[Nate Najar]

i'm watching a few on ebay but you never know what you're getting, and I trust most of you. who's got one or 2 they want to part with?

N

[PStamler]

But I've never run across a counterfeit RE15, and don't expect to.

The thing is, these mics change with age, and not always in the same way. Generally they get a bit brighter. They still retain my favorite RE15 featu the off-axis response is very close to the on-axis.

Peace,
Paul

[Paul[_13_]]

On 4/10/2013 10:39 PM, PStamler wrote:
But I've never run across a counterfeit RE15, and don't expect to.

The thing is, these mics change with age, and not always in the same way. Generally they get a bit brighter. They still retain my favorite RE15 featu the off-axis response is very close to the on-axis.


I was reading on the internet (so it must be true!) that SM-57s
crap out with age, and that you should buy them new. I would assume
this applies more to dynamic mics than condensers?

[Scott Dorsey]

Jason wrote:
A friend of mine is an EE who writes for national magazines. He told me
that he and some of his tech buddies had grown suspicious of flash memory
products on eBay - CF/SD cards, memory sticks, etc. So they bought a
bunch. Ed has the expertise to test these electronically and also to take
them apart for examination. The conclusion of the group: nearly ALL were
counterfeit. If it looks too good to be true, it surely is...

I'd true. I would never buy flash memory, or transistors on Ebay. I
would never buy an SM-57, a Sennheiser e855, or any other commonly-
counterfeited microphone. But nobody is counterfeiting the RE15.....
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Scott Dorsey]

In article , Paul wrote:

I was reading on the internet (so it must be true!) that SM-57s
crap out with age, and that you should buy them new. I would assume
this applies more to dynamic mics than condensers?

The same people who will tell you this will then turn around and tell you
that the US-made ones sound better than the newer Mexican ones so you should
stock up on the older ones.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Nate Najar]

On Thursday, April 11, 2013 8:25:57 AM UTC-4, Scott Dorsey wrote:
Jason wrote:

A friend of mine is an EE who writes for national magazines. He told me

that he and some of his tech buddies had grown suspicious of flash memory

products on eBay - CF/SD cards, memory sticks, etc. So they bought a

bunch. Ed has the expertise to test these electronically and also to take

them apart for examination. The conclusion of the group: nearly ALL were

counterfeit. If it looks too good to be true, it surely is...



I'd true. I would never buy flash memory, or transistors on Ebay. I

would never buy an SM-57, a Sennheiser e855, or any other commonly-

counterfeited microphone. But nobody is counterfeiting the RE15.....

--scott





--

"C'est un Nagra. C'est suisse, et tres, tres precis."

well i'm not worried about it being counterfeit, I'm just mildly concerned with condition and frankly I hate dealing with ebay.....

[Scott Dorsey]

Nate Najar wrote:

well i'm not worried about it being counterfeit, I'm just mildly concerned with condition and frankly I hate dealing with ebay.....

It's true that EV's ability to support older microphones has gone down the
tubes. It used to be I would buy any EV mike no matter how bad it was,
because it could always be rebuilt at a reasonable price. That's no longer
the case, but the RE-15 is still a difficult microphone to damage.

If you absolutely have to, you can buy an RE-16 brand new. It's a little
more rolled off on top because of the pop screen, though, but it's still
a great mike.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Paul[_13_]]

On 4/11/2013 5:27 AM, Scott Dorsey wrote:
In article , Paul wrote:

I was reading on the internet (so it must be true!) that SM-57s
crap out with age, and that you should buy them new. I would assume
this applies more to dynamic mics than condensers?

The same people who will tell you this will then turn around and tell you
that the US-made ones sound better than the newer Mexican ones so you should
stock up on the older ones.
--scott


So do you think it's generally ok to buy older mics?

Personally, I think there's poorly made stuff from
EVERY country, so the country of origin matters little to me.

[PStamler]

I was reading on the internet (so it must be true!) that SM-57s
crap out with age, and that you should buy them new. I would assume
this applies more to dynamic mics than condensers?

Not necessarily. The original Neumann U 47 aged quite badly -- the PVC diaphragm would dry out, get brittle and even crack. In 1960 Nwumann quite making the capsule with the PVC diaphragm; U 47s made after that (including the FET model) used a different capsule with, I think, a Mylar diaphragm, which shows fewer effects of aging. Microtech Gefell, the ex-East German Neumann, kept on making the PVC-based capsule, and you can still get mics that use it. Expect them to change over the years, though.

