Vintage Tube Microphone
Vintage Tube Microphone
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 Universal Audio LA 610 Lightly Used in Original Box w Vintage USA Tubes $898.00 (13 Bids) Time Remaining: 2d 3h 56m |
 NEUMANN M269c VINTAGE 1960s LARGE DIAPHRAGM MIC U67 W AC701k TUBE+POWER SUPPLY $6,929.23 Time Remaining: 13d 3h 31m Buy It Now for only: $6,929.23 |
 AMPEX 350 Vintage Tube Microphone Preamp w PS UTC Transformers Working $1,199.95 Time Remaining: 3d 4h 15m Buy It Now for only: $1,199.95 |
 TELEFUNKEN SCHOEPS M221 RARE VINTAGE CONDENSER MICROPHONE WITH AC701K TUBE $692.23 Time Remaining: 10d 22h 59m Buy It Now for only: $692.23 |
 VINTAGE SONY C 37A TUBE CONDENSER MICROPHONE W POWER SUPPLY grlc737 $4,300.00 Time Remaining: 1d 3h 52m Buy It Now for only: $4,300.00 |
 Shockmount for Neumann Gefell UM57 CMV563 Vintage Tube Microphone $39.95 Time Remaining: 22d 9h 55m Buy It Now for only: $39.95 |
 BELLARI RP503 tube microphone preamp w compression VINTAGE MULLARD TUBE $150.00 Time Remaining: 14d 8h 4m Buy It Now for only: $150.00 |
 Universal Audio SOLO 610 TUBE Microphone Preamplifier warm vintage tone $219.28 (2 Bids) Time Remaining: 3d 20h 14m |
 AKG THE TUBE CLASSIC VINTAGE STUDIO TUBE CONDENSER MICROPHONE C12 C12VR LQQK 2 $2,999.00 Time Remaining: 21d 16h 5m Buy It Now for only: $2,999.00 |
 TELEFUNKEN VF14 VINTAGE TUBE FR NEUMANN U47 MICROPHONE TESTED BY ANDREAS GROSSER $1,154.23 Time Remaining: 27d 20h 34m Buy It Now for only: $1,154.23 |
 Neumann U67 Vintage Tube Mic w Original PSU and Cable AKG U47 Telefunken $6,995.00 Time Remaining: 19d 22h 40m Buy It Now for only: $6,995.00 |
 Vintage Telefunken ELA M 251 E Classic Tube Microphone Serviced $18,500.00 Time Remaining: 26d 4h 24m Buy It Now for only: $18,500.00 |
 TELEFUNKEN VF14 VINTAGE TUBE FR NEUMANN U47 MICROPHONE TESTED BY ANDREAS GROSSER $1,154.23 Time Remaining: 6d 20h 16m Buy It Now for only: $1,154.23 |
 TELEFUNKEN AC701 TUBE FOR VINTAGE TELEFUNKEN NEUMANN SCHOEPS MICROPHONES $461.23 Time Remaining: 21h 22m Buy It Now for only: $461.23 |
 Vintage Altec 1567A Tube Mixer Amplifier Mic Preamplifier +Peerless Transformers $123.50 (18 Bids) Time Remaining: 6d 7h 33m |
 Magnecord PT63 J Vintage Tube Microphone Triad Amplifier Preamp Magnecorder $799.99 Time Remaining: 1d 14h 11m Buy It Now for only: $799.99 |
 Vintage RFT microphone + tube preamp $575.00 Time Remaining: 20d 5h 39m Buy It Now for only: $575.00 |
 Rode RODNTK Condenser Professional Microphone Mic with a VINTAGE TUBE UPGRADE $390.00 Time Remaining: 10h 56m Buy It Now for only: $390.00 |
 6 METER 20 FT CABLE FOR NEUMANN SM2 SM69 VINTAGE STEREO TUBE MICROPHONES RARE $230.23 Time Remaining: 16d 4h 46m Buy It Now for only: $230.23 |
 6 METER 20 FT CABLE FOR NEUMANN SM2 SM69 VINTAGE STEREO TUBE MICROPHONES RARE $230.23 Time Remaining: 16d 4h 44m Buy It Now for only: $230.23 |
 Vintage tube condenser microphone RFT CM7151 Germany GDR 1954 $16.50 (3 Bids) Time Remaining: 7d 21h 31m |
 9 METER 30 FT CABLE FOR NEUMANN SM2 SM69 VINTAGE STEREO TUBE MICROPHONES RARE $268.73 Time Remaining: 10d 20h 1m Buy It Now for only: $268.73 |
 SCHOEPS CM61 RARE VINTAGE TUBE CONDENSER MICROPHONE CARDIOID OMNIDIRECTIONAL $1,154.23 Time Remaining: 17d 1h 8m Buy It Now for only: $1,154.23 |
 NEUMANN 12 PIN CONNECTOR FOR SM69 SM2 VINTAGE STEREO TUBE CONDENSER MICROPHONES $76.23 Time Remaining: 13d 22h 11m Buy It Now for only: $76.23 |
 AKG C24 Stereo Tube Vintage Mic Excellent Condition $11,750.00 Time Remaining: 24d 12h 57m Buy It Now for only: $11,750.00 |
 6 METER 20 FT CABLE FOR NEUMANN SM2 SM69 VINTAGE STEREO TUBE MICROPHONES RARE $230.23 Time Remaining: 16d 4h 45m Buy It Now for only: $230.23 |
 Tablebeast Modified Akai Vintage 2 Channel Tube Mic Pre Amp Amplifier Preamp DI $699.00 Time Remaining: 5d 3h 13m Buy It Now for only: $699.00 |
 Vintage tube condenser microphone body RFT CM7151 Germany GDR 1954 $10.49 (2 Bids) Time Remaining: 7d 21h 43m |
 20 FOOT 6 METER CABLE FOR NEUMANN U47 U48 RARE VINTAGE TUBE CONDENSER MICROPHONE $307.23 Time Remaining: 13d 17h 38m Buy It Now for only: $307.23 |
 Mic cable 7pin for Neumann Microphone cable for U67 vintage rare U 67 tube $240.00 Time Remaining: 16d 21h 52m Buy It Now for only: $240.00 |
 Vintage SONY CR 4 Tube Wireless Radio Microphone Rare Collectors Item Tube Amp $190.00 Time Remaining: 8d 14h 25m Buy It Now for only: $190.00 |
 NEUMANN KM56 Head Grille w KK56 Capsule for KM56 Vintage Tube Microphone $1,125.00 Time Remaining: 26d 15h 16m Buy It Now for only: $1,125.00 |
 VINTAGE TELEFUNKEN ELA E 150A TUBE MIC PRE AMP $4,500.00 Time Remaining: 22d 10h 58m Buy It Now for only: $4,500.00 |
 LOMO 82a 5m 19a9 19A 9 vintage tube mic stand ADAPTER $28.00 Time Remaining: 1d 23h 11m Buy It Now for only: $28.00 |
 AKG D224 E PAIR VINTAGE TUBE MICROPHONE + PSU + CABLES TUBE VALVE CONDENSER MIC $570.00 Time Remaining: 3d 4h 51m |
 Vintage RFT microphone + tube preamp 2 $575.00 Time Remaining: 1d 8h 26m Buy It Now for only: $575.00 |
 PAIR VINTAGE TUBE MIC PRE AMP LAUTSTARKE ABHOREN MITTE TELEFUNKEN $6,500.00 Time Remaining: 2d 12h 44m Buy It Now for only: $6,500.00 |
 Mic cable 7pin for Neumann KM253254256M249250269 vintage Tube condenser $110.00 Time Remaining: 12d 7h 16m Buy It Now for only: $110.00 |
