EV RE55

[mcp6453]

Based on the accolades by Roy W. Rising (and because of an experience I had with
one 30 years ago) I just bought an EV RE55. While I probably paid too much for
it, they aren't exactly making them any more. It will be interesting to test it
out.

[Roy W. Rising]

Congratulations! I know you will like the mic. My favorite evaluation
technique is A-B comparison (or, for loudspeakers, A-X-Y comparison). I
suggest that you double-track 'raw' the '55 with another mic you really
like, using a familiar voice.

In playback, route everything to a single monitor speaker. Flip-phase one
track and mix them to mono. Adjust the levels for the best null and
restore the phase. Then, using your 'standard' EQ settings on your
reference mic's track, use top and bottom shelving to get a similar
bass/treble balance on the RE55 track.

Flip the phase on one track and again seek the best null.

Now, after a long, ear-relaxing break, A-B the tracks. Let us know your
results.

Of course all you're going to use them for is drums ... ;-)

--
~ Roy
"If you notice the sound, it's wrong!"

[Roy W. Rising]

My comment about using the RE55 only on drums revived an important
recollection.

In the early '70s the music director on The Lawrence Show insisted on a
single RE55 for the drum kit. Placement was a few inches behind the top
edge of the kick drum, essentially in the center of the kit. It sounded
OK, but the player at that time did not give me a valid reference. I've
often wanted to record drums with a clip-on lapel mic to hear what the
player is hearing.

[mcp6453]

That's a great way to test, Roy. We'll see how it goes. Unfortunately, it will
be tested in my "studio" with my voice. Neither is very good.

Thirty years ago, I went into a radio station at which a friend was chief
engineer. The guy on the air had a great voice and was sounding great on the
air. In fact, the mic made his voice sound better than it really was. When I got
there, I checked it out, and it was an RE55. I've never forgotten it.

[Frank Stearns]

Roy W. Rising <rwrising@dsl[omit]extreme.com> writes:

snips

>In the early '70s the music director on The Lawrence Show insisted on a
>single RE55 for the drum kit. Placement was a few inches behind the top
>edge of the kick drum, essentially in the center of the kit. It sounded
>OK, but the player at that time did not give me a valid reference. I've
>often wanted to record drums with a clip-on lapel mic to hear what the
>player is hearing.

Hi Roy -

Occasionally I'll stumble across an old LW from the 70s on PBS, and be intrigued at
the sound. It's clean and everything can be heard, and interesting that all or
nearly every mic on stage is an EV product.

I'm always curious:

- was LW audio all live? Was anything pre-recorded with the band just playing along
for the video?

- if it was live, was it live-mixed to the VTR, or was it multi-tracked and
mixed/sweetened later? (I could tell stories about trying to lock an MM1000-8 and
MM1200-16 to an AVR2, but that's a tale best told another time! <w>)

- were these done in a network studio, such as CBS Television City or NBC Burbank,
or was an independent facility used?

- what console(s) was being used? Much EQ or comp in use?

- anything ever done in stereo?

- recently caught a show from perhaps the late 70s that along with the EVs had what
looked like three U47s in use on brass, but they appeared just a hair too skinny for
47s, yet too fat and not long enough to be the large-diaphragm AKGs of that era.
Does that ring a bell? What was being used?

- I never hear any reverb on the LW shows; I assume that was intentional, or was
there limited access to live chambers or good spring reverb? (Quad-8 made a pretty
good spring unit in those days, if you didn't hit it too hard. At that time digital
reverb was rare (or didn't exist), sounded terrible, and cost the GDP of a small
country. Never saw many plates in TV studios.)

I love this audio history! Thanks for any enlightenment.

Frank Stearns
Mobile Audio
--
.

[Mike Rivers]

On 2/15/2012 8:26 PM, Roy W. Rising wrote:

> I've
> often wanted to record drums with a clip-on lapel mic to hear what the
> player is hearing.

