Y
yrs2012
New member
what do you guts think of this microphone from the 1950's ?
brother rat
All mics sound the same.
I have a pair and I like them. That said, they don't really do anything that a less expensive, more modern mic can't do.
The 55 is used in a lot of ads and videos for the looks.
The 55 is used in a lot of ads and videos for the looks.
elbandito
potential lunch winner
If you're looking into it because you like the looks of the mic, I'd recommend you stick with the Shure and stay away from any of the Nady or other brand mics of this style. They all seem to sound really, REALLY bad and badly suffer from problems like feedback, low frequency rumbling and bad diaphragm isolation. I tried the Nady one - absolutely effing awful, that thing was.
Y
yrs2012
New member
well im thinking of using the Shure 1950's 55s microphone for vocals maybe recording
KineticSound
The VOICE
I would steer away from a vintage 55s as a primary vocal mic. On the flip side, I have a new 55 SH-II that sounds very nice. But the old 55's by and large are not anywhere near what we have come to expect in a modern HR environment. Plus at that age there are too many variables that could deter proper performance.
Y
yrs2012
New member
well than what else would sound good with this old 55 mic ?
brother rat
All mics sound the same.
You already have the mic? Then by all means use it. Your original post made it sound like you were thinking about buying one. Vocals is probable what this mic is best suited to.
Some of these mics have a variable impedance switch. You will get best results if the impedance is closest to that of whatever your plugging your mic into.
The only problem I had with these mics is that the internal foam shock mounts were dried out and deteriorated. I took them apart and cleaned them out and replaced the old foam with RTV.
Some of these mics have a variable impedance switch. You will get best results if the impedance is closest to that of whatever your plugging your mic into.
The only problem I had with these mics is that the internal foam shock mounts were dried out and deteriorated. I took them apart and cleaned them out and replaced the old foam with RTV.
Y
yrs2012
New member
well I had one at 1 time now I'm thinkn about geting another one anyhow how good is it for vocals when recording I do both gigs and studio recording
elbandito
potential lunch winner
its by no means a quality recording mic. it's a looker - that's about it, although I have heard it used to good effect as a drum mic in a recording environment.
Lt. Bob
Spread the Daf!
the new ones have modern components in them so they might be decent.
But the old original ones ............. I wouldn't even consider using one of them live ....... they're basically gonna suck. They'll be prone to feedback and also won't have much of a decent freq response.
For recording .... I dunno ...... if I wanted to sound like I was singing thru a megaphone or something .......
R
Richard Monroe
Well-known member
Let's be a little more specific. The original 55, the first directional dynamic mic, was released in the 1940's. It came in 3 versions- high, medium, and low impedance. I own a 55S, the high impedance version. About 1949 (I'm not sure of the year, I'm going on memory), they switched to one version, 55SW, which had a switch for low, medium, and high impedance. In the 1950's, they reduced the size considerably, and it became known as the "small Elvis" mic. Discontinued in the 1960's, they reintroduced a retro facsimile which is still made, basically a modern mic in a retro housing.
A few useful tips- The capsule was shock mounted in foam blocks which turn to rock after a few years, and then crumble to dust. The silk screening/internal pop filter also fades, and eventually turns black. It was red in the 1940's, and changed to blue on the ones with the switch. The early ones used amphenol connectors, and changed much later to the single contact screw-on type popular in the '60's. The new ones, of course, use XLR.
So- what kind of connector does yours use, what color is the silk screen, how big is it, and does it have a 3 way switch? That should help to narrow down what you actually have, and by implication, what it's good for, and what kind of work it needs to bring it up to spec.
Last point- do a google search on "The Mic Doctor". Located in Florida, he specializes in the repair and refurbishment of old '55's. He can replace the foam blocks with modern foam, replace the silk screen with the original color, and repair housings. He also can provide amphenol connectors and cables. He does pretty good work, is fairly priced, and is reliable. Hope that helps.
A few useful tips- The capsule was shock mounted in foam blocks which turn to rock after a few years, and then crumble to dust. The silk screening/internal pop filter also fades, and eventually turns black. It was red in the 1940's, and changed to blue on the ones with the switch. The early ones used amphenol connectors, and changed much later to the single contact screw-on type popular in the '60's. The new ones, of course, use XLR.
So- what kind of connector does yours use, what color is the silk screen, how big is it, and does it have a 3 way switch? That should help to narrow down what you actually have, and by implication, what it's good for, and what kind of work it needs to bring it up to spec.
Last point- do a google search on "The Mic Doctor". Located in Florida, he specializes in the repair and refurbishment of old '55's. He can replace the foam blocks with modern foam, replace the silk screen with the original color, and repair housings. He also can provide amphenol connectors and cables. He does pretty good work, is fairly priced, and is reliable. Hope that helps.
Lt. Bob
Spread the Daf!
I've heard of him. A local, monstously good, harp player has one he redid ..... actually replaced much of it.
It sounds great on harp although I still wouldn't use it for vocals.