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From "Tom Fine" <[log in to unmask]> > I have to put a little backspin on this notion. > Yes, when they are in good working order, the famous vintage mics sound > great and are very useful when their "flavor" is desired. However, I've had some interesting conversations with the guys who restore them and it's surprising how many un-restored, damaged, ancient mics are in use in famous and semi-famous recording situations today. One of the better makers of modern condenser mics explained to me how the gold sputtering can't help but start coming off the older European mics because the material it was sputtered onto becomes brittle and warps/shrinks with age. In the case of the ribbon mics, things like rubber, fabric and the ribbons themselves change over time, especially when exposed to breath and spittle. The mics become less uniform in their response and less sensitive overall, a former RCA technician still in the restoration business told me. > So yes, an old Neumann, AKG, RCA or other famous mic is very desireable > today, because they sound good when they work properly. But "work properly" is the key term here, and just because something looks good doesn't mean it works to its published specs. > Also, I'm sure there are many recordists on this list who would prefer a > modern less-colored mic for what they are doing. If you look at the published curves on these old mics, there was a lot of coloration built-in, which is desireable to some and undesireable to others. I would suggest that modern recording methods, which are essentially noiseless and offer very wide dynamic and frequency range, emphasize the coloration on these old mics more than back-in-the-day recording methods. Again, whether that's a plus or a minus depends on the situation and the user. > What I'm looking for is vintage dynamic mikes for use as harmonica mikes! These had limited frequency response...which is part of the "harp" sound of 50's blues recordings...! Steven C. Barr