The Xaudia Blog

Stereophonic Star Girl!: Katy Bødtger with her BM3.

Here is an advertisement for B&O equipment, including the BM3 ribbon microphone, which appeared in the Danish publication Se og Hør (See and Hear), 11 December 1959.

Photo captions
(Main photo) 
Katy Bødtger with her B&O microphone which is engraved with her name.
(Top photo)
Using a B&O stereo gramophone with the new stereo pickup and stereo speakers, Katy Bødtger -the first national stereophonic singing star- listens to the results (of her recording session) from London.
(Right Photo)
Even when Katy Bødtger’s busy life calls for a visit to the hairdresser to style her frisky locks before the evening’s performance, her indispensable B&O Beolit all-transistor reciever is always nearby.
The sweet and fresh Katy Bødtger, who provided the vocals for the new B&O stereophonic test record, has sung her way to success in only 2 years
Many thanks to Ben Cahill for sending this in and for the translation from Danish.

Repairing an STC 4033 with a cracked casting

The STC 4033 cardioid microphone was a stalwart of British broadcasting and an early solution to the the challenge of making a cardioid directional mic. The 4033 contains both dynamic and ribbon elements, and in cardioid mode the microphone blends the two transducers together via a capacitor and inductor – you can read more about the filter and switching circuit at the wonderful Coutant.org website. The mics are still quite popular with some recording engineers, but of course there are no spare parts available after half a century or so.

Omni and Figure 8 suming to a cardioid pattern – from SOS website

I was recently asked to repair a 4033 with a cracked bottom bell, which is made from some kind of zinc alloy. When I took the microphone apart it became clear that the casting had collapsed into several pieces, only held in place by the rest of the microphone. The job looks like a challenge, and we like a challenge.

It isn’t clear how this became so damaged but it is possible that the alloy itself was at fault. Zinc Pest is a notorious cause of failure caused by impurities in zinc alloys, particularly those from the 1930s and 1940s. Like this one.

The alloy is pretty much impossible to solder or weld back together, and I don’t believe that any glue would be strong enough to hold when the mic is bolted back together. A new part is required but impossible to find, so we need to make one, or at least persuade somebody else to make it. Metal casting requires specialist skills and equipment, so I asked Abbey Casting to copy a good part from another 4033, and they did a fantastic job to produce this part in bronze.

The raw casting needs various holes drilling and tapping, but with a little work we have a perfect fit.

The 4033 is not the easiest thing to work on – everything is tightly packaged and the transformer is set in wax into the stem of the mic, so I had to use a hot air gun to dismantle it. Whilst the mic is apart it makes sense to replace that Hunts capacitor* with a nice NOS Mullard, and re-solder all the old joints to lower noise and improve future reliability.

With the new part in place I can put it all back together again.  The casting could be painted or powder-coated to match, but in this case the owner prefers to see the bronze.  These are 50 ohm microphones and work nicely with our impedance matching transformer boxes.

Thanks to Liam at ToeRag Studios & Richard at Abbey Casting.

MOTM – Tannoy Ribbon Microphones Part 2. Cardioid ribbons

Tannoy’s Cardioid ribbon microphones

As well as the bi-directional microphones described in my previous post, Tannoy also produced several cardioid models. In the picture below, the mic on the left is the MD422. I don’t have a model number for the centre and right hand microphones, but they are the same basic microphone inside, with very different grills and bodies.

The internal design of these two microphones is very simple, with a huge heavy horseshoe magnet providing both the magnetic field and creating an internal cavity to help control the pattern. The ribbon pole pieces are simple rectangular steel plates screwed into position.

There is a layer of felt behind the ribbon. I also expected to see the cavity behind the ribbon stuffed with horse-hair or cotton wadding, but in this example it was completely empty. There is a small transformer in the base of the microphone – in this example the output impedance was 2000 ohms, but I’m sure that other output options would have been available.

Despite the size, the output level is rather low.

The MD422 uses the same ribbon motor as the Type 2 bidirectional mic, and we can safely assume that they were contemporary models.
As well as these large cardioid microphones, Tannoy also produced this smaller directional model which looks rather like a dynamic mic:

The motor inside this mic is reminiscent of that from the STC 4104 lip microphone. It uses the same base and connector as the MD422 and MR425 models.


