All of us who have ever used a particular mic on a particular singer should
read the current issue of The New Yorker, Talk Of The Town section for the
piece on Al Green and Willie Mitchell. Willie's carried it to an extreme seldom
seen.
Phil Brown

For those who are interested it's available at:
http://www.newyorker.com/talk/conten...a_talk_mnookin

"Phil Brown" wrote in message
...
All of us who have ever used a particular mic on a particular singer
should
read the current issue of The New Yorker, Talk Of The Town section for the
piece on Al Green and Willie Mitchell. Willie's carried it to an extreme
seldom
seen.
Phil Brown

It wouldn't be the first time; back when Dolly Parton was recording for RCA
Victor, they kept a particular Electro-Voice RE-15 in a vault, for her
exclusive use.

Peace,
Paul

Then there's the famous George Massenburg story about the mic (C12?) that
Linda Ronstad asked him to leave her in his will- George agreed.


"P Stamler" wrote in message
...
It wouldn't be the first time; back when Dolly Parton was recording for
RCA
Victor, they kept a particular Electro-Voice RE-15 in a vault, for her
exclusive use.

Peace,
Paul

"paul tumolo" wrote:

Then there's the famous George Massenburg story about the mic (C12?) that
Linda Ronstad asked him to leave her in his will- George agreed.

It's a U67, with the Stephan Paul 0.6 or 0.7 micron diaphragm.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

In article , Harvey Gerst
writes:

It's a U67, with the Stephan Paul 0.6 or 0.7 micron diaphragm.

Harvey Gerst

How is Stephen doing? I havent heard much about him of late. Has he already
released his line of proprietary mics?

Garth~


"I think the fact that music can come up a wire is a miracle."
Ed Cherney

U87 and it wasn't quite up to George's snuff, so he ended up giving it to
her, not leaving it to her in his will. Not that George was giving away a
piece of ****, just that Linda liked it so much that George was nice enough
to let her have it. You gotta be real good friends, I can tell ya! g

--


Roger W. Norman
SirMusic Studio
RAP FAQ and Purchase your copy of the Fifth of RAP CD set at
www.recaudiopro.net.
See how far $20 really goes.





"paul tumolo" wrote in message
...
Then there's the famous George Massenburg story about the mic (C12?) that
Linda Ronstad asked him to leave her in his will- George agreed.


"P Stamler" wrote in message
...
It wouldn't be the first time; back when Dolly Parton was recording for
RCA
Victor, they kept a particular Electro-Voice RE-15 in a vault, for her
exclusive use.

Peace,
Paul

It wouldn't be the first time; back when Dolly Parton was recording for
RCA
Victor, they kept a particular Electro-Voice RE-15 in a vault, for her
exclusive use.

But Dolly was actually recording there. Willie kept the mic on the possibility
that Al would return.
Just as an aside, I remastered most of Al Green (and Ann Peebles, why she
wasn't a great hit artist baffles me to this day) stuff from the Hi catalog.
Phil Brown

Phil Brown wrote:

I remastered most of Al Green (and Ann Peebles, why she
wasn't a great hit artist baffles me to this day) stuff from the Hi catalog.

Any specific recommendations from her catalog?


--thanks

Any specific recommendations from her catalog?

The album "Part Time Love." It's a killer and as close to the original as I
could make it and since I brought mine from home for a reference, it's close.
Phil Brown

Damn guys, if you haven't realized, please welcome the renound Phil Brown to
the group. If you look him up as Phill Brown on allmusic.com I think you'll
see we have some real greatness here.

From Nilsson to Little Feat to Bob Marley to Robert Palmer, I greet Phil and
welcome him.

Might I suggest that no one **** him off for at least a month or two? g

--


Roger W. Norman
SirMusic Studio
RAP FAQ and Purchase your copy of the Fifth of RAP CD set at
www.recaudiopro.net.
See how far $20 really goes.





"Phil Brown" wrote in message
...
It wouldn't be the first time; back when Dolly Parton was recording for
RCA
Victor, they kept a particular Electro-Voice RE-15 in a vault, for her
exclusive use.

But Dolly was actually recording there. Willie kept the mic on the
possibility
that Al would return.
Just as an aside, I remastered most of Al Green (and Ann Peebles, why she
wasn't a great hit artist baffles me to this day) stuff from the Hi
catalog.
Phil Brown

"Roger W. Norman"

From Nilsson to Little Feat to Bob Marley to Robert Palmer, I greet Phil and
welcome him.