 NEUMANN KM56 Head Grille w KK56 Capsule NOS for KM56 Vintage Tube Microphone $1,799.00 Time Remaining: 26d 7h 25m Buy It Now for only: $1,799.00 |
 NEUMANN KM264 Vintage Tube Microphone rare $2,099.00 Time Remaining: 1d 22h Buy It Now for only: $2,099.00 |
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Audio-Technica At4060 Tube Microphone $1349 The Audio-Technica AT4060 Tube Microphone combines advanced engineering with vintage tube technology. You get valve sound with the performance and versatility required by the most demanding studio applications. The AT4060 mic's superior dynamic range, low noise, and high SPL capability make it a premier vocal microphone. And whether recording soft string sections or screaming guitars, the Audio-Technica AT4060s output is always clear and consistent, lush and uncolored. Each tube is hand-selected, aged, and individually tested to ensure peak performance. Dual gold-vaporized, large-diaphragm elements provide extended frequency response. In every respect, the AT4060 microphone continues the tradition of excellence established by the critically acclaimed 40 series mics. Audio-Technica includes power supply, shockmount, cable for connecting mic to power supply, AC power cable, rackmount adapters for power supply, and protective carrying case with the AT4060 Tube Microphone. Requires phantom power. |
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Mxl 960 Tube Condenser Microphone $399.99 The MXL 960 Tube Condenser Mic will keep you productive reliably and affordably. Professional-quality, large-diaphragm 1" capsule, tube condenser microphone has an extremely wide dynamic range and a crisp, airy sonic character. Well suited to either analog or digital recording. 20Hz-20kHz. Cardioid pattern. 135dB max SPL. Equivalent noise: 13dB, A-weighted.Requires phantom power.Professional-quality, large-diaphragm tube condenserCardioid patternExtremely quietWide dynamic rangeCrisp, airy vintage tube sonic characteristicsFrequency range: 20Hz-20kHz135dB max SPLEquivalent noise: 20dB, A-weightedWired with Mogami cable |
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Behringer T-47 Tube Condenser Microphone $173.99 A recording microphone with classic tube soundThe sound of tube mics is undeniably rich and smooth. At the heart of each of these Behringer T-47 mics is a hand-selected 12AX7 tube, which has been specifically designed to give these microphones their incredible sonic character. One advantage tube condensers have over their solid-state counterparts is that they are not subject to the rapid rise of odd-order harmonics, which the ear perceives as highly unmusical. Even when subjected to high sound pressure levels, the T-47 condenser microphone reacts in much the same way the human ear does.Cardioid polar patternT-47 tube condenser mics feature a tight cardioid (heart-shaped) sound-reception pattern, which reduces the pickup of sound from the sides and rear for improved source isolation. The included custom shock mount fits all standard microphone stands and provides further isolation from external sources of vibration, such as sounds transmitted through floor joists and outside traffic.Dedicated power supplyThe included Behringer PSU-T power supply/preamp provides the supply voltage for the tube preamplifier and houses a Low Cut switch that can be used to reduce the low frequency response, if so desired. The included 7-pin multi-core cable supplies power to the mic and routes the audio signal to the XLR socket on the PSU-T.The ultimate recording micSince the early days of recording, sound engineers have been searching for the best-sounding mics for recording acoustic instruments and the human voice. The resounding choice of professional recordists around the globe has been the tube condenser microphone because nothing compares to a sound that's so open, warm, and full of character. Unfortunately, tube mics can wipe out a home-recording budget faster than you can say "phantom power supply." But with the T-47, anyone who can afford a decent live microphone can have a studio-grade, tube-powered condenser mic for about the same price.The T-47's sensitive sideAnother advantage of tube mics is that they typically outperform transistor designs when it comes to subtle signal levels, such as environmental ambiance. The T-47 picks up every nuance of your performance, capturing an openly transparent slice of time and space with just the right amount of tube warmth. Now you'll be able to justify that new set of strings for your acoustic guitar (because you'll hear the difference), and you'll marvel at the sparkling highlights coming off your wind chimes.Professional, large-diaphragm, tube condenser microphone for unsurpassed audio qualityHand-selected 12AX7 vacuum tube for exceptional warmth and vintage soundIdeal as main and support microphone for studio and live applicationsCardioid pickup pattern for outstanding sound source separation and feedback rejectionPressure-gradient transducer with shock-mounted capsulePerfect for vocals and acoustic instrumentsSwitchable low-frequency roll-offUltra-rugged construction with metal die-cast bodyHigh-quality components |
