Tag Archives: Vintage PA microphones

‘The Beatles Mic’ Reslo RB/L Black Label (Circa 1961)

Reslosound Ltd were a British company based in Romford, Essex, manufacturing microphones and electrical equipment throughout the 50’s and 60’s. In recent years the Reslo RB has become known as ‘The Beatles Mic’ because of its association with The Beatles early days at The Cavern Club.

However, as I recall (‘cos I’m that old), the Reslo RB was simply a popular vocal mic with many up-and-coming young beat groups in the clubs and pubs around Liverpool and Manchester. Like the Shure SM58 today, the Reslo RB was not, perhaps, the greatest vocal mic in the world, but it wasn’t bad either, and most importantly it was pitched at a price that gigging musicians could afford! In 1962 the Reslo RB/L could be purchased for £9.12s, which was less than half the price of an AKG D19B. A Sennheiser MD21 cost £16gns, or if you couldn’t quite afford the Reslo you could always settle for a Grampian DP4 L at £8. For their first gig at The Cavern in 1961 The Beatles were paid £5.

So how on earth did a delicate ribbon microphone survive whilst an enthusiastic singer (straining to get heard through a 50watt Vox PA) screamed ‘Twist and Shout’ at a distance of half an inch? (Or in the case of my mate’s band, an old valve amp built into a re-purposed rabbit hutch!) Reslosound clearly knew their market and gave this problem some thought. To avoid instant annihilation of the ribbon, Reslo had a cunning plan! Firstly the RB was designed with the ribbon motor facing backwards i.e. with the ribbon nearest the back of the microphone and thus somewhat shielded by the magnet. Secondly the RBs were supplied with a set of fine fibreglass ‘ acoustic correction pads ‘.

Reslo Filter Pads Kit 1961

These had a range of functions, described in detail in the Reslo Instruction Manual. However, the most important purpose of the pads was to prevent the implosion of breath on the ribbon.

ResloRB_INSTRUCTIONS_TECHDATA

In the almost inevitable event of catastrophic failure Reslo also had ‘Plan B’ in the form of replacement ribbons which came mounted on a plastic frame ready to do a quick swap.  It was also not uncommon for musicians to replace a blown ribbon themselves using the thin aluminium foil that came in cigarette packets! Having heard the results this is not to be recommended……… but it worked!

Rolling Stones 1963

Another bunch of likely lads with a Reslo RB. The Rolling Stones in 1963

The BBC Connection

In 1961 the BBC were looking around for small, unobtrusive microphones to use on TV. After serious deliberation, and thorough testing of the Reslo RBM/T, the Research Department concluded that ‘The performance of the microphone fell short of broadcasting standards’ (a night out at The Cavern would have told them that!).  However, the cheapness and robust construction of the RB was also noted, and they therefore suggested implementing a number of simple changes to the design which would bring it up to broadcasting specification. The full report can be read here…….

 1961 BBC Modifications.

The modified broadcast microphone is known as the Reslo VRM/T

The VRM/T was sold to the BBC for the princely sum of £10 per microphone.BBC TV Grandstand Reslo VRM/T

Home Taping

The Reslo RB was also popular with amateur tape recording enthusiasts. Once again, it gave good results without breaking the bank. The British tape recorder manufacturer Ferrograph sold Reslos with some of their machines and made their own in-line transformers to match them to the input. Here is a review of the RB by Fred Judd, who edited Amateur Tape Recording magazine for a number of years……. ResloRB_review by F Judd

Reslos also appeared in re-badged versions for various equipment manufacturers including VOX and GEC.

Conclusion

Fronting many famous (and not-so-famous) names of the 60’s the Reslo RB has rightly earned a place in rock ’n’ roll history, and thanks to its solid design there are many examples still in circulation. With a bit of a clean and a new ribbon they will probably carry on rocking for another 60 years.

So what does the Reslo RB/L sound like?

CLICK HERE Pete Gill with Reslo RBL

P.S.    If your Reslo RB needs re-ribboning or if you fancy upgrading to BBC spec http://xaudia.com/ do a fantastic job.