Another way condender mics change with age is that their capacitors sometimes go bad. Scott has found this often in some Oktava mics, where the tantalum caps can crap out.

Peace,
Paul

[Scott Dorsey]

PStamler wrote:
I was reading on the internet (so it must be true!) that SM-57s=20
crap out with age, and that you should buy them new. I would assume
this applies more to dynamic mics than condensers?

Not necessarily. The original Neumann U 47 aged quite badly -- the PVC diap=
hragm would dry out, get brittle and even crack. In 1960 Nwumann quite maki=
ng the capsule with the PVC diaphragm; U 47s made after that (including the=
FET model) used a different capsule with, I think, a Mylar diaphragm, whic=
h shows fewer effects of aging. Microtech Gefell, the ex-East German Neuman=
n, kept on making the PVC-based capsule, and you can still get mics that us=
e it. Expect them to change over the years, though.

But, there is a weird cult of people who love the sound of the U47
with a brittle and failing diaphragm. Go figure.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Nate Najar]

Someone sniped my auction in the last 20 seconds. There's another one ending tomorrow. Wish me luck!

N

[Roy W. Rising[_2_]]

(Scott Dorsey) wrote:
Nate Najar wrote:

well i'm not worried about it being counterfeit, I'm just mildly
concerned with condition and frankly I hate dealing with ebay.....

It's true that EV's ability to support older microphones has gone down
the tubes. It used to be I would buy any EV mike no matter how bad it
was, because it could always be rebuilt at a reasonable price. That's no
longer the case, but the RE-15 is still a difficult microphone to damage.

If you absolutely have to, you can buy an RE-16 brand new. It's a little
more rolled off on top because of the pop screen, though, but it's still
a great mike.
--scott

If you want a "new" RE15, buy an RE16, remove the screen assembly, grind
down its support and add a foam ball. The result is a credible RE15.

--
~ Roy
"If you notice the sound, it's wrong!"

[Tobiah]

On 04/11/2013 08:00 PM, Nate Najar wrote:
Someone sniped my auction in the last 20 seconds. There's another one ending tomorrow. Wish me luck!

Hate me, but that's the only way I play on eBay. I bid exactly once,
5 seconds before the auction end. I bid the highest amount that I think
the item is worth. I either win the item, usually at a lower cost than
I bid, or get outbid, in which case I didn't want the item for that much
money.

[Don Pearce[_3_]]

On Fri, 12 Apr 2013 11:31:51 -0700, Tobiah wrote:

On 04/11/2013 08:00 PM, Nate Najar wrote:
Someone sniped my auction in the last 20 seconds. There's another one ending tomorrow. Wish me luck!

Hate me, but that's the only way I play on eBay. I bid exactly once,
5 seconds before the auction end. I bid the highest amount that I think
the item is worth. I either win the item, usually at a lower cost than
I bid, or get outbid, in which case I didn't want the item for that much
money.

You always pay less than you bid on ebay. The price you pay is that of
the next lower bid below yours.

d

[hank alrich]

Tobiah wrote:

On 04/11/2013 08:00 PM, Nate Najar wrote:
Someone sniped my auction in the last 20 seconds. There's another one
ending tomorrow. Wish me luck!

Hate me, but that's the only way I play on eBay. I bid exactly once,
5 seconds before the auction end. I bid the highest amount that I think
the item is worth. I either win the item, usually at a lower cost than
I bid, or get outbid, in which case I didn't want the item for that much
money.

The way eBay's bidding software works is that you can enter the max
amount you are willing to bid, and the system will bif right up to that
amount and not past it.

So you can decide what something's worth, enter that maximum amount and
then either lose the auction or not pay more than you had intended to
pay.

If I bid on eBay, I bid once and the system takes care of the rest of
it. sniping doesn't matter to me, because the only way it'll win the
auction is by paying more than I had already decided the item was worth
_to me_.

I don't evenhave to watch the action. eBay will keep me posted on the
progress, and let me kinow when someone has outbid me. When that happens
someone else will wind up with the item.

--
shut up and play your guitar * http://hankalrich.com/
http://hankandshaidrimusic.com/
http://www.youtube.com/walkinaymusic

[Scott Dorsey]

Roy W. Rising wrote:

If you want a "new" RE15, buy an RE16, remove the screen assembly, grind
down its support and add a foam ball. The result is a credible RE15.

