Microphones in my collection

Shure 5575LE Unidyne Limited Edition
75th Anniversary Vocal Microphone.

Honoring a legacy that spans decades, the 5575LE Unidyne Limited Edition 75th Anniversary Vocal Microphone is a modern version of the beloved classic Unidyne microphone. Shure has gone back to the original design to produce the 5575LE, the modern version of the most recognized microphone in the world, available in a numbered limited edition of 5575. Featuring Unidyne III cardioid cartridge technology for superior sound performance and the classic large grille outer shell, the 5575LE is of extraordinary aesthetic and performance value for collectors and performers alike.

This is just a cool looking Mic. I got it just to add to the collection for display purposes only. It cannot perform like the RE-27 described below.

The ElectroVoice RE27N/D Dynamic Microphone (x2)

A high-performance, neodymium-equipped industry-standard broadcast microphone. Superb resolution and depth for voice and instruments have also made the versatile RE27N/D a favorite of recording studios and live sound engineers around the world. The exceptional sensitivity of the RE27N/D, excellent transient response and inherently low noise of the dynamic transducer all combine to ensure a superior signal-to-noise ratio, easily comparable to the finest condenser cardioid micro­phones. To further reduce noise, a highly effective hum-bucking coil is used to attenuate hum from lighting and other sources. The RE27N/D’s Continuously Variable-D design reduces bass-boosting proximity effect to maintain a uniform low-frequency response, up close or at a distance. Two easily operated bass roll-off switches, offering a sharp low-frequency cut at 200 Hz or a gentle roll-off, are avail­able for special situations where bass attenuation is required. A third switch is available for reducing the high-frequency treble boost. Integral passive networks, controlled with three recessed slide switches, are provided. (See next photo.) With switches in the “flat” position, the micro­phone is essentially flat from 80 to 2,000 Hz with a 6 dB rise in response from 2,000 to 16,000 Hz. With the first filter switch in the “rolled-off” position, low-frequency response shall tilt down 6 dB from 250 to 100 Hz. The second filter switch, when in the “rolled-off” position, provides a gentle roll-off of 12 dB from 1,000 to 100 Hz. The third filter switch, when in the “rolled-off” position, decreases the high-frequency rise by 3 dB.

I use a pair of these going through my audio rack to feed all my HF rigs. Definitely my go to mic to take advantage of the TS-850s' wonderful transmit audio.

The ElectroVoice RE320 Dynamic Microphone

A professional-grade dynamic microphone designed specifically for recording and sound reinforcement applications requiring extremely low noise and the best possible tonal and transient response. Ideal for capturing a wide variety of vocal and instrument sources, the RE320 delivers unparalleled detail, dynamic response, and pleasing natural tone.

Variable-D pattern control minimizes positional and off-axis tonal shifts Integrated hum bucking coil and integral pop filters provide virtually noiseless performance Unique dual-voicing switch selects from two response curves Case Material Metal Connector Type 3-pin XLRDiameter (Max) 49.2mm (1.94-Inch )Element Dynamic N/ Dym Magnet Structure Finish Semi gloss black Frequency Response 30, 18,000 Hz (kick curve), 45, 18,000 Hz (generic curve) Impedance, Low-Z balanced 150 ΩMic Type Instrument/ Vocal Open Circuit Voltage 2.5 mV/ Pascal Polar Pattern Cardioid Power Requirement None

After using the RE27, I had to give one of these a try. I am happy to say that it sounds very similar to its more expensive big brother. The mid roll off switch actually has a nice effect that is very noticeable and may be used to suit difference voices. I am very happy with it, and would easily recommend it if you wanted to save a bit of money.

The Shure SM7B dynamic microphone

has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices. The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications. Listen in the Shure Mic Lab Listen to and compare instruments and vocal recordings from a wide selection of Shure microphones Features Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speech. Bass rolloff and mid-range emphasis (presence boost) controls with graphic display of response setting. Improved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitors. Internal "air suspension" shock isolation virtually eliminates mechanical noise transmission. Highly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narration. Now shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocals. Classic cardioid polar pattern, rugged construction, and excellent cartridge protection for outstanding reliability.

This used to be my prefered Mic until I tried the RE-27.