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Used Audio-Technica At4060 Tube Microphone 886830095467 $674.5 The Audio-Technica AT4060 Tube Microphone combines advanced engineering with vintage tube technology. You get valve sound with the performance and versatility required by the most demanding studio applications. The AT4060 mic's superior dynamic range, low noise, and high SPL capability make it a premier vocal microphone. And whether recording soft string sections or screaming guitars, the Audio-Technica AT4060s output is always clear and consistent, lush and uncolored. Each tube is hand-selected, aged, and individually tested to ensure peak performance. Dual gold-vaporized, large-diaphragm elements provide extended frequency response. In every respect, the AT4060 microphone continues the tradition of excellence established by the critically acclaimed 40 series mics. Audio-Technica includes power supply, shockmount, cable for connecting mic to power supply, AC power cable, rackmount adapters for power supply, and protective carrying case with the AT4060 Tube Microphone. Requires phantom power. |
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Mxl Genesis Ii Tube Condenser Microphone $899.99 The Genesis II takes the first generation Genesis to a new height of performance and versatility. Possessing all the outstanding qualities of the original Genesis, Genesis II adds our dual diaphragm capsule and patented warm and bright switch which allows you to change the tonality of the mic to suit your application. The Genesis II also includes the celebrated vintage new old stock Mullard 12AT7 vacuum tube, which is hand-selected and burned in at the MXL California headquarters for days prior to shipment, ensuring the highest quality.Great for recording vocals, acoustic guitar, strings, and pianoDistinctive glossy red body and gold grillVintage tube sound qualityTwo distinct tonal characteristicsHand Selected new old stock Mullard 12AT7 tube- 10dB pad150hz, 6dB/octave roll off switchComes with custom pop filter, shockmount, power supply 15' 7-pin Mogami cable, 15' XLR Mogami microphone cable & cleaning clothMXL 3 year warranty/90 days tube |
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Telefunken Ar-51 Large Diaphragm Tube Condenser Microphone $1895 While Telefunken Elektroakustik is normally known for historic recreation microphones geared toward recording industry professionals who can afford the best of the best, the AR-51 tube condenser mic is their first attempt at catering to those with less money to spend, but who still want that high-quality Telefunken sound.Part of the R-F-T Series of microphones, the AR-51 is an affordable solution that delivers amazing tone and ultimate application flexibility at a price anyone who is serious about recording can afford. The AR-51 condenser mic is designed in the tradition of the classic tube mics of the past, utilizing the same circuit design as the classic Telefunken ELA M 251E.However, this Telefunken recording mic employs new cost-efficient manufacturing methods to meet a price point suitable to any recording studio, from major, world-class facilities to voiceover rooms and home project studios. The R-F-T Telefunken AR-51 utilizes only premium components, including a vintage New Old Stock (NOS) tube that has been rigidly tested for noise and microphonics, as in the ELA M 251E. The Telefunken AR-51 mic also features a globally-sourced power supply and capsule, both rigorously tested prior to installation.As with all products in the R-F-T range of Telefunken Elektroakustik microphones, the circuit board has been designed for superior current handling, permitting the amplifier to have full access to the necessary "power on demand" for handling low frequency and transient information. Modifications have been made to the Telefunken microphone's amplifier circuit to optimize the performance of the capsule and a signal path that includes the same European manufactured output transformer found in every ELA M 251 E built since 1960.At the Telefunken Elektroakustic studios in South Windsor, CT, audio engineers have successfully tested a wide range of applications for this large diaphragm microphone. The tube condenser microphone is especially suitable for recording acoustic and electric guitars, piano, and percussion; for drum overheads and close miked drums; and for both male and female vocals. The perfect complement to the company's acclaimed AK-47, the Telefunken AR-51 is a significant addition to any studio's microphone locker.The Telefunken AR-51 mic includes the sameEuropean manufactured output transformer found in every ELA M 251 EVintage New Old Stock(NOS) tubeRigidly tested for noise and microphonicsGlobally-sourced power supply and capsulebuilt since 1960Suitable for many miking applicationsShock mountWooden box |
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MXL GENESIS II Tube Condenser Microphone $899.99 The Genesis II takes the first generation Genesis to a new height of performance and versatility. Possessing all the outstanding qualities of the original Genesis, Genesis II adds our dual diaphragm capsule and patented warm and bright switch which allows you to change the tonality of the mic to suit your application. The Genesis II also includes the celebrated vintage new old stock Mullard 12AT7 vacuum tube, which is hand-selected and burned in at the MXL California headquarters for days prior to shipment, ensuring the highest quality. |