Are you one of those guys who removes the ball from the SM-58 to use it
as an SM-57 also?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Roy W. Rising[_2_]]

(Scott Dorsey) wrote:
Roy W. Rising wrote:

If you want a "new" RE15, buy an RE16, remove the screen assembly, grind
down its support and add a foam ball. The result is a credible RE15.

Are you one of those guys who removes the ball from the SM-58 to use it
as an SM-57 also?
--scott

Scott ~ You know me better than that. The last time I offered this
suggestion, you were more receptive. The fact is, the RE16's HF
degradation is from the cage/screen acoustics. Again, if anyone wants a
new RE15, there's one lurking inside the RE16.

--
~ Roy
"If you notice the sound, it's wrong!"

[Scott Dorsey]

Roy W. Rising wrote:
(Scott Dorsey) wrote:
Roy W. Rising wrote:

If you want a "new" RE15, buy an RE16, remove the screen assembly, grind
down its support and add a foam ball. The result is a credible RE15.

Are you one of those guys who removes the ball from the SM-58 to use it
as an SM-57 also?

Scott ~ You know me better than that. The last time I offered this
suggestion, you were more receptive. The fact is, the RE16's HF
degradation is from the cage/screen acoustics. Again, if anyone wants a
new RE15, there's one lurking inside the RE16.

I'm sort of joking... but taking the ball off an SM-58 DOES actually work
pretty well.... I have done it when rental companies have had 58s and not
57s available.

Taping up the side vents on the SM-57, on the other hand, turns it into an
omni but a very bizarre one.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Roy W. Rising[_2_]]

(Scott Dorsey) wrote:
Roy W. Rising wrote:
(Scott Dorsey) wrote:
Roy W. Rising wrote:

If you want a "new" RE15, buy an RE16, remove the screen assembly,
grind down its support and add a foam ball. The result is a credible
RE15.

Are you one of those guys who removes the ball from the SM-58 to use
it as an SM-57 also?

Scott ~ You know me better than that. The last time I offered this
suggestion, you were more receptive. The fact is, the RE16's HF
degradation is from the cage/screen acoustics. Again, if anyone wants a
new RE15, there's one lurking inside the RE16.

I'm sort of joking... but taking the ball off an SM-58 DOES actually work
pretty well.... I have done it when rental companies have had 58s and not
57s available.

Taping up the side vents on the SM-57, on the other hand, turns it into
an omni but a very bizarre one.
--scott

Thanks. I would have thought you might be joking, but I lost my sense of
humor on the way to work in TV sound.

Hand-holding an RE15 and covering the "backbone" vents corrupts the pattern
and changes its non-proximity effect performance. Pictures of Elvis show
him correctly holding it by the connector and below the vents.

--
~ Roy
"If you notice the sound, it's wrong!"

[Nate Najar]

Well I got one on eBay for 2 and change. It shipped today. I probably wouldn't mind a few more. I'm thinking of trying it in my classical guitar for love sound reinforcement with the jazz group and also upright bass in the studio when spill will be an issue.... I've discovered condensers are not the best for the bass when there is drum sound in the room. One studio I work at uses a 421 on the bass for that as a general rule and it does work really well. I generally like an rca44 here but I don't own any!

I have a great duke Ellington/ray brown duo record and on the jacket there's a great photo of ray playing in the studio and there's what looks like an re15 on a boom in front of the fiddle and it is a great sounding record.

And before you say "yes but it's also ray brown playing the bass" I will say you may or may not have heard John lamb play the bass but it's on the same plane. Check out ellington's "far east suite" for evidence. (John is my buddy and the guy I usually find myself recording here in town).

[Nate Najar]

Well I got one on eBay for 2 and change. It shipped today. I probably wouldn't mind a few more. I'm thinking of trying it in my classical guitar for love sound reinforcement with the jazz group and also upright bass in the studio when spill will be an issue.... I've discovered condensers are not the best for the bass when there is drum sound in the room. One studio I work at uses a 421 on the bass for that as a general rule and it does work really well. I generally like an rca44 here but I don't own any!

I have a great duke Ellington/ray brown duo record and on the jacket there's a great photo of ray playing in the studio and there's what looks like an re15 on a boom in front of the fiddle and it is a great sounding record.