For there was a fad to tape a PZM to the drummer's chest
(hopefully to a shirt) to record the drums as he or she
hears them. I guess it sort of worked, until people got into
"detail" and wanted to hear the tail end of the decay of the
bottom head on the toms.



--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff

[Roy W. Rising]

Mike Rivers <mri...@d-and-d.com> wrote:
> On 2/15/2012 8:26 PM, Roy W. Rising wrote:
>
> > I've
> > often wanted to record drums with a clip-on lapel mic to hear what the
> > player is hearing.
>
> For there was a fad to tape a PZM to the drummer's chest
> (hopefully to a shirt) to record the drums as he or she
> hears them. I guess it sort of worked, until people got into
> "detail" and wanted to hear the tail end of the decay of the
> bottom head on the toms.

Tee hee! So many of the drum "classics" we celebrate were recorded so
differently from what some folks demand.

Solos aside, if we're listening to the details of the drums, we are missing
the program.

[Richard Webb]

On Thu 2012-Feb-16 01:22, Frank Stearns writes:
>>In the early '70s the music director on The Lawrence Show insisted on a
>>single RE55 for the drum kit. Placement was a few inches behind the top
>>edge of the kick drum, essentially in the center of the kit. It sounded
>>OK, but the player at that time did not give me a valid reference. I've
>>often wanted to record drums with a clip-on lapel mic to hear what the
>>player is hearing.

> Occasionally I'll stumble across an old LW from the 70s on PBS, and
> be intrigued at
> the sound. It's clean and everything can be heard, and interesting
> that all or nearly every mic on stage is an EV product.

Never had noticed that, but I've noticed that the audio
holds up rather well, even if I don't care as much for
Lawrence's arrangements. IT still stands up, no matter what I'm listening on, cheap internal speaker in a tv set; tv
audio patched to stereo, etc.
I'd be curious about a lot of things over adn above the
questions Frank asked you Roy, such as monitoring in the
controlroom, etc.

Regards,
Richard
--
| Remove .my.foot for email
| via Waldo's Place USA Fidonet<->Internet Gateway Site
| Standard disclaimer: The views of this user are strictly his own.

[Scott Dorsey]

And how is it?

I haven't used one for years, I just remember using one on a guitar on
stage and getting the cleanest sound, and with gain before feedback that
was better than an SM-57... and wondering "how the hell do they do that
with an omni?"
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[mcp6453]

I haven't gotten it yet. It should be here by Tuesday or Wednesday.

[Steve King]

"mcp6453" <mcp...@gmail.com> wrote in message
news:euWdnXHdlPfN3NzS...@giganews.com...

As a child, well almost, I was working at a radio station in Great Bend, Ks.
A local C & W group wanted to record. We had a couple EV666's, several RCA
77DXs, and a whole bunch of 655s, which I assume were the predecessors of
the RE55. I ended up using the 655s on everything but vocals. There was
certainly no separation, but what the hey, we were recording to a monaural
Magnacord. It turned out way better than it had any right to.

Steve King

[Roy W. Rising]

EV Co-Founder Lou Burroughs always said "Start with an omni. If you hear
too much room, move it closer. Only when you can't move it close enough
should you *consider* a more directional mic." [Emphasis his.] Directional
mics have unpublished and unpredictable off-axis lobes that seem to hunger
for feedback.

I've told here before of setting up an omni EV 635A on a stand about eight
feet from a very accurate side fill monitor. I raised the mic's gain to
the point of feedback and backed it down 6 dB. When the singer arrived for
a sound check, he asked me to turn it down even more.

Omnis could be given better understanding and experimentation. Sometimes
we jump to a perceived problem solver before the problem is revealed. Are
we sometimes missing something?

[mcp6453]

I have NEVER had success using an omni mic, but then again, I don't have a
studio or environment with the right acoustics. When I get the RE55, I'm going
to do some experimentation.

