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#1
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Sony ECM-51 Microphone
I already own one of these mics. They're the same mics that were used
on game shows like The Price is Right and Match Game. Could anyone please give me the tech specs for it. Plus could you please tell me where I may find a users manual for it as well? Cheers, Chuck Kopsho Oceanside, California |
#2
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Sony ECM-51 Microphone
Chuck Kopsho wrote:
I already own one of these mics. They're the same mics that were used on game shows like The Price is Right and Match Game. Could anyone please give me the tech specs for it. Plus could you please tell me where I may find a users manual for it as well? If this is the telescoping wand mike, it came out in 1972 or so, and it's basically the same as the ECM-50 lavalier with a handle. This was the first back-electret capsule design to make it commercially, even before the SM-81. It's an omni. It's noisy. I forget what the integral FET is. It's actually pretty omni and not really very beamy at all. It pops like hell. What other specs do you want? Sony Broadcast probably has a datasheet online somewhere. The ECM-50 was one of the most popular lavs of all time, and after more than 40 years you still see them used today. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#3
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Sony ECM-51 Microphone
On Saturday, November 7, 2009 6:31:14 PM UTC-8, Scott Dorsey wrote:
Chuck Kopsho wrote: I already own one of these mics. They're the same mics that were used on game shows like The Price is Right and Match Game. Could anyone please give me the tech specs for it. Plus could you please tell me where I may find a users manual for it as well? If this is the telescoping wand mike, it came out in 1972 or so, and it's basically the same as the ECM-50 lavalier with a handle. This was the first back-electret capsule design to make it commercially, even before the SM-81. It's an omni. It's noisy. I forget what the integral FET is. It's actually pretty omni and not really very beamy at all. It pops like hell. What other specs do you want? Sony Broadcast probably has a datasheet online somewhere. The ECM-50 was one of the most popular lavs of all time, and after more than 40 years you still see them used today. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." I've googled the engineering sheet, but no such luck on my end. I'll keep searching. |
#4
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Sony ECM-51 Microphone
wrote:
On Saturday, November 7, 2009 6:31:14 PM UTC-8, Scott Dorsey wrote: Chuck Kopsho wrote: I already own one of these mics. They're the same mics that were used on game shows like The Price is Right and Match Game. Could anyone please give me the tech specs for it. Plus could you please tell me where I may find a users manual for it as well? If this is the telescoping wand mike, it came out in 1972 or so, and it's basically the same as the ECM-50 lavalier with a handle. This was the first back-electret capsule design to make it commercially, even before the SM-81. It's an omni. It's noisy. I forget what the integral FET is. It's actually pretty omni and not really very beamy at all. It pops like hell. What other specs do you want? Sony Broadcast probably has a datasheet online somewhere. The ECM-50 was one of the most popular lavs of all time, and after more than 40 years you still see them used today. I've googled the engineering sheet, but no such luck on my end. I'll keep searching. What, for the ECM-50? Here is the datasheet for the improved version (the one that doesn't take unobtainable mercury batteries): http://www.coutant.org/sonyscan/ecm-50ps.pdf The ECM-51 is just one of those with a swanky tube attached to it. Mind you, don't believe the response plot on the thing... the real response is ragged as hell and changes as you move off-axis. By modern standards they are just godawful microphones... by the standards of the day when the RCA BK-6 and EV 637 were considered concealable microphones, they were a miracle. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#6
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Sony ECM-51 Microphone
On 9/25/2013 11:55 AM, Roy W. Rising wrote:
In 1970 I used ECM-50s affixed to the violins in the orchestra of the "This is Tom Jones" concert segments. They were passively combined and entered the board on a single input. The result was great! http://www.youtube.com/watch?v=9rgLd6A0DWM I have several, and most of the accessories if anyone is interested. Roy, Would you be kind enough to tell us a little about the equipment and process? Were you synced up to multi-track, or mixing straight to mono? Thanks, Kevin Gallimore |
#7
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Sony ECM-51 Microphone
axolotl wrote:
On 9/25/2013 11:55 AM, Roy W. Rising wrote: In 1970 I used ECM-50s affixed to the violins in the orchestra of the "This is Tom Jones" concert segments. They were passively combined and entered the board on a single input. The result was great! http://www.youtube.com/watch?v=9rgLd6A0DWM I have several, and most of the accessories if anyone is interested. Roy, Would you be kind enough to tell us a little about the equipment and process? Were you synced up to multi-track, or mixing straight to mono? Thanks, Kevin Gallimore Thanks for your interest. In 1970 there was very little multi-track sync-up. This was a live mix straight to mono videotape. I recorded a quarter-inch mono copy. For reasons beyond my understanding, someone imposed the recording of a 4-track copy for lay-back if needed. I have those tapes, they never were used. Mixing was done on a master production console custom-built by McCurdy Radio of Canada. It had three 10x4 premix groups and 18 submix channels feeding three master channels that combined to the mono output. There was EQ only on the submix channels. I think the videotape machines still were steam-powered. ;-) -- ~ Roy "If you notice the sound, it's wrong!" |
#8
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Sony ECM-51 Microphone
Roy W. Rising wrote:
Thanks for your interest. In 1970 there was very little multi-track sync-up. This was a live mix straight to mono videotape. I recorded a quarter-inch mono copy. For reasons beyond my understanding, someone imposed the recording of a 4-track copy for lay-back if needed. I have those tapes, they never were used. I remember being told that the first actual synchronized multitrack stuff for television was done by Austin City Limits. I'm not sure how true that really is. Mixing was done on a master production console custom-built by McCurdy Radio of Canada. It had three 10x4 premix groups and 18 submix channels feeding three master channels that combined to the mono output. There was EQ only on the submix channels. I think the videotape machines still were steam-powered. ;-) It's amazing how 1970s audio gear is now considered valuable vintage equipment, while you can't give away 1970s video gear. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#9
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Sony ECM-51 Microphone
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#10
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Sony ECM-51 Microphone
On 9/27/2013 11:09 AM, Roy W. Rising wrote:
axolotl wrote: On 9/25/2013 11:55 AM, Roy W. Rising wrote: In 1970 I used ECM-50s affixed to the violins in the orchestra of the "This is Tom Jones" concert segments. They were passively combined and entered the board on a single input. The result was great! http://www.youtube.com/watch?v=9rgLd6A0DWM I have several, and most of the accessories if anyone is interested. Roy, Would you be kind enough to tell us a little about the equipment and process? Were you synced up to multi-track, or mixing straight to mono? Thanks, Kevin Gallimore Thanks for your interest. In 1970 there was very little multi-track sync-up. This was a live mix straight to mono videotape. I recorded a quarter-inch mono copy. For reasons beyond my understanding, someone imposed the recording of a 4-track copy for lay-back if needed. I have those tapes, they never were used. Mixing was done on a master production console custom-built by McCurdy Radio of Canada. It had three 10x4 premix groups and 18 submix channels feeding three master channels that combined to the mono output. There was EQ only on the submix channels. I think the videotape machines still were steam-powered. ;-) In that you had one chance to get it right, what kind of rehearsal time did you have? Were you asked about the musician placement? As a related question, how did you keep the cymbal splash out of everything else? Unrelated question: Are those your RE16s in the Janis Joplin/FTB segment? Thanks, Kevin Gallimore |
#11
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Sony ECM-51 Microphone
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#12
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Sony ECM-51 Microphone
On Fri, 27 Sep 2013 08:32:43 -0700, Scott Dorsey wrote
(in article ): I remember being told that the first actual synchronized multitrack stuff for television was done by Austin City Limits. I'm not sure how true that really is. ------------------------------snip------------------------------ I seem to recall some Perry Como and Frank Sinatra NBC-TV specials in the 1960s being mixed to 35mm 3-track mag, so "technically" that's sort of multitrack. It wasn't mixed live to mono videotape, that's for sure. I agree that there is almost no value for old analog video gear. When Technicolor/Complete Post moved half a block away in 2009, there was a pile of about 27 analog VTRs and (I'm guessing) 10 miles of analogue video cable in the parking lot, all hauled off for recycling and landfills. Zero value in this stuff. They kept a few of the best machines for archival playback, but for big video facilities, almost all video is now digital on CAT-5 and CAT-6 ethernet cable. The ECM-51 mic was very popular in this era (1971-1980), particularly on game shows. We called it the "Bob Barker 'Price is Right' mic" for a long time. It was a nightmare when those batteries failed on-air. Eventually, Sony came out with a phantom-powered version which ended that problem, at least in hardwired situations. It didn't sound great, but it had at least 3K more high-end response than the (huge) dynamic EV and RCA mics it replaced. --MFW |
#13
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Sony ECM-51 Microphone
On Fri, 27 Sep 2013 18:00:18 -0700, Roy W. Rising wrote
(in article ): ABC's "In Concert" began in November 1972. It was recorded to 8-track, sync'd audio was shipped to the FM stations in stereo by way of a sync'd ATR. ------------------------------snip------------------------------ I remember IN CONCERT being notoriously out of sync, at least on the East coast feeds I saw in 1972-1973. My bet is that it could've been a local station problem, maybe due to delays from the telephone company and other problems. But I think most of the viewers were so stoned out of their minds, nobody cared. Sound quality was *dynamite* for that era, provided you were listening to a decent FM station without too much compression. --MFW |
#14
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Sony ECM-51 Microphone
Roy W. Rising wrote:
I think ACL began sometime in '72. 1976 I don't know when/if the show used double-system audio. David Hough had a Neve board and Studer mutli-track from the gitgo. -- shut up and play your guitar * HankAlrich.Com HankandShaidriMusic.Com YouTube.Com/WalkinayMusic |
#15
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Sony ECM-51 Microphone
On Monday, September 30, 2013 at 9:08:26 AM UTC-4, hank alrich wrote:
Roy W. Rising wrote: I think ACL began sometime in '72. 1976 I don't know when/if the show used double-system audio. David Hough had a Neve board and Studer mutli-track from the gitgo. -- shut up and play your guitar * HankAlrich.Com HankandShaidriMusic.Com YouTube.Com/WalkinayMusic Reviving the dead. How long was the total extension on this mic? |
#16
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Sony ECM-51 Microphone
wrote:
On Monday, September 30, 2013 at 9:08:26 AM UTC-4, hank alrich wrote: Roy W. Rising wrote: I think ACL began sometime in '72. 1976 I don't know when/if the show used double-system audio. Reviving the dead. How long was the total extension on this mic? Wow, that's an old thread. I'd guess about 20 inches from the bottom of the battery case to the bottom of the ball when completely extended. Most folks didn't use it fully extended obviously. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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