And before you say "yes but it's also ray brown playing the bass" I will say you may or may not have heard John lamb play the bass but it's on the same plane. Check out ellington's "far east suite" for evidence. (John is my buddy and the guy I usually find myself recording here in town).

[Roy W. Rising[_2_]]

Nate Najar wrote:
Well I got one on eBay for 2 and change. It shipped today. I probably
wouldn't mind a few more. I'm thinking of trying it in my classical
guitar for love sound reinforcement with the jazz group and also
upright bass in the studio when spill will be an issue.... I've
discovered condensers are not the best for the bass when there is drum
sound in the room. One studio I work at uses a 421 on the bass for that
as a general rule and it does work really well. I generally like an
rca44 here but I don't own any!

I have a great duke Ellington/ray brown duo record and on the jacket
there's a great photo of ray playing in the studio and there's what
looks like an e15 on a boom in front of the fiddle and it is a great
sounding record.

And before you say "yes but it's also ray brown playing the bass" I will
say you may or may not have heard John lamb play the bass but it's on
the same plane. Check out ellington's "far east suite" for evidence.
(John is my buddy and the guy I usually find myself recording here in
town).

I used RE15s throughout TV orchestras. If I'm mixing leakage, better it
should be "good" leakage. Also, Ray Brown often was the bassist. He
sounded just fine through an RE15.

--
~ Roy
"If you notice the sound, it's wrong!"

[Nate Najar]

Roy,

Where did you like to put the re15 in relation to the fiddle and how close?

[Scott Dorsey]

In article ,
Nate Najar wrote:
Roy,

Where did you like to put the re15 in relation to the fiddle and how close?

I was looking for a youtube video of Roy Acuff with an re-15 behind the
fiddler's shoulder, but it appears to have been taken down.

There is this earlier video, thugh, which looks and sounds like everything
is being done with a single 635A, plus a spot on the bass.
http://www.youtube.com/watch?v=qYEgBpg37Ng

And here's one with a 635A on backup fiddle, and two guitars sharing an
RE-20: http://www.youtube.com/watch?v=QODEtxiE_Sc

You know, I don't even like country music and I could spend all day watching
these guys. They're just so tight.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Roy W. Rising[_2_]]

Nate Najar wrote:
Roy,

Where did you like to put the re15 in relation to the fiddle and how
close?

I'm sure you mean Ray Brown's bass "fiddle" ... Scott thought you meant a
violin.

What's the difference between a fiddle and a violin? About $2000. ;-)

For Ray's bass, the RE15 was on an Atlas TS8 Banquet stand ... about 2 feet
off the deck and angled upward toward the center of the instrument from the
front/side away from the player. The distance was about 30 inches. And,
of course, the bass rolloff was not engaged. While it is true that Ray's
instrument had a unique sound ... it "sang" when he teased its harmonics
.... the same placement worked for many other players.

Not long ago, I stumbled across a PBS playback of an Ella Fitzgerald
performance on B&W film from the 1950s. Before I could see the player, I
knew from the sound of his instrument it was Ray Brown.

--
~ Roy
"If you notice the sound, it's wrong!"

[Nate Najar]

Thank you so much!

[Fran Guidry]

On Wednesday, April 10, 2013 2:48:34 PM UTC-7, Nate Najar wrote:
i'm watching a few on ebay but you never know what you're getting, and I trust most of you. who's got one or 2 they want to part with?



N

Nate, I have a couple and I was just sitting around considering letting them go. I'll ship them to you if you'd like to try them.

Fran

[Nate Najar]

So my eBay re15 arrived and I am so impressed. I put it up in front of my guitar and recorded a few minutes if me making noise and I cannot believe how nice if sounds. While it wouldn't be my first choice for a solo recording (although it sounded excellent on that) with an ensemble I bet I could use it as is with little to no eq. It didn't even seem too terribly picky about placement. Very smooth sounding with no boom and a clear midrange. I bought it for the bass so I can't wait to try out there too. I bet if you had a whole locker of these you couple do anything you wanted.

What's the difference between this and an re20? I cannot compare them until next week, my re20 is locked in the production office of a local hall. I usually only pull it out when a tenor player is in town....

[PStamler]

What's the difference between this and an re20? I cannot compare them until next week, my re20 is locked in the production office of a local hall.

The RE20 has a moderate presence peak; the RE15 is much flatter, on- and off-axis. Yes, with a pile of RE15s you can do a lot; see the Band's brown album for example. The drums were close-miked with RE15s, and I suspect quite a few other instruments were as well.