For many years, I was of the opinion that dynamic mics were used only when a
condenser was not available. (Yes, I'm exaggerating - a little.) Since playing
with several dynamic mics, (RE20, PR40, M99, ATR2100) I've changed my opinion.

Roy, please look for the post with questions for you from Richard Webb about
Lawrence Welk. I'm anxious to hear your responses.

[Roy W. Rising]

mcp6453 <mcp...@gmail.com> wrote:
>
> Roy, please look for the post with questions for you from Richard Webb
> about Lawrence Welk. I'm anxious to hear your responses.

I've searched on Richard's name but don't recognize the thread. Do you
recall it's subject?

[mcp6453]

On 2/20/2012 12:19 PM, Roy W. Rising wrote:
> mcp6453 <mcp...@gmail.com> wrote:
>>
>> Roy, please look for the post with questions for you from Richard Webb
>> about Lawrence Welk. I'm anxious to hear your responses.
>
> I've searched on Richard's name but don't recognize the thread. Do you
> recall it's subject?
>

Sorry, it's from Frank Stearns earlier in this same thread. Here it is, copied
and pasted. (By the way, if you replied, it didn't show up on my newsgroup
server, so don't do it twice.)

Hi Roy -

Occasionally I'll stumble across an old LW from the 70s on PBS, and be intrigued at
the sound. It's clean and everything can be heard, and interesting that all or
nearly every mic on stage is an EV product.

[Roy W. Rising]

Richard.We...@116-901.ftn.wpusa.dynip.com (Richard Webb) wrote:
> On Thu 2012-Feb-16 01:22, Frank Stearns writes:
> >>In the early '70s the music director on The Lawrence Show insisted on a
> >>single RE55 for the drum kit. Placement was a few inches behind the
> >>top edge of the kick drum, essentially in the center of the kit. It
> >>sounded OK, but the player at that time did not give me a valid
> >>reference. I've often wanted to record drums with a clip-on lapel mic
> >>to hear what the player is hearing.
>
> > Occasionally I'll stumble across an old LW from the 70s on PBS, and
> > be intrigued at
> > the sound. It's clean and everything can be heard, and interesting
> > that all or nearly every mic on stage is an EV product.
>
> Never had noticed that, but I've noticed that the audio
> holds up rather well, even if I don't care as much for
> Lawrence's arrangements. IT still stands up, no matter what I'm
> listening on, cheap internal speaker in a tv set; tv audio patched to
> stereo, etc. I'd be curious about a lot of things over adn above the
> questions Frank asked you Roy, such as monitoring in the
> controlroom, etc.
>
> Regards,
> Richard

I mixed the Welk show for three seasons ~ '71-'73. During that time EV
666s were replaced by RE15s. The 635A was my hand mic of choice and there
were Beyer M-160s on the booms. Control room monitoring had changed from
JBL components in custom boxes to EV Sentry IA and IIA. A TV orchestra
without baffles means mixing leakage. The RE15 delivers very good leakage.

The strings were on a riser behind the reeds/woodwinds. I set the violin
RE15s with their "dead" angle pointed at the reeds and suitable for the
strings when the players were standing. When seated, the instruments were
closer and in the side of the pattern. One violinist insisted on angling
his mic differently when he was seated. I always could hear the change in
reed leakage and repeatedly had to ask my A2 to fix it. Finally, when the
musicians were returning from a break, my A2 appeared to be tuning the
violinist's instrument. After a brief hissy fit, the musician agreed not
to touch *our* instruments.

The show was a great laboratory, it helped me refine techniques.

[Frank Stearns]

Roy W. Rising <rwrising@dsl[omit]extreme.com> writes:

snips

>reed leakage and repeatedly had to ask my A2 to fix it. Finally, when the
>musicians were returning from a break, my A2 appeared to be tuning the
>violinist's instrument. After a brief hissy fit, the musician agreed not
>to touch *our* instruments.

What an amusing way to handle that!! Dangerous, but great!

>The show was a great laboratory, it helped me refine techniques.