 

Philips LBB9050/05 Dual Capsule Dynamic Microphone 1970

 Philips LBB9050-05

 Philips LBB9050-05

Philips LBB9050-05

Launched in 1970 the LBB9050/05 was Philips flagship dynamic microphone, and was heralded in Philips literature as being a ‘revolutionary new design incorporating high and low frequency systems’. However, a small amount of research reveals more than a passing similarity in technical specifications between the LBB9050/05 and the popular D200 series of microphones by AKG, which had been around for several years.

Philips LBB9050-05

The mystery unravels further, and the true origins of this microphone become clear when we observe the words ‘Made in Austria’ on the packaging, the storage case, and on the microphone itself. Michael Amon, top technician at AKG for 30 years, has confirmed to me that the LBB9050/05 was indeed made by AKG for Philips in 1969.

Box for Philips LBB9050/05

 Philips LBB9050-05 Bass Capsule Ports

Picture above shows Tuchel socket, and ports for the LF capsule.

The Dual Capsule Design.

The original Austrian patent dates from 1960. The full specification appears in the English patent registered by AKG in 1965, and shown below. This makes an interesting read if you want to understand how this clever piece of technology works.

Original AKG Patent for Dual Capsule Microphones

Philips Advertising Leaflets Courtesy of Philips Company Archives.

LBB9050 microphone,

leafletLBB9050 microphone, leaflet, 1971

So What Does It Sound Like CLICK HERE for a short clip of Blues Guitar

In Conclusion

Just like its AKG cousins the D200, D202, D222 and the D224, the Philips LBB9050/05 is a serious quality professional microphone, exhibiting a wide frequency response, tight cardioid polar pattern, and no proximity effect.  Sadly, these days it is much less well known than the AKG models.  But maybe Philips is to blame? If you were to choose a completely unmemorable name for a product you really couldn’t do better than to call it the LBB9050/05!  Two minutes from now you will probably have forgotten it!

 

Mélodium 76A 1960’s / 70’s

Looking like a cross between a Van Gogh Sunflower and a pepper pot, the Mélodium 76a is a shining gem of chrome and aluminium. A classic of French design!

Melodium 76A Front Grill

In the 1960’s Mélodium developed a variety of modular parts and accessories to give their range of microphones greater versatility and customers more options.

The basic 76A microphone (head) came with a choice of 10 ohms or 200 ohms impedance.

Melodium 76A Head

The mic could be used plugged straight into the cable. (Great for harmonica players!)

If required this handy plug-in transformer converts the 76A from 200 ohms to Hi-Z.

Melodium 76A Transformer

There was also a choice of handles.

Melodium 76A Detachable handle

Melodium 76A with 314 Handle

In this 1970’s Mélodium Catalogue (below) the technical details of the microphones are presented along with a full range of parts and accessories, including goosenecks, tall stands, short stands, table stands and a large selection of adapters, switches and transformers. It is a very comprehensive selection, to cover every possible application.

CLICK Here for MelodiumCatalog

Sadly these days it is hard to find much information about Mélodium. Even in its heyday the company was little known outside of the French speaking world. By the end of the 1970’s Mélodium were no longer in business. Probably wiped out by the superior German and American competition.

Melodium 76A

Finally

Having finished re-soldering all of the joints in my eBay ‘bargain’, I just need to plug it in and find out what it sounds like!

CLICK HERE for Sound clip of Voice and Blackbird in the garden.

Mélodium 76A 1960’s / 70’s Construction Kit!

Mélodium 76A Construction Kit

When the previous owner mentioned in the description that there were ‘a few wiring issues’ with this vintage French PA microphone he wasn’t kidding! (It looked perfect enough in the eBay photograph!)

Was that why it was so cheap, and no one else bid? Hmmm…….

So now for a bit of fun wiring it back together!

I’ll report back if it by some miracle it works!!

P.S.  Just to make things a little more exciting Mélodium have their own plugs and sockets that only fit Mélodium microphones. They are made so that the pins can be moved about in various configurations up to 5 pins! This 431 socket will be 3 pin…… when I get them in the right holes!

Melodium 431 plug

P.P.S  Just noticed that there should be a rubber gland inside the knurled ring at the top!