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Blue Cactus Tube Microphone $2499 With detailed information in the midrange area and a soft silky response in the top end, the Cactus Tube Microphone from Blue details and mellows the program material. The Cactus Microphone's amplifier design is based on a single vacuum tube sub-miniature. Multipattern. 20Hz - 20kHz frequency range. Blue includes a power supply, ATA flight case, series one shockmount/pop filter, and Kiwi cord with your Cactus Tube Microphone.Requires phantom power. |
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Blue Bottle Rocket Stage Two Tube Microphone 886830170836 $799.5 The Blue Bottle Rocket Stage Two is an innovative and unique vacuum-tube microphone system for virtually any recording need. The Blue Stage Two combines low noise and superb transient response along with the Blue Bottle Capsa choice of 9 different interchangeable microphone capsules. Change these bayonet-mount mic capsules In an instant without shutting off the power for a stunning variety of tonal characteristics and pickup patterns. Get all of the capsules and it's like having an entire Blue mic locker in a single system.Precision-shaped and hand-assembled, the Bottle Rocket Stage Two microphone is crafted for a lifetime of use. Its transformerless Class A discrete amplifier circuit is a thoroughly modern design with a nod to the classic circuits of yesteryear. With its single hand-selected ECC88 vacuum tube, you'll hear musical detail and subtlety previously heard only in mics costing thousands more. The Blue Stage Two mic includes a custom-built flight case, a high-definition tube microphone cable, and a shockmount. You also get the innovative Powerstream power supply, which not only ensures ultra-stable performance but also features a soft-start feature that maximizes tube life and minimizes startup time.Capsules designed for any missionBoth the Stage One and Stage Two Bottle Rockets can take advantage of the Bottle Caps, Blue's family of 9 interchangeable capsules with different tonal characteristics and pickup patterns. Each Bottle Cap is designed to provide the recordist with the ultimate sonic solution for their respective application. Get them all and you'll have an entire Blue mic cabinet at your fingertips. The Stage Two comes with the B8 All-Purpose "TPOThe Popular Opinion" Bottle Cap.The Bottle Caps B0 Capsule (270709) Airy top end, silky vocal sound B1 Capsule (270710) Ultimate acoustic instrument mic B2 Capsule (270711) Vintage, rich ribbon sound with muted top end and detailed midrange B3 Capsule (270712) - Accurate, neutral sound B4 Capsule (270713) - Live and orchestral applications B5 Capsule (270714) - Dramatic top and bottom B6 Capsule (270715) - The renowned Blue sonic signaturesmooth, liquid presence B7 Capsule (270716) - Today's vintage sound B8 Capsule - All-purpose "TPO" (The Popular Opinion) soundthe default Bottle Cap |
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Used Aphex 207D Tube Microphone/Instrument Preamp With Digital Out $727.09 The Aphex 207D Tube Microphone/Instrument Preamp with Digital Out adds AES/EBU and S/PDIF digital outputs to the popular 207 tube preamp, providing direct digital connection throughout your signal chain, with up to 96kHz sampling rates. The 207D also adds word clock for digital clocking synchronization. The Aphex 207D is an audiophile-quality 2-channel tube mic preamp designed to reveal the subtlety and power of vintage condensers, ribbons, electrets, and popular dynamic mics. MicLim circuitry offers virtually crashproof performance making it a perfect front end for digital recorders. An insert loop is provided for adding effects prior to conversion. Offers up to 65dB of continuously variable gain, 48V phantom power, polarity select, -20dB pad, low cut filter switches, switchable -10dBv or +4dBu operating levels, balanced XLR and TRS I/O, and a delayed turn-on circuit for speaker protection. The Aphex 207D tube preamp makes use of patented Reflected Plate Amplifier (RPA) technology, a true vacuum tube circuit which has all the desired characteristics without the heat, fragility, sonic variability, short life, and high frequency roll-off of conventional tube designs.2-channel tube preamp MicLim circuitry Reflected Plate Amplifier technology I/O: XLR and TRS, AES/EBU and S/PDIF outs, insert, word clock Up to 96kHz sampling rate 65dB continuously variable gain 48V phantom power Polarity select -20dB pad Low cut filter switches Switchable -10 dBv or +4 dBu levels Delayed turn-on circuit |