Peace,
Paul

[Roy W. Rising[_2_]]

PStamler wrote:
What's the difference between this and an re20? I cannot compare them
un=
til next week, my re20 is locked in the production office of a local
hall. = =20

The RE20 has a moderate presence peak; the RE15 is much flatter, on- and
of= f-axis. Yes, with a pile of RE15s you can do a lot; see the Band's
brown al= bum for example. The drums were close-miked with RE15s, and I
suspect quite=
a few other instruments were as well.

Peace,
Paul

The RE15 is a hypercardoid, the RE20 is a cardioid. Lou Burroughs told me
that the '20 could have been the same size as the '15, but "Marketing"
insisted it be the size of the Neumann U67. Hindsight suggests that
Marketing was correct, but the "moderate presence peak" likely is the
result of the "cage" surrounding the "works". Maybe someone ... Scott? ...
has tried it with the element removed from the cage.

I used Paul's "pile of RE15s" on TV orchestras with excellent results.
Here's one: http://www.youtube.com/watch?v=9rgLd6A0DWM . I used the "new"
Sony ECM50s on the violins, one of the earliest applications of this method
(1970). Note the percussionist has an RE15 on a lavalier string, pointed
straight down. This gave me a single mic, always within arm's length of
whichever instrument he played ... much better than leakage into the six or
seven individual mics the "lav" replaced.

--
~ Roy
"If you notice the sound, it's wrong!"

[Scott Dorsey]

Nate Najar wrote:
So my eBay re15 arrived and I am so impressed. I put it up in front of my g=
uitar and recorded a few minutes if me making noise and I cannot believe ho=
w nice if sounds. While it wouldn't be my first choice for a solo recordin=
g (although it sounded excellent on that) with an ensemble I bet I could us=
e it as is with little to no eq. It didn't even seem too terribly picky ab=
out placement. Very smooth sounding with no boom and a clear midrange. I =
bought it for the bass so I can't wait to try out there too. I bet if you =
had a whole locker of these you couple do anything you wanted.

It's very mellow sounding... not a lot of top-end detail but if you're putting
a mike up close, that's likely what you want. It's a very nice general purpose
dynamic, though.

What's the difference between this and an re20? I cannot compare them unti=
l next week, my re20 is locked in the production office of a local hall. I=
usually only pull it out when a tenor player is in town....

RE-20 is a little bit tighter pattern, doesn't pop as easily on close vocals,
and it's got a little presence peak. Not a massive presence peak like an
SM-57, but just a little to bring things a little more forward.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Scott Dorsey]

Roy W. Rising wrote:
The RE15 is a hypercardoid, the RE20 is a cardioid. Lou Burroughs told me
that the '20 could have been the same size as the '15, but "Marketing"
insisted it be the size of the Neumann U67. Hindsight suggests that
Marketing was correct, but the "moderate presence peak" likely is the
result of the "cage" surrounding the "works". Maybe someone ... Scott? ...
has tried it with the element removed from the cage.

I've never tried it outside of the cage, but I always found the RE-20 to
seem tighter than the RE-15 and the 666. Maybe it was the rear lobe on the
RE-15 doing that.

I just used an RE-20 for PA on a singer-songwriter, about four feet away
from the performer. Sounded fine, plenty of gain before feedback, took
a very short time to balance the vocal with the guitar by positioning the
stand, and everybody was happy. I often do this at festivals for people
who aren't used to working with a mike or who have in the past demonstrated
an inability to work with a close mike.

I used Paul's "pile of RE15s" on TV orchestras with excellent results.
Here's one: http://www.youtube.com/watch?v=9rgLd6A0DWM . I used the "new"
Sony ECM50s on the violins, one of the earliest applications of this method
(1970). Note the percussionist has an RE15 on a lavalier string, pointed
straight down. This gave me a single mic, always within arm's length of
whichever instrument he played ... much better than leakage into the six or
seven individual mics the "lav" replaced.

That's a cute idea, much more elegant than gaff-taping a PZM to his chest.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Nate Najar]

On Wednesday, April 10, 2013 5:48:34 PM UTC-4, Nate Najar wrote:
i'm watching a few on ebay but you never know what you're getting, and I trust most of you. who's got one or 2 they want to part with?