Update March 8th 2015

Tannoy were developing directional ribbon microphones from the mid 1930s onwards. I have never seen this model on the bench, but this sketch appears in Wireless world in September 1937:

Tannoy and the Houses of Parliament

Tannoy ribbon microphones were used in the British Houses of Parliament. According to Chris McClean’s article for the Institute of Professional Sound, twelve ‘brass barrel’ microphones were fitted by Tannoy in 1951, and the system was further upgraded in the 1970s, again by Tannoy, with a system than lasted until 1991. 
Here’s the problem: I have seen several of these brass-barrel Tannoy mics on sale that claim to be ex-Parliament. Too many, certainly more than twelve, and some at very inflated prices. Either Parliament kept a huge number of spares (which is possible, I guess), or this model was not exclusive, and was sold elsewhere. I have heard anecdotally of these being salvaged from church PA systems, and also the Canadian government.
Additionally, I have seen, and bought, Type 3 bidirectional Tannoy mics that claimed to be ex-HOP., although when I asked for documentation as proof of the claim, the seller was unwilling or unable to do so. Were these fitted in the 1970’s refurbishment? Again, it is possible, but I have yet to see any proof of this claim. If you know better than please get in touch and show me!
The lesson here, as always, is Caveat Emptor, particularly when buying used microphones.

Update March 8th 2015
Thanks to one of our readers for sending in a link to this announcement in Tape Recording magazine (1962, issue 5). This adds to the Houses of Parliament microphone debate.



The article announces two new ‘Slendalyne’ ribbon microphones from Tannoy – a cardioid and a bidirectional version. Yet the cardioid version looks very much like the brass-barrel mic that was supposedly installed into the Houses of Parliament 11 years earlier! This sentence is particularly intriguing: ‘Although they have manufactured microphones for internal use before, this company has never made their instruments available to the public before‘. The statement is not quite true as their earlier models were widely available. But this implies that these specific models had previously been supplied to select customers, and became available widely from 1962 onwards.

……………..
Thanks to Tom McCluskie, Jamie Neale of Real World Studios, and Marco van der Hoeven of Vintage Mic World, and everyone else for sharing information and photographs of their microphones.

Tannoy Ribbon Microphones Part 1

Introduction

This is my attempt to round up and discuss the various ribbon microphones that were made by Tannoy. I have split this survey across two posts, with part 1 describing Tannoy’s figure-8 microphones and part 2 focusing on their attempts at cardioid ribbons. Finding firm dates and model numbers is a little tricky as they are rarely marked on the microphones themselves, and so there is a certain amount of educated guesswork involved. If you know more, please get in touch!

Update 8th March 2015
Several kind and knowledgable readers have sent in links and articles with dates and model numbers. I have added these where possible. Thanks to all!

Figure-8 ribbon microphones
Over the years Tannoy produced three main models of bidirectional ribbon microphone, with some variations around those types. I have called these types 1, 2 and 3 in order of production.

Type 1
The BBC technical team reviewed this mic in 1947 and applied their usual exacting standards, rejecting the mic for broadcast use. But as usual the benchmark mic for comparison was the BBC Marconi AX model, which cost many times more, and in fact these mics can sound warm and rich, with an overtly vintage tone.

These mics are heavy with a cast body and large cylindrical magnet. I have come across mics with different output impedances, usually 50 ohms, 600 ohms or high impedance.

Type 1 variant
In response to the BBC comments, extensive changes were made to the motor design, although the body remained the same. The magnet structure is completely changed, with what looks to be a single cast magnet. I have never actually seen one of these on the bench, but Seth at the 2 Track Mind blog has written a nice post about his microphone here.
Type 2 – MR425
The Type 1 mic was succeeded by the type 2 or “Pitchfork” model, which is much smaller and has a completely new motor design. This model seems to date from the early 1950s and was available in different colours with different mounting options.

Most of these models have a 600 ohm output, and give a full well balanced sound. This is my favourite figure-8 Tannoy, partly because this was the first Tannoy mic that I owned, but also because it has a good response and a very usable signal / noise output.

The type 2 motor is simple but nicely made, with two tapered magnets either side of the ribbon, and the adjustable pole pieces allow one to set the ribbon tension.


Update – this model has been identified as the MR425, and it was briefly mentioned in Wireless World in May 1952:



Type 3 – Slendalyne
These mics are smaller again and use a lot of plastic in the body, which can be prone to cracking. The grills are stamped metal, and the connector is a simple DIN plug without a locking ring. They are a lot less common than the types 1 and 2, although perhaps not as rare as has been suggested by some sellers.