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Aphex 207D Tube Microphone/Instrument Preamp With Digital Out $799 The Aphex 207D Tube Microphone/Instrument Preamp with Digital Out adds AES/EBU and S/PDIF digital outputs to the popular 207 tube preamp, providing direct digital connection throughout your signal chain, with up to 96kHz sampling rates. The 207D also adds word clock for digital clocking synchronization. The Aphex 207D is an audiophile-quality 2-channel tube mic preamp designed to reveal the subtlety and power of vintage condensers, ribbons, electrets, and popular dynamic mics. MicLim circuitry offers virtually crashproof performance making it a perfect front end for digital recorders. An insert loop is provided for adding effects prior to conversion. Offers up to 65dB of continuously variable gain, 48V phantom power, polarity select, -20dB pad, low cut filter switches, switchable -10dBv or +4dBu operating levels, balanced XLR and TRS I/O, and a delayed turn-on circuit for speaker protection. The Aphex 207D tube preamp makes use of patented Reflected Plate Amplifier (RPA) technology, a true vacuum tube circuit which has all the desired characteristics without the heat, fragility, sonic variability, short life, and high frequency roll-off of conventional tube designs.2-channel tube preamp MicLim circuitry Reflected Plate Amplifier technology I/O: XLR and TRS, AES/EBU and S/PDIF outs, insert, word clock Up to 96kHz sampling rate 65dB continuously variable gain 48V phantom power Polarity select -20dB pad Low cut filter switches Switchable -10 dBv or +4 dBu levels Delayed turn-on circuit |
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Blue Robbie Tube Microphone Preamp $799 Elegance and simplicity are the driving forces behind Blue's design philosophy, and the ROBBIE tube premap is no exception. This Class-A discrete tube microphone and instrument preamp features the same technical build quality and commitment to excellence for which Blue is known. Yields excellent detail with extremely low noise and ultrahigh gain. The warm, robust tube gain stage is the perfect enhancement for condenser microphones. Frequency response is 10Hz to 100kHz, 2dB. Class-A single-channel discrete tube microphone and instrument preamplifierDiscrete, balanced components from input to outputSimple designFront panel features a large backlit gain knob and Hi-Z 1/4" instrument input Inputs: one XLR microphone, one 1/4" TS phone instrumentOutput: one XLR linePhantom power |
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MXL 9000 Tube Condenser Microphone $181.95 The MXL 9000 Tube Condenser Microphone is a large-diaphragm, cardioid-pattern design based around a 12AT7 tube. The tube circuitry delivers a characteristic warm-yet-transparent midrange response that gives a smooth emphasis to both voices and instruments. It is housed in a silver-finished metal shell and comes complete with hi-isolation shock mount, power supply, and 7-pin power cable.Requires phantom power. |
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Blue ROBBIE Tube Microphone Preamp $799 Elegance and simplicity are the driving forces behind Blue's design philosophy, and the ROBBIE tube premap is no exception. This Class-A discrete tube microphone and instrument preamp features the same technical build quality and commitment to excellence for which Blue is known. Yields excellent detail with extremely low noise and ultrahigh gain. The warm, robust tube gain stage is the perfect enhancement for condenser microphones. Frequency response is 10Hz to 100kHz, ±2dB. |
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MXL V69MEDT Large Diaphram Condenser Tube Microphone List Price: $399.00 Sale Price: Too low to display  |
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The MXL V69 Mogami Edition is a large diaphragm Tube Condenser Microphone. Its classic sound enhances vocal and instrument performances in professional and home studio environments. The wide dynamic range and warm sonic characteristics make the V69 a perfect complement to all analog and digital recording devices... |
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COSMOS ® Silver Retro Classic Elvis Style Mini 3.5mm Flexible Microphone Mic for PC Macbook pro/Laptop/PC/Desktop computers/Skype/VOIP/MSN/Yahoo + Cosmos cable tie List Price: $39.99 Sale Price: $11.99 |
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50's Old School Retro Microphone On your PC desktop! High sensitivity & Noise Cancelling Condition: Brand New Connectivity: Wired Cord Length: 2.5m Material : ABS Plastic interface: Analog (3.5mm Jack)... |
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MXL MXL 990 Condenser Microphone with Shockmount List Price: $199.99 Sale Price: $59.00 Used From: $57.98 |
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The MXL 990 Condenser Microphone with Shock Mount has a silky, sweet high end while retaining tight, solid low and midrange reproduction. The 3/4" gold-sputtered diaphragm creates a professional sound suited for digital and analog recording... |
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Blue Microphones Cactus Tube Microphone Kc List Price: $2,999.99 Sale Price: $2,999.00 Used From: $1,899.99 |
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In the tradition of the world's best (and most expensive) vintage vocal microphones, The Cactus delivers a commanding, intimate presence and larger-than-life detail. The amplifier design is a transformer-balanced single vacuum tube sub-miniature pentode in a triode mode, along with the highest quality hand-selected electronic components to insure low noise and minimal distortion... |
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Behringer MIC800 Microphone Modeling Preamp List Price: $87.99 Sale Price: $43.99 Used From: $27.98 |