So it was *all live*, no pre-records?

How did you happen to land the gig for those three years?

Any over-arching thoughts on how this experience contributed to those refinements?

Thanks again for the history,

Frank
Mobile Audio
--
.

[Roy W. Rising]

Frank Stearns wrote:
>
> Hi Roy -
>
> Occasionally I'll stumble across an old LW from the 70s on PBS, and be
> intrigued at the sound. It's clean and everything can be heard, and
> interesting that all or nearly every mic on stage is an EV product.
>
> I'm always curious:
>
> - was LW audio all live? Was anything pre-recorded with the band just
> playing along for the video?
>
> - if it was live, was it live-mixed to the VTR, or was it multi-tracked
> and mixed/sweetened later? (I could tell stories about trying to lock an
> MM1000-8 and MM1200-16 to an AVR2, but that's a tale best told another
> time! <w>)
>
> - were these done in a network studio, such as CBS Television City or NBC
> Burbank, or was an independent facility used?

During its years on the ABC-TV network, the show was produced at ABC's
Television Center at Prospect & Talmadge in Hollywood. Syndication began
in 1973 and the show taped at CBS Television City for a few years before
returning to ABC's TVC. I mixed the show for the '71-'73 seasons.

Throughout its history, the show was either live to the network or live to
videotape. It was done "an hour in an hour" and tape stops were virtually
forbidden. I recall Mr. Welk bragging when someone made a mistake ... "You
see, my Musical Family is made of real people!"

In the earlier years, pre-recorded material was done on the same stage at
ABC on the day of the show taping. Later, pre-records came from an outside
recording studio, where the show also rehearsed.

When I joined the show, most of the numbers were pre-recorded. Slowly, Mr.
Welk recognized the vitality of live performance and liked my work. In my
third season most numbers were live, pre-recording was reserved for a few
specific performers, plus large "production numbers" that would be more
difficult to capture live.

>
> - what console(s) was being used? Much EQ or comp in use?

A custom-built console by McCurdy Radio of Canada was in place from the
late '60s into the '80s. EQ was simple Hi/Lo shelving plus 3- or 6KHz
"haystack" mids, and limited to the 12 submaster channels plus two
patchable spares. There were four LA-2As, I used one on vocals and one on
bass. For the rest, I rode levels.

>
> - anything ever done in stereo?

Maybe some later shows, I'm not sure.

>
> - recently caught a show from perhaps the late 70s that along with the
> EVs had what looked like three U47s in use on brass, but they appeared
> just a hair too skinny for
> 47s, yet too fat and not long enough to be the large-diaphragm AKGs of
> that era. Does that ring a bell? What was being used?

I'm not sure, I think that was while the show was at CBS.

>
> - I never hear any reverb on the LW shows; I assume that was intentional,
> or was there limited access to live chambers or good spring reverb?
> (Quad-8 made a pretty good spring unit in those days, if you didn't hit
> it too hard. At that time digital reverb was rare (or didn't exist),
> sounded terrible, and cost the GDP of a small country. Never saw many
> plates in TV studios.)

The PBS re-packaging of the show added some stereo reverb. ABC had EMT
plates. When I joined the show, I was told "no reverb". I cheated on
vocals, strings and woodwinds, and no one complained. Indeed, I would
sneak into the room where the plate was located and advance the RT60 from
the "standard" 2s to about 2.5s, restoring it after the show.

>
> I love this audio history! Thanks for any enlightenment.
>
> Frank Stearns
> Mobile Audio
> -- .

Thanks for asking.

[hank alrich]

Roy W. Rising <rwrising@dsl[omit]extreme.com> wrote:

> One violinist insisted on angling
> his mic differently when he was seated. I always could hear the change in
> reed leakage and repeatedly had to ask my A2 to fix it. Finally, when the
> musicians were returning from a break, my A2 appeared to be tuning the
> violinist's instrument. After a brief hissy fit, the musician agreed not
> to touch *our* instruments.