I think this is the "other" Phil Brown, Roger, I already asked him if he
was the "Nilsson Schmilsson" Phil Brown... He's been around and done a bit of
TV too.


Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits

It isn't hard to believe that the ribbon of a particular 77DX would, through
time and use, arrive at just the right tension to favor a particular voice.
Will a used ribbon maintain that tension for ten years if unused in the
interim?

....Paul

--
************************************************** ********
"In the analog realm, it ain't "OVER" 'til it's over."


"Phil Brown" wrote in message
...
All of us who have ever used a particular mic on a particular singer
should
read the current issue of The New Yorker, Talk Of The Town section for the
piece on Al Green and Willie Mitchell. Willie's carried it to an extreme
seldom
seen.
Phil Brown

with unquestioned accuracy of thought, Paul Bawol replied:

It isn't hard to believe that the ribbon of a particular 77DX would, through
time and use, arrive at just the right tension to favor a particular voice.
Will a used ribbon maintain that tension for ten years if unused in the
interim?

...Paul

--
************************************************** ********
"In the analog realm, it ain't "OVER" 'til it's over."


"Phil Brown" wrote in message
...
All of us who have ever used a particular mic on a particular singer
should
read the current issue of The New Yorker, Talk Of The Town section for the
piece on Al Green and Willie Mitchell. Willie's carried it to an extreme
seldom
seen.
Phil Brown


I guess you gotta stay open to the possibilty that the Vodka had something
to do with it all. Didn't say what kind of vodka. That was a great
article. Ha! Patric

In article writes:

It isn't hard to believe that the ribbon of a particular 77DX would, through
time and use, arrive at just the right tension to favor a particular voice.
Will a used ribbon maintain that tension for ten years if unused in the
interim?

It will probably change. If it's a long, very low tension ribbon like
in an RCA 44, storing it with the ribbon horizontal increases its
potential for sagging. The proper way to store that mic is vertically,
or just leave it on the stand in its normal position, with a bag over
it to keep the dust out.

A 77 has a shorter ribbon and can probably tolerate more stress, but
eventually gravity wins.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In Article znr1070711012k@trad, (Mike Rivers) wrote:

In article writes:

It isn't hard to believe that the ribbon of a particular 77DX would, through
time and use, arrive at just the right tension to favor a particular voice.
Will a used ribbon maintain that tension for ten years if unused in the
interim?

It will probably change. If it's a long, very low tension ribbon like
in an RCA 44, storing it with the ribbon horizontal increases its
potential for sagging. The proper way to store that mic is vertically,
or just leave it on the stand in its normal position, with a bag over
it to keep the dust out.

A 77 has a shorter ribbon and can probably tolerate more stress, but
eventually gravity wins.


This, so I've been told, is the reason for teh red dot on the beyer m160. If
you store the M160 with the red dot up, the ribbon is less likely to sag.


My 77DX seemed magical. One night I transported it to a session by lying it
down carefully wrapped in my car. When I got to the studio and plugged it
in, it sounded like crap. I think the jiggling of the journey allowed the
small pieces of junk that had made their way into a complimentary position
to one that wasn't as complimentary.

Regards,

Ty Ford

**Until the worm goes away, I have put "not" in front of my email address.
Please remove it if you want to email me directly.
For Ty Ford V/O demos, audio services and equipment reviews,
click on http://www.jagunet.com/~tford

In article writes:

This, so I've been told, is the reason for teh red dot on the beyer m160. If
you store the M160 with the red dot up, the ribbon is less likely to sag.

So now he tells me (after having stored mine in random positions for at
least ten years). I thought that was just sealant so you would have
difficulty getting the screws out. I just looked at mine and the screw
on the opposite side has some red sealant on it, too, just not so much
that it fills the hole.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

Mike Rivers wrote:

writes:

This, so I've been told, is the reason for teh red dot on the beyer m160. If
you store the M160 with the red dot up, the ribbon is less likely to sag.

So now he tells me (after having stored mine in random positions for at
least ten years). I thought that was just sealant so you would have
difficulty getting the screws out. I just looked at mine and the screw
on the opposite side has some red sealant on it, too, just not so much
that it fills the hole.

The red dots signify the axis of the double ribbon(s) for orientation
purposes.

--
ha