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Tubes can really warm up a signal fast, giving it depth and character. Thanks to digital VTC technology, the MIC800 emulates the tube warmth of a variety of tube mic preamps, all in one feather-light package... |
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Behringer Tube Condenser Microphone T-1 Vacuum Tube Condenser Microphone List Price: $239.99 Sale Price: $196.99 |
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Vacuum Tube Condenser Microphone |
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MXL GENESIS II Tube Condenser Microphone List Price: $1,099.95 Sale Price: $699.00 Used From: $799.00 |
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The Genesis II takes the first generation Genesis to a new height of performance and versatility. Possessing all the outstanding qualities of the original Genesis, Genesis II adds our dual diaphragm capsule and patented warm and bright switch which allows you to change the tonality of the mic to suit your application... |
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Golden Age Project TC1 Multi Pattern Tube Microphone List Price: $299.99 Sale Price: $299.99 |
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The TC 1 is one of our top products. It is a warm-sounding, large capsule tube condenser microphone. The TC 1 is a classic tube mic with selectable pad and high-pass filter and nine different polar patterns for very little money... |
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Behringer Tube Condenser Microphone T-47 Vacuum Tube Condenser Microphone List Price: $219.99 Sale Price: $157.95 |
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Vacuum Tube Condenser Microphone |
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ADK Microphones F21 Class A 9-pattern Tube Condenser Microphone with Power Supply List Price: $1,599.00 Sale Price: $989.00 |
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On www.ADKmic.com the TT microphone is described as a “multi-pattern, remotely-variable valve (tube) microphone with factory stock 6072A vacuum tube (valve).”. In layman’s terms the TT is a kickass, high-end mic that has 9 different polar patterns and a vintage tube mic tone... |
Dan Torres on Guitar Pickup Mod and restores
By Mark Grove
Co-writer: Dee Curtis
02/29/04 Back Catalog Article wanted by readers
When you hear the name Dan Torres and pickups in the music industry, ears tend to perk up or pickup, that's a joke get it.I know a bad one. And pickup makers like Seymour- Duncan and Di Marzio tend to take note. Introduction of this article and information on Dan Torres the amp and pickup Master from California, is by Canadian Guitar Player Music Consultant Dee Curtis.
The first time I heard of Dan Torres was when I was out in Los Angeles in the early 80's with a group of musicians, who were talking about Dan Torres who was and still is a guitar moding guru,moding their amps and guitars for them.
These guys back then got in touch with Dan through an ad in (Guitar Player) when mail order was the rage in the music business. So I sent away for some info on how to hop up your guitar and do mods to your amp, through his free brochures, and wound up getting some reprints of his articles which were in (Vintage Guitar).
I had a bit of electronic know how at the time which was helpful but nothing with tube amps. But through some of his articles I started tinkering with The capacitors and resistors in the amp head along with changing tubes, to reshape the sound coming through the cab. I wound up using his Midrange tone control switch on every guitar I had back then. Currently I'm not using them and I miss them.Dan is one of the top experts on amp and guitar modification and one a lot of top musicians use.
Very recently, I contacted Dan about my (Sovtek Midget Combo Amp) and asked him what tubes he recommended because the Sovtek was sounding a little dark to me. I had some feedback from Sovtek on this and made some mods, but it was still sounding too dark.
I love the amp, but I wanted more sparkle and cleaner tones. Dan suggested I try( 6L6 GC Tubes) which will give me clearer top end and less mid-range and darker tones. I have them on order now and I know it'll sound beautiful.
Now, anyone who's a guitar or bass player I implore you to get Dan Torres book (Inside Tube Amps), which is literally the bible on tube amps, and it's in laymen terms so anyone can understand how to--mod their amps or guitars.
Mark Grove: We first started this article with an intro on how Dee Curtis was first introduced to the amp and pickup master himself Dan Torres, but we'll end this section where we originally wanted to go, and that's talking about Dan Torres take on restoring pickups and the fact he was one of the first techs to start rewinding pickups for musicians in California. Dan also has a line of single coil and custom made pickups, along with new ones called (Torres P90's) and custom Humbuckers -- as well as SRV midrange and blues pickups.
This man is the master of pickup tone control along with other gurus like Bill Turner (EMG founder and current resident pickup expert for Fender. In this interview with Dan Torres we'll venture into Pickup restoration and how to keep those vintage pickups just"hummin" along.