That makes my day, Roy!

--
shut up and play your guitar * http://hankalrich.com/
http://www.youtube.com/walkinaymusic
http://www.sonicbids.com/HankandShaidri

[Roy W. Rising]

Frank Stearns <franks.pa...@pacifier.net> wrote:
> Roy W. Rising <rwrising@dsl[omit]extreme.com> writes:
>
> snips
>
> >reed leakage and repeatedly had to ask my A2 to fix it. Finally, when
> >the musicians were returning from a break, my A2 appeared to be tuning
> >the violinist's instrument. After a brief hissy fit, the musician
> >agreed not to touch *our* instruments.
>
> What an amusing way to handle that!! Dangerous, but great!
>
> >The show was a great laboratory, it helped me refine techniques.
>
> So it was *all live*, no pre-records?

See my other post.

>
> How did you happen to land the gig for those three years?

The politics of the time displaced me from the "big" shows ... Tom Jones,
Pearl Bailey, Smothers Brothers, etc. and "dumped" me on the Welk show
where my help was found welcome.

>
> Any over-arching thoughts on how this experience contributed to those
> refinements?

Avoid "monkey-see, monkey-do". Just because it worked on "that" over
"there" doesn't mean it will work on "this", here and now. Always have
alternate tools in the kit, be ready to take a well-reasoned chance to
learn. Also, "Keep your back to the knife so you'll know who is holding
it". ;-)

>
> Thanks again for the history,
>
> Frank
> Mobile Audio

You're welcome.

[Frank Stearns]

Roy W. Rising <rwrising@dsl[omit]extreme.com> writes:

snips

>> Any over-arching thoughts on how this experience contributed to those
>> refinements?

>Avoid "monkey-see, monkey-do". Just because it worked on "that" over
>"there" doesn't mean it will work on "this", here and now. Always have
>alternate tools in the kit, be ready to take a well-reasoned chance to
>learn. Also, "Keep your back to the knife so you'll know who is holding
>it". ;-)

Short and sweet; excellent, excellent advice. If I may, I might quote you in
the future, with proper attribution, of course!

Thank you again,

[david gourley]

Roy W. Rising <rwrising@dsl[omit]extreme.com>

said...news:20120220140833.313$a...@newsreader.com:

That was a terrific read - thanks !

david

[Richard Webb]

On Mon 2012-Feb-20 13:13, Roy W. Rising writes;

>> Never had noticed that, but I've noticed that the audio

.> holds up rather well, even if I don't care as much for

>> Lawrence's arrangements. IT still stands up, no matter what I'm
>> listening on, cheap internal speaker in a tv set; tv audio patched to
>> stereo, etc. I'd be curious about a lot of things over adn above the
>> questions Frank asked you Roy, such as monitoring in the
>> controlroom, etc.

> I mixed the Welk show for three seasons ~ '71-'73. During that
> time EV 666s were replaced by RE15s. The 635A was my hand mic of
> choice and there were Beyer M-160s on the booms. Control room
> monitoring had changed from JBL components in custom boxes to EV
> Sentry IA and IIA. A TV orchestra without baffles means mixing
> leakage. The RE15 delivers very good leakage.

Cool! Thanks for all the details. I remember the 666, used them in the past myself.

> The strings were on a riser behind the reeds/woodwinds. I set the
> violin RE15s with their "dead" angle pointed at the reeds and
> suitable for the strings when the players were standing. When
> seated, the instruments were closer and in the side of the pattern.
> One violinist insisted on angling his mic differently when he was
> seated. I always could hear the change in reed leakage and
> repeatedly had to ask my A2 to fix it. Finally, when the musicians
> were returning from a break, my A2 appeared to be tuning the
> violinist's instrument. After a brief hissy fit, the musician
> agreed not to touch *our* instruments.

<rotfl!!!> Love that story.

Just the sort of post i read this group for. Thanks again
roy!