Mélodium  Mélodynamic 75A (1948-1958)

Melodium 75A

Made in Paris between 1948 and 1958 by Mélodium Société, 296 rue Lecourbe 15eme.

Although visually the design harks back to the 1930s it has a surprisingly modern sound. This is borne out by the frequency graph, which shows a smooth response from 50 Hz to 10 kHz.There is a presence lift of 5db at around 4.8 kHz which lends clarity and crispness, particularly to speech and vocals.

The 75A boasts a very light duralumin diaphragm and voice coil (30mg), giving good transient response. It is also claimed that the microphone is impervious to wind, making it an excellent choice for outside broadcasting and sports reporting.

The grill design featured in the technical leaflet above was used on the earlier models.

Melodium 75A Grill

 Melodium 75A Side view

If you buy a Mélodium 75A it is worth noting that it has very low impedance (10 ohms) and will require the services of an appropriate preamp.

Also, the plug socket on the 75A is peculiar to Mélodium!  (N.B. The earliest models have 3 screw terminals.)

Melodium 75A Plug socket

N.B. Right hand pin is ‘hot’. Left hand pin ‘cold’. Centre pin is earth.

Melodium 75A locking plug

These Mélodium locking plugs are very hard to find!  (They also fit the 42B ribbon mic.)

Melodium 75A Locking plug

Famous Users.

The Mélodium 75A was employed extensively by French broadcasters and was used by many famous entertainers and politicians, including the singer Edith Piaf and President Charles de Gaulle.

President Charles de Gaulle.

‘Non’

 

Even with this slightly creepy, wax works figure of Edith Piaf, at Musée Grévin in Paris, the Mélodium 75A takes stage centre!

CLICK HERE for a short voice recording using the 75A

 


 

Shure 430 ‘Commando’ Controlled Magnetic / Controlled Reluctance Microphone (Circa 1957)

Shure Model 430 CommandoShure 430 Commando grill

The Controlled Reluctance microphone (aka Controlled Magnetic) was developed by Shure during World War 2 to fulfil the need for a battle announce microphone that could operate reliably at extremes of temperature and humidity. (Subsequently also perfect for Korea and Vietnam!)

Although the Controlled Reluctance design was in some respects similar to a conventional dynamic in other ways it was significantly different.

The 2 diagrams below illustrate the differences.

  • DYNAMIC MICROPHONEDynamic-moving-coil-diagram
  • CONTROLLED RELUCTANCE/MAGNETIC MICROPHONE (2 slightly different versions)Controlled Reluctance Microphone Sectional Diagram

Here, in response to an email enquiry, is an explanation from Shure of the working of this microphone

On 3 May 2017 15:06, “Shure Europe” <support@shure.eu> wrote:

Response By Email (Michael P) (05/03/2017 09:06 AM)

Controlled reluctance is a variation of a dynamic mic.  The controlled reluctance mic diaphragm connects to a small lever made from ferrous material.  The other end of this lever is positioned inside of a stationary coil of wire.  Surrounding the coil of wire is a stationary magnet.  As the ferrous lever is moved by the mic diaphragm, the lever disturbs the magnet field.  This induces an AC signal (the audio signal) in the coil of wire.

Answer Link: Difference between controlled reluctance and controlled magnetic

This type of mic was originally designed for military applications.

Michael Pettersen

Shure Historian

 


2 pin Ampenol Connector

If you buy a 430 make sure it comes with one of these as 2 pin Amphenol connectors are hard to find.

The CR/CM elements have a high output (making them suitable for transmission over large distances) and require no additional transformer. They are therefore cheaper to manufacture than a conventional dynamic.

After WW2 Shure introduced several models for the civilian market, including the famous Green Bullet (still popular with harmonica players to this day). These were mostly budget PA mics intended for speech applications such as paging and announcements. Whilst not being particularly noted for high quality audio, their main selling points were cheapness and reliability. It is therefore not hard to see why these sturdy, affordable mics soon found favour with musicians and singers.