Kenwood MC-60A Desk Microphones

provide a rich and crisp audio response that is a large part of the legendary sound that Kenwood transceiver owners have enjoyed for decades. MC-60A microphones have a handy coiled cord terminated with a standard 8-pin round mic connector for use on dozens of modern Kenwood transceivers. They also feature a large Push-To-Talk switch (PTT) with a locking button for long transmissions in the roundtable. Classically crafted and finished in a light-ash hue with black trim, MC-60A dynamic unidirectional microphones are built with a heavy die-cast base that really stays put. Up-Down tuning buttons on the base controls frequency on many newer radios and a dual impedance switch on the mic body allows them to be adapted for use on older transceivers. As delivered, they are set to low impedance. Many long term users aren't aware that MC-60A Desk Mics have a built-in preamp that is powered by two internal AA batteries. This is a great feature for some of the older transceivers. In fact, these mics have a great smooth sound when the preamp switch is set to "Off", or when they're used without batteries.MC-60A microphones are compatible with many modern and legacy Kenwood (and other-brand) transceivers. Kenwood MC-60A Desk Microphone specifications: * Element Type: Dynamic * Frequency Response (-6 dB): 150 Hz to 10 kHz, preamp off; 200 Hz to 7 kHz, preamp on * Impedance: 500 ohm, Low; 50,000 ohm, High * Preamplifier Power: Two AA cells, installed internally

Kenwood MC-85 Desk Microphone

The Kenwood MC-85 is a unidirectional electret condenser desk mic. It features UP-DOWN tuning (on compatible Kenwood transceivers) plus a built-in audio level compensation, preamp and has a level meter. Supplied with one PG-4G 8 pin mic cable. The MC-85 can handle up to three 8 pin inputs with additional PG-4F cables. There are optional cables for 4 pin (PG-4D) and 6 pin (PG-4E) radios. This mic requires power that is derived from some Kenwood models. For other models, you will have to install four AA cells (not supplied). This 700 ohm mic has a 300 to 7000 Hz response.

Kenwood MC-50 Desk Microphone

The Kenwood MC-50 is a dynamic cardiod desk microphone. It features a push-to-talk [PTT] and lock button. It has a four pin plug. This mic has connector switched, dual impedance ratings: 50k ohm (at 1000Hz) and 600k ohm (at 1000Hz). Frequency response from 150 Hz to 10 kHz (-6 dB). The MC-50 is the perfect match for many of classic Kenwood transceivers

Turner Super Sidekick & Plus 3B Desk Microphones

In 1974, a new TURNER mic hit the market. It was the TURNER SUPER SIDEKICK. It was not a successor to the best selling microphone, at that time, the TURNER +3B, as both were on sell for at least seven years side by side. It was as TURNER said, a microphone devoted and tailored to SSB. The circuit was much more simple than the +3B, the SUPER SIDEKICK used only one transistor for amplification and one IC, when the +3B use four. The SSK didn’t have the famous and very good compressor the +3B used, this was a mystery to a lot of people and lead to long discussions to which one was the best. Most of the time the +3B was preferred. The SSK had two gain controls, not a revolutionary idea, but the one below the body could be used as a limiter. Potentiometer were probably cheaper than transistor at that time. I personally prefer the sound and technic of the +3B but the look of the SSK.

After the Plus 2, and before the Super Sidekick, came the Turner +3 desk microphone. This is one of the later +3B models which came in a crinkled black finish. The original +3 desk mike was slate grey. What made this a popular mike was it's speech compression (the Plus 2 has only amplification). Definitely one of my favourite desk mics, and they're built like a tank. It will never leave my bench.

Yaesu MD-200A8X Desk Microphone

This stylish, ultra-fidelity desk microphone is designed for the latest generation of Yaesu HF transceivers. The MD-200A8X employs a studio-quality Polyethylene Teraphthalate Film Dynamic element, optimized for high fidelity SSB operation, allowing faithful reproduction of the operator's voice during operation with negligible distortion. Yaesu's exclusive VSPC (Variable Side Pressure Control) allows the operator to adjust the frequency response of the microphone, from a totally flat response to a high-articulation response with moderate peaking about 2000 Hz. The VSPC technique provides this response control without the distortion and reduced signal-to-noise ratio that can accompany active "equalizer" circuits. The MD-200A8X also includes provision for the incorporation of a user-supplied Dynamic, Magnetic or Crystal microphone element, allowing A-B selection of the supplied dynamic element and the custom element. A slide switch on the base of the mic allows easy switching. This mic also has up-down scanning and transmit LED that are supported by most Yaesu radios. The MD-200A8X is constructed using a heavy-duty aluminum die-cast base and support frame, with a rubber shock absorber for the mic element housing to dampen low frequency vibrations.

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         RON @ VA3ASO.COM 

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