[hank alrich]

Thanks for answering, Roy! My folks watched the show starting in its
early days, and I remember it well. It was both the corniest thing I
could never imagine and a wonderful conduit for some terrific
musicianship, which I found fascinating well before I started playing
guitar.

I've read some about the show from time to time, well before I owned a
computer. I went searchin' for additonal tidbits and here are link and a
few quotes from a cursory exploration:

www.welkmusicalfamily.com/welkhistory.html

"In 1951, Lawrence and his band set out for an engagement in Southern
California, and liked it so much he stayed...performing at the Aragon
Ballroom in Santa Monica, where local TV station KTLA began broadcasting
his performances.

"Then in 1955...the ABC network came calling"...


http://www.welknotes.com/WelkHistoryArticle.htm

"The "Lawrence Welk Show" was both interesting and exciting to do.
There was no rehearsal. It was a procedure of counting musical bars
and switching and dissolving between three cameras, to the beat of
the music, while referring to a special music cue sheet that Lawrence
would provide each week.

"The sheet had no music on it, but instead, a sequential listing of the
band sections (musical instrument groups), along with the number
of musical bars played by each, as each musical arrangement
progressed. (i.e., 16 bars of violins, followed by 16 bars of brass
section, followed by 8 bars of organ, etc. "


http://en.wikipedia.org/wiki/Lawrence_Welk

"Welk's musicians were always top quality, including accordionist Myron
Floren, concert violinist Dick Kesner, guitarist Buddy Merrill, and New
Orleans Dixieland clarinetist Pete Fountain. Though Welk was
occasionally rumored to be very tight with a dollar, he paid his regular
band members top scale - a very good living for a working musician. Long
tenure was very common among the regulars. For example, Floren was the
band's assistant conductor throughout the show's run. He was noted for
spotlighting individual members of his band and show. His band was well
disciplined and had excellent arrangements in all styles. One notable
showcase was his album with the noted jazz saxophonist Johnny Hodges."


http://en.wikipedia.org/wiki/The_Lawrence_Welk_Show

"When the show began, it was billed as the Dodge Dancing Party from 1955
to 1959. During 1956-59, Lawrence Welk was broadcast two nights per
week. The second show's title was Lawrence Welk's Top Tunes and New
Talent Show (1956–58) and then Lawrence Welk's Plymouth Show, after
another Chrysler vehicle (1958–59). The Plymouth show was the first
American television program to air in stereophonic sound. Due to the
fact that stereophonic television had not yet been invented (it would be
25 more years before it would become standard), ABC instead simulcast
the show on its radio network, with the TV side airing one audio channel
and the radio side airing the other; viewers would tune in both the TV
and the radio to achieve the stereophonic effect.[4][5] Starting with
the 1959-60 season the two shows were merged into The Lawrence Welk
Show, reverting to monaural broadcasts."

[PStamler]

I too was a regular Welk listener well into my teens. That may be
where I acquired a love for polkas (along with growing up on the south
side of Chicago). Also ragtime piano, thanks to Jo Ann Castle. (Later,
and more subtle, Josh Rifkin.)

I don't claim to have had great ear abilities back then, but it always
sounded clear and clean through the speaker in our RCA console TV, and
that's more than I could say for a lot of programs. Roy, this would
have been a few years before your tenure.

Peace.
Paul

[Richard Webb]

On Mon 2012-Feb-20 21:57, hank alrich writes:
> Thanks for answering, Roy! My folks watched the show starting in its
> early days, and I remember it well. It was both the corniest thing I
> could never imagine and a wonderful conduit for some terrific
> musicianship, which I found fascinating well before I started
> playing guitar.

As with my folks, my grandmother wouldn't miss it!
sOmetimes I'd be both attracted and repulsed by some fo the
arrangements.

Back when I was in high high school my mother read me
Lawrence's biography "wunnerful wunnerful" iirc was the
title. IT didn't touch a lot on the television years, but
his years touring, growing up, etc. Thanks for the link, I
sent it to mom.
Thanks again to Roy for some of the technical details. Like Frank I'll probably quote his "lessons learned" as well with proper attribution in the future. Good thread!

[Ty Ford]

On Tue, 21 Feb 2012 14:20:10 -0500, Richard Webb wrote
(in article <521_2012...@ftn.wpusa.dynip.com>):

One of my favorite LW moments

http://www.youtube.com/watch?v=Ye3ecDYxOkg

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Roy W. Rising]

Ty Ford <tyre...@comcast.net> wrote:
> One of my favorite LW moments
>
> http://www.youtube.com/watch?v=Ye3ecDYxOkg
>
> Regards,
>
> Ty Ford

"One Toke Over the Line" wasn't the only tune that was misunderstood.
Somewhere I have a tape of Welk's "Green Tambourine" ... amazingly square
for a round instrument. In the late '60s I remember catching the scent of
cannabis in the show's dressing room area.

[Don Pearce]

On Wed, 22 Feb 2012 15:18:39 -0500, Ty Ford <tyre...@comcast.net>
wrote:

>One of my favorite LW moments
>
>http://www.youtube.com/watch?v=Ye3ecDYxOkg

Holy crap, are they real? I think I'd rather go for this. At least you
know she isn't doing it with her brother.

d

[Scott Dorsey]

As opposed to the Osmonds?

[mcp6453]

On 2/22/2012 10:18 PM, Scott Dorsey wrote:
> Don Pearce <sp...@spam.com> wrote:
>> On Wed, 22 Feb 2012 15:18:39 -0500, Ty Ford <tyre...@comcast.net>
>> wrote:
>>
>>> One of my favorite LW moments
>>>
>>> http://www.youtube.com/watch?v=Ye3ecDYxOkg
>>
>> Holy crap, are they real? I think I'd rather go for this. At least you
>> know she isn't doing it with her brother.
>
> As opposed to the Osmonds?
> --scott

The video was uploaded by Tom Shipley, of all people.

[Ty Ford]

On Wed, 22 Feb 2012 17:15:35 -0500, Don Pearce wrote
(in article <4f456832...@news.eternal-september.org>):

An update on Dick Dale: http://www.dickdale.com/history.html

[Don Pearce]

On Wed, 22 Feb 2012 23:33:00 -0500, Ty Ford <tyre...@comcast.net>

wrote:

>On Wed, 22 Feb 2012 17:15:35 -0500, Don Pearce wrote
>(in article <4f456832...@news.eternal-september.org>):
>
>> On Wed, 22 Feb 2012 15:18:39 -0500, Ty Ford <tyre...@comcast.net>
>> wrote:
>>
>>> One of my favorite LW moments
>>>
>>> http://www.youtube.com/watch?v=Ye3ecDYxOkg
>>
>> Holy crap, are they real? I think I'd rather go for this. At least you
>> know she isn't doing it with her brother.
>>
>> d
>
>An update on Dick Dale: http://www.dickdale.com/history.html
>

Never realised he predated Hendrix in using a right handed Strat,
strung right handed but played left handed. Swingin' and Surfin' is
still exciting.

d

[Scott Dorsey]

In article <20120222170144.877$H...@newsreader.com>,

Roy W. Rising <rwrising@dsl[omit]extreme.com> wrote:

>Ty Ford <tyre...@comcast.net> wrote:
>> One of my favorite LW moments
>>
>> http://www.youtube.com/watch?v=Ye3ecDYxOkg
>

>"One Toke Over the Line" wasn't the only tune that was misunderstood.
>Somewhere I have a tape of Welk's "Green Tambourine" ... amazingly square
>for a round instrument. In the late '60s I remember catching the scent of
>cannabis in the show's dressing room area.

http://www.youtube.com/watch?v=GC-Ad2TwFZQ

They do the flanging sounds with a fiddle!

[Doug McDonald]

Back on the topic of the EV RE55:

why