<a href="http://www.torresengineering.com">www.torresengineering.com</a> This is a "uber cool" site for players
I know another bad line. Dan is also known for his amp and guitar building kits which are popular for the more astute musician. This will be an interview you'll want to archive in your e-mail or site, so get ready to be amazed by Dan Torres fellow musicians. Canadian Guitar Player talks to Dan Torres about the intricacies of pickup restoration and when to toss that old heap.
M.G: At what point has a regular or vintage pickup for that matter outlived it's usefulness sound wise and mechanically?
D.T: Currently, since the beginning of magnetic pickups, virtually none of them have actually worn out. Even the earliest pickups, unless damaged, are still functional sound wise and mechanically.
M.G: What's the most common form of pickup wear and tear that has to be addressed when restoring a pickup?
DT: Most common wear is user wear. Pick damage to the top of the pickup, getting jabbed with screwdrivers, stripped screws and results of mistreatment. Magnets and hardware may rust quite a bit from an instrument that is allowed to get damp. Rust can push magnets out of contact with the pole pieces, causing the pickup to stop working correctly.
<a href="http://www.torresengineering.com">www.torresengineering.com</a>
M.G: Is re-magnetizing a pickup important to gain back the original sustain and solid string pull?
DT: This is a very tricky question as the target tonal character of our most popular guitars (and pickups) is based on those instruments being old at the time they were used/recorded. That is--one does--not seek out a 1959 Gibson Les Paul with Patent Applied Hum-bucking pickups to play "how high the moon" (a Les Paul hit of the 50's) they seek it out to play "Sunshine of your Love" (Clapton" or "One Way Out" (Allman Bros”)
The guitars that are the most treasured were in their "second life" as used instruments picked up by the young musicians of the mid 60s' from pawn shops, etc. as very inexpensive, used, good sounding guitars. Therefore, the original magnet strength - that is the magnet strength when this particular guitar was manufactured in 1959, is not the desired "effect". The desired sound is the "old guitar" heard in the 60's, 70's, 80's, 90's and today.
A lot of effort has been put into demagnetizing magnets or finding old ones. Currently my collection of patent applied for original Gibson magnets sell for $150+ per magnet if I will let go of any of them. (only about six left.)
M.G: Does the magnetic field become weaker over time yet produce mellower and fatter tones?
DT: This is easy, yes. But the magnet field has quite a long life. Even the oldest pickups we commonly see, such as the "Charlie Christian" pickup found on the 1939 Gibson with cobalt magnets still have more than enough flux to this day. Jazz Great Barney Kessel used to bring in his far-too-famous Gibson with the Charlie Christian pickup.
Those huge, very old magnets were still very strong and the best pickup (he had several) was very high impedance, 10,000 ohms. This pickup sounded absolutely wonderful, a magical musical instrument. A lot of experimentation was done in the 80's by many pickup manufacturers, with stronger or exotic magnets.
But the point of diminishing return was reached instantly. Stronger magnets may produce a louder pickup with more output, but the excess string pull caused damping, pulling the strings out of pitch so the pickups had to be placed quite a ways below light gauge strings, canceling out most of the improvement. The exotic magnets did not sound as nice as the wider flux range alnico or ceramic magnets.
M.G: Do hum-bucking or single coil's wear down faster and why?
DT: A tough one. Single coils, such as Strat pickups die more frequently, but usually due to damage. It is not hard at all to wear through the top of a strat pickup cover and damage the coil. P-90 type single coils use hum-bucking magnets (2) and have a plastic coil form, so we have a cross over in pickup structure between the hum-bucker and P-90.
The cylindrical magnets of the Strat and Telecaster pickup have a large amount of flux and will last several life times if they are not damaged. The earliest guitars still sound spectacular. Jerry Garcia replaced his DiMarzio hum-bucking pickups frequently saying they had worn out, but these pickups have been moving around here in the San Francisco Bay area, and do not seem to have lost anything noticeable. But musical perception is far, far more sensitive then any instrument.
Not hearing them brand new makes it impossible to hear what Jerry heard. By their nature, single coils may wear down faster as the magnets are more subject to the real magnet killer, shock being hit by the pick, strings etc.
M.G: With your handling some of todays top players pickups, do they think twice about throwing out their singles or hums, or even going to a different company for restoration?
DT: I usually encourage pros and amateurs to consider keeping vintage pickups in place if they are providing the type of tone they want. I find if the guitar feels right, but doesn't sound right, hand wound or new pickups from ourselves and or all the other manufacturers can be selected along with appropriate potentiometers, tone controls, etc.
To fine tune the guitar to do exactly what one wants without butchering a fine vintage guitar, many pros are choosing new guitars, or fine quality imports (Ibanez, Aria, Cort etc.) so they can make as many changes as they wish and have several identical guitars on hand without the super high cost of vintage instruments. Restorations are done if pickups have been severely damaged, are dead or partially dead, or in some cases--when they just look ratty, ugly.
Rust can be removed and/or new pole piece screws and studs fit to hum-buckers, delicate work with steel wool can clean up strat--tele magnets. Most restorations are to dead vintage (valuable pickups) getting them back to life without losing their inherent musical character.
