cool, or more intimidating in the close-ups? Whatever the reason, they are quite simply WRONG!  By 1938 the STC4017C was used almost exclusively by the BBC for outside broadcasting. Indeed here is an uncomfortable looking George VI making a speech in 1938 with a typical array of STC4017s.

Also, there would certainly have been at least 2 microphones, as that was standard BBC practice at the time. The lower mic in the picture facing upwards at an angle is positioned to pick up the voice as the speaker looks down at his notes and moves off axis from the main pair. (Chamberlain can be seen with a similar setup declaring war on Germany)

I also found this fabulous Pathe News Reel from 1938.                                            This is what The King’s Speech should have looked (and sounded) like!

Ok rant over! Phew, that’s better!