Apart from being highly profitable, Shure’s military communications contracts had the additional spin-off of enhancing a lasting reputation for reliability. Indeed, the company have often boasted that all of their products are tested to military standards (MILSPEC).  Even though the Model 430 was made for the civilian, domestic market it nevertheless trades on its military heritage with the name ‘Commando’ and it’s distinctive, camouflage green head!

Shure 430 Commando head

Data Sheet for the Shure Commando series.:-     us_pro_415_ug

Shure Microphones  :-  1957 Catalogue

 430 Commando Original Box

So what does it sound like?  CLICK HERE for a short clip of spoken word and Blues Harmonica.

 

Electro-Voice EV642, 643, & 644 Cardiline Microphones , (circa)1960

Ever since the advent of the ‘Talkies’ sound technicians have struggled to pick up speech in motion pictures with sufficient clarity. For many years the problem of getting the microphone close enough to the performers without it being in the camera shot was a constant challenge!  On the other hand if the mic was too far away the sound was often ruined by the pickup of unwanted surrounding noise.

Seeking to address this problem, in October 1959 Wayne A. Beaverson of Electro-Voice filed for a patent on a new type of directional microphone which could be successfully operated at a distance from the sound source.  At low frequencies this microphone exhibits the directional characteristics of a cardioid mic, with excellent rear rejection. As the frequency response rises it becomes a line mic with considerable attenuation of unwanted sound from the sides. Thus the new ‘Cardiline’ design provides excellent directivity right across its operating frequency range.

Electro-Voice Patent for Unidirectional Microphone 1963

The success of the new microphone was such that in 1963 Electro-Voice received an Academy Awards “Oscar” for the development of the model 642 Cardiline, The award, in part, read “To Electro-Voice for a highly directional dynamic line microphone… capable of picking up sound in situations where a microphone cannot be placed close to the sound source and where unwanted sounds are to be discriminated against.”

Although the Academy Award went to the 642, the microphone drawn and described in the original patent application was in fact its close cousin the EV644. At this point you might be wondering about the 643?  Well ……… The 643 was pretty much the same as the 642 except in one significant detail ……… it was just over 7 feet long!  All three of these mics were of the Cardiline pattern but they were aimed (excuse the pun) at different areas of the market. As we know, the 642 was tailored very much for the film and TV industry and came with an elastic mount for attaching to a boom.

EV642 Advert 1963

EV643  Advert

Electro-Voice_643 Advert

electrovoice_643_2

Although extravagant claims are made for the mighty 643 in the advert above, I suspect that this mic was in fact quite awkward and unwieldy to use (even sighting along the barrel!!) It is certainly hard to find any fond recollections of it. I came across one report from some poor sod who once spent an afternoon standing on the roof of a football stadium trying to follow the ball round the field!! Anyone who has ever operated a theatre follow spot will appreciate just how ludicrous that must have been!

Which leaves the 644. (My latest eBay bargain!)

electro-voice-ev644

Designed for use on stage, in theatres, auditoriums and churches,  the EV644 Sound Spot came with a microphone stand mounting and was finished in classic Electro-Voice chrome. You could also buy it with a dull matt paint finish,(non-reflective under lighting), but why do that when the chrome version just looks so rock’n’roll cool !

Allied Catalogue 1960

List Price $110. A bargain at $64.68 ! (Not cheap in 1960!)

ev644-back-end ev644-body-and-stand-mountev644-end-grillev644-original-box-insideev644-original-box

CLICK HERE for Voice recording at a distance of 12ft

CLICK HERE for Glockenspiel Recording

In Conclusion

The 1963 patent shown above acknowledges a number of earlier inventions relating to directional microphones. In particular the patents of Harry Olson dating back to 1939. However, the earlier inventions, (mostly involving complex arrangements of multiple tubes of differing lengths), were awkward and cumbersome. In contrast, Beaverson’s Cardiline microphone, using a single multi-path tube feeding a single cardioid capsule, was an uncomplicated work of genius. It was both effective and easy to use.

To this day the elements of Beaverson’s patent can to be seen in shotgun microphones all over the world.

Below are the Techincal Specification Sheets for all 3 microphones.

Electro-Voice 642 Spec Sheet

Electro-Voice 643 Tech Spec.

Electro-Voice 644 Tech Spec