The magnets in these mics are made from a ceramic material which allows a smaller, lighter microphone than its predecessors.

Update: This microphone has been identified as the Tannoy Slendalyne model which appeared in Wireless world in June 1962:

In my next post I will describe Tannoy’s cardioid ribbon mics.
Stay tuned!

Very early tube ribbon microphone inspired by the RCA PB17

Ev of Vashion Island sent in these pictures of his wonderful tube ribbon microphone and has kindly agreed to share the photographs and description on this blog. The mic is a little bit of a mystery as it appears to be similar to an early Marconi design and the RCA PB17, yet has no maker’s mark and is different in many details.

The mic is clearly influenced by Harry Olsen’s design as described in his 1932 patent and the magnetic field for the ribbon is provided by an electromagnet, which is very rare and only usually found in the very earliest ribbon mics; this approach became redundant very quickly as strong permanent magnets became available.

As I have not inspected this microphone myself I will use Ev’s description and photographs – Ev’s comments are in italics:

“The outside diameter of the cylinder is 4.75 inches or 210mm. The  cylinder is aluminum. the top end cap and plate are machined aluminum. The hemispherical bottom cap is also machined aluminum.

The yoke mount is steel flatbar (I believe the PB17 yoke mount is made of cast metal).

There are three transformers including the one for the electromagnet.

Instead of having three UX864 tubes it uses two unknown tubes, one has 5 pins with a wire attached to the top, and the other is 6 pins. 



The resistors are made by Morrill, Germany. The transformers and capacitors have no makers marks that I can see. Whoever made this microphone obviously knew what they were doing. I wonder if this was a prototype made by RCA, or perhaps it is European (because of the German resistors)?

The bell…. is definitely cast aluminum. The inside plate at the connector end of the mic is also cast. The acorn nuts at the connector end fit a 7/16″ SAE wrench perfectly and the bolts with the wing nuts are US threads. 

Note the tiny piece of threaded stainless steel pipe bolted to the plate (to the left of the connector in the picture). I thought it might be a jack, but I think it is only a pipe. There is what appears to be a ground wire soldered to it inside the mic.



The number 13 etched beneath the bottom right connector blade corresponds with the number imprinted on the connector itself inside the mic.”

If any of our readers recognise this microphone or have any more information, we would love to hear from you.

Mic of the Month – Shure 508 Stratoliner

Here is our first Microphone of the Month for 2015. This Shure Stratoliner looks like a Zeppelin airship or perhaps Flash Gordon’s space ship. But is it a crystal, ribbon or dynamic microphone?

I had always thought that the Shure Stratoliner series were crystal microphones, and indeed the 708 model does have a crystal element. But although this 508C uses the same body, it is quite a different microphone inside.

This one says ‘dynamic’ on the label but it is really a rather strange ribbon microphone. Here is the business end of the mic with some kind of flat ribbon in place, possibly made from kitchen foil.

Once we remove the ribbon and clean the motor, we can see a series of slots right behind the ribbon. These make an acoustic cavity and help to control the directional pattern.

The motor design is quite basic, with two cylinder magnets behind the ribbon, covered in felt. The transformer is mounted behind the magnets.

This construction and slots behind the ribbon also do odd things to the frequency response. Here is the published response chart from the Shure 508a user manual:

Even the published chart is pretty bumpy, and it seems that Shure were willing to sacrifice fidelity for directionality. And the mic does sounds peaky – definitely one for the vintage / special effects shelf in your microphone locker.

HMV 2350 ribbon microphone documents

These HMV and EMI ribbon microphones show up quite often for repair. The models are identical, just branded differently, and very often they come complete with wooden box, which survives decades in a damp shed or attic better than cardboard.

It is rare to find any paperwork with these but I was lucky enough to come across an HMV 2350 complete with brochure and manual

The manual confirms that they were designed to drive a 20 ohm line. I have found that most of these mics measure around 15 ohms and have really low output. A suitable matching transformer makes a big difference to the usability of these microphones.

HMV 2350 brochure

HMV 2350 manual

PS, some of you might recognise this mic from Marvel’s Captain America movie – it was used by Howard Stark in the scene where Steve gets his treatment!