N

While I have much better things to be doing, i've been playing the guitar with this re15 on a boom in front of it for the last hour. Moving the mic around with headphones on and recording the results. I am so impressed with this mic. I can see lots of places in the studio where I might reach for it instead of my schoeps even. I really like the lack of presence peak. Miking the guitar from less than 10" and it is smooth sounding with a fair amount of detail and no boom. A very balanced sound.

and the off axis rejection is incredible. I think I found my sound reinforcement mic for my guitar too. i can get it close enough to the box, it seems to require little to no eq (thanks variable d!) and any spill shouldn't be troublesome.

[mcp6453[_2_]]

On 4/21/2013 2:18 PM, Nate Najar wrote:
On Wednesday, April 10, 2013 5:48:34 PM UTC-4, Nate Najar wrote:
i'm watching a few on ebay but you never know what you're getting, and I trust most of you. who's got one or 2 they want to part with?

N

While I have much better things to be doing, i've been playing the guitar with this re15 on a boom in front of it for the last hour. Moving the mic around with headphones on and recording the results. I am so impressed with this mic. I can see lots of places in the studio where I might reach for it instead of my schoeps even. I really like the lack of presence peak. Miking the guitar from less than 10" and it is smooth sounding with a fair amount of detail and no boom. A very balanced sound.

and the off axis rejection is incredible. I think I found my sound reinforcement mic for my guitar too. i can get it close enough to the box, it seems to require little to no eq (thanks variable d!) and any spill shouldn't be troublesome.

It's quite interesting that you like this mic so much. Either something's wrong
with mine, or I'm just not crazy about it. The RE20 sounds MUCH better to my ears.

[PStamler]

It's quite interesting that you like this mic so much. Either something's wrong

with mine, or I'm just not crazy about it. The RE20 sounds MUCH better to my ears.

Well, they do age. Some in a good direction, some not. I have, I think, four of them; three sound wonderful, while the other is in the "not bad, but not great" category. One of the wonderful ones is the newest, bought right before E-V dropped the model. One aged into something magical.

Peace,
Paul

[mcp6453[_2_]]

On 4/21/2013 10:29 PM, PStamler wrote:

It's quite interesting that you like this mic so much. Either something's wrong

with mine, or I'm just not crazy about it. The RE20 sounds MUCH better to my ears.

Well, they do age. Some in a good direction, some not. I have, I think, four of them; three sound wonderful, while the other is in the "not bad, but not great" category. One of the wonderful ones is the newest, bought right before E-V dropped the model. One aged into something magical.

Peace,
Paul

Paul

Would you be willing to A-B mine with one of yours? Where are you located?

MCP

[PStamler]

Would you be willing to A-B mine with one of yours? Where are you located?

St. Louis, MO.

Peace,
Paul

[Roy W. Rising[_2_]]

mcp6453 wrote:
On 4/21/2013 10:29 PM, PStamler wrote:

It's quite interesting that you like this mic so much. Either
something's wrong

with mine, or I'm just not crazy about it. The RE20 sounds MUCH better
to my ears.

Well, they do age. Some in a good direction, some not. I have, I think,
four of them; three sound wonderful, while the other is in the "not
bad, but not great" category. One of the wonderful ones is the newest,
bought right before E-V dropped the model. One aged into something
magical.

Peace,
Paul

Paul

Would you be willing to A-B mine with one of yours? Where are you
located?

MCP

I think it was Lou Burroughs who suggested that a good way to evaluate a
suspected "less than good" mic is to put it tightly together and out of
phase with a known-good one of the same type and listen to the null. Two
that are good will null quite deeply. Of course, it's even better if you
have two known-good ones that null deeply and compare the suspect to each
of them.

--
~ Roy
"If you notice the sound, it's wrong!"

[Here In Oregon]

"PStamler" wrote in message
Would you be willing to A-B mine with one of yours? Where are you
located?

St. Louis, MO.

My hometown of Kirkwood, Mo., a suburb in St. Louis had a small little store
called Mel Bay that I used to always walk by as a kid. I wonder who he
was?

[Scott Dorsey]

In article , Here In Oregon wrote:
"PStamler" wrote in message
Would you be willing to A-B mine with one of yours? Where are you
located?

St. Louis, MO.

My hometown of Kirkwood, Mo., a suburb in St. Louis had a small little store
called Mel Bay that I used to always walk by as a kid. I wonder who he
was?

This will explain everything:

https://www.youtube.com/watch?v=JIz7fw8FE7g

--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."