Broken coils are the main problem by far. With a very good eye, steady hand, and knowing exactly what to look for, the broken coil wire can be located and reattached without losing any more than one or two ohms of a 5,000 ohm pickup.
The most difficult part of this process may not be finding the broken wire. It is treatment of it after finding it. Usually you only have one chance. The wire is coated with insulation that must be removed before you can re-solder to it. Since the wire is thinner than a hair, and in some cases one is working with just 1/16 to 1/8 in of wire. This is delicate work.
M.G: What is the most common type of pickup that is replaced?
DT:Currently it is running about 55% strat--tele type and 45% hum-buckers, but it shifts constantly pretty much keyed by the current popular guitars in use on TV, Concerts and other media.
M.G.: Is restoring pickups for the most part something you should leave to luthiers or guitar parts restoration specialists?
DT: If the pickup has high value, yes, get someone with experience. A good eye, practice, and knowing what to look for can rescue a $200.00 Patent Applied for that may be totally destroyed by an inexperienced (or unsteady) hand trying to fix a broken coil wire. attention to detail will bring the pickup back to life as it should be.
M.G.: When restoring a pickup are single coils or hum-buckers easier to restore?
DT: Single coils are usually easier - they are simpler, everything is out in the open and easy to see, there are no layers of age-old tape to peel off,(a real difficulty with old hum-bucking pickups.) But -"funky" type single coils. Harmony, Silvertone, Danelectro, Kay etc. are REALLY hard to restore as they are often made on a budget.
Cardboard coil forms, glue and masking tape are all used in assembly pretty difficult to dig through. Some of these old inexpensive guitars do not even have coil forms. Just a coil of wire and magnet. It is often hard to tell what it was supposed to be in the first place!
M.G: Are there any special ways of repotting, re-magnetizing or rewinding a pickup to actually improve it's tone and sustain in regards to string pull?
DT: I would not say "special ways" as much as the application of very good technique in all these technologies. Potting or repotting in wax (or lacquer) has to be at the right temperature so the wax soaks the whole coil, but not so hot it melts a coil for tricky re-pots. But once you have it right it is easily repeated.
This will prevent microphonics, allowing the pickup to perform at a much higher volume level without squeal. Re-magnetizing may improve or restore the tone of a damaged magnet. Shock can demagnetize the magnet enough so it does not produce a signal. In this case re-magnetizing will bring it back to life.
Often more powerful magnets, such as Alnico 5 are demagnetized or redone to a lower "aged" level, to reduce string pull and get the effect we hear from vintage guitars.
A fairly effective process that may well increase sustain of a given pickup. But with our stock of new Alnico 2 magnets, it is often easier to just install a lower flux Alnico 2 magnet in place of an Alnico 5 for the lower magnetic pull, sweeter tone. Pickup winding is another story. Most of the "classic" guitars made in the 50's had hand wound pickups to some degree.
In a conversation with Doc Kauffman, Leo Fender's original partner he told me it was quite some time before he and Leo thought " maybe we should measure these pickups?"
In winding a pickup to get a good vintage tone a "scatter wound" technique works the best.The wire is not laid down absolutely perfect, but somewhat random, filling the coil by eye as it spins. This gives the pickup a more harmonic tonality - not so perfect is often more musical. Hum-bucking pickups, having two coils, are essentially unbalanced in the original Gibson Design. Each coil has a different iron load, therefore a different impedance. If the coils themselves are also not exactly equal, there is an effect of, again, less perfection and more harmonic quality due to the slightly different tonalities of each coil.
Additionally the distance between the two coils picking up the guitar string signal at different locations (called phase cancellation) gives the hum-bucking pickup its distinct character. These factors can be manipulated to vary the pickup's tonality to very extreme extents.
DiMarzio is quite skilled at developing more and more new sounds from techniques like this,(and many others.) Observation of dozens of real Patent Applied for Gibson Humbuckers,show coils that are "pretty close" but not exact when read with Digital Vom Meters,which were not available when they were made.
M.G.: When wiring a pickup are there techniques used to give your guitar a tone based on the type of music you're playing?
DT: This is one of our specialties. Besides all the variations in pickups we have discussed, we introduced the concept of varying the potentiometers to decrease or increase the load on the pickup, vastly changing the frequency response, gain and tone.
We also make a range of passive midrange controls that can be applied to any guitar to give the musician still farther range of tones from the "same old" pickups. One can start with new or custom pickups and optimize them still further for their use, or work with existing pickups by varying the volume controls, tone controls and wiring harness.
M.G.: Do higher prices for vintage pickups make it more attractive to restore the originals?
DT: Certainly, and my customers, friends, are always on the lookout for guitars that "don't work". Restoration often does not cost much and we have about 90% success on dead pickups. The balance are rewound. Very few are discarded, maybe 2 a year out of hundreds. Finding a dead pickup and having it restored or even rewound is certainly the least expensive way to get "the sound".
Dan Torres
Mark Grove-CGP
To contact Dan Torres for amp or guitar pickups mods:
<a href="http://www.torresengineering.com">www.torresengineering.com
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About the Author
Mark Grove,music industry writer from Canada.I write how to material
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