¿¿what mics was they using??? (old mics)

[Proveras]

The doors, Led Zeppelin,
also, Elvis Presley... the old ones.
what mics and tecnichs was they usind in those times?

which ones was the sm57 or rode nt1 in those times??

where do you get the info to know what mic does a famous band use to do their recording???

somebody wrote in a thread that the new album of RHCP, they use an sm57 in the kick... how does he know???

[Proveras]

What mics does The doors or Beattles was using???

(live and/or in the studio)

[Edited by Proveras on 10-26-2000 at 15:44]

[ametth]

The Beatles often used the Telefunken U-47 or U-48, along with a telefunen V-72 or V-76 for voice..I'm not sure abuot others though. I wish there were a database with all this info.

ametth

[journeyman]

Beatle producer George Martin says he favored the AKG C12 and the Neumann U47. Beatle engineer Geoff Emerick used an AKG KM-56 on the snare drum for "Ballad of John & Yoko". I don't know what kind of microphones they used on stage. I agree it would be nice if there was a source of information on this subject.

[mixmkr]

well shoot, the 57 isn't exactly a *new* model. In the studio they used the aformentioned ones...the Tele, of course da Nuems...the Senn 421 has been around (remember the white ones on the Hollywood Squares?)as well as all the good EV mics from the RE20's to the 15's, etc...the old 666...can beat a nail in with it... And of course, AKG has been around with the 451 condensor being a studio champ with is interchangeable capsules. I think the C12 is one of the reigning champs. And all those old mics you see in the magazines where they devote a whole page to the glorious "____".
On stage...a lot of junk, assorted ball mics and a truckload of 57's to mic all those stacks of Standells, Orange, Hiwatts, etc..and of course those God-awful loud Ampeg V4s.

[Tonewoods]

I think that's one of the facinating eras of mic history, the late 50's and early to mid 60's. Judging by the studio pics, Elvis is mostly ribbons (77's and 44's) with some dynamics on the amps, Motown is lot's o' dynamics (666's, RE16's, etc.), Blue Note jazz is ribbons and dynamics, Golden Era bluegrass is ribbons, Nashville is dynamics with an occasional condenser on the vocal (although the RE18 was a fav), and then along comes this classically trained producer who records a pop group using classical music recording techniques, with U47's on the vocals, KM54's on the Vox AC30's, and U47's for room mics, bass, and anything else (yeah, OK, an STC ribbon for the drum overhead)...
It's no wonder the Beatle's stuff literally jumped out of the speakers back then...

[Edited by Tonewoods on 10-28-2000 at 20:37]

[Prism]

I've been dying to know as well!
What about The Righteous Brothers? Which bands used the 55 series mics from Shure? I'd like to know.

Isaiah

[John Sayers]

When I did my first recording in a real studio in 1964 the engineers wore white coats like lab technicians.

They put all our amps (two guitars and bass) in a U shape with one u47 in the middle. We weren't allowed to turn them up above 2. The drummer was in the same room with one mike overhead U67.

We've come a long way since then and I don't regret one bit of it

Cheers
John

[Tim Brown]

A great book is George Martins "All You Need Is Ears".
It's funny as hell, and it does get into some of the stuff the Beatles were doing, and it goes into how they did things way back when.

I have always wondered about that era. I know that Studios Mixers tended to be built by the actual engineer (He was an Electrc Engineer back then, and actually built much of the studio's equipment, and did repairs and modifications-so, if the studio had somebody who was a genius-they got better recordings.
I mean, listen to the Motown recordings- The Drumkits were kicking ass, while most of the ret of the recorded drumsounds sucked.
Sorry, but Ringo's drumsounds just can't compete with any of the Motown stuff. On the other hand, George Martin, was doing some heavy duty editing and bouncing back then.

I personally have gotten to record/mix in a Studio that was built back in the late 1960's; it started out as a 4 track-and it was eventually converted to 24 track, and when they went to 24 track-they just built more channels for the mixer! Each Channel of the Mixer is a 3 band Parametric E.Q. with a Tube mic pre-amp (Yes-24 channels of Tube Preamps!) then they each go into a switching box, to direct the inputs to the outputs via lighted pushbuttons.
The Studio owner built the mixer himself.
It was kind of cool-and the 1 recording room (no booths) is about 50' x 100' (This 1 room is bigger than my whole house!) and it has a 25' Ceiling.
You should have seen this guy shit a brick, when my brother turned his two V4's up full blast! BWAHAHA!!
We stuck a Baffle in the middle of the room, and an RE20 on each side facing away from it-and a pair of Ampeg 4x12"'s at each end of the room, and my Brother went for it full blast!
They Guy's kid loved it , but I thought he was gonna have a heart attack! hahaha


Tim

[Tom Hicks]

The capsule started life in the 70s in the Unidyne III.By the 80s they changed the name to SM57 and by the 90s the on-off switch was gone.
The George Martin book "All You Need Is Ears" mentioned above is a MUST read for anyone aspiring to understand how he created the Beatles sound,doing unbelievable things with primitive (by today's standards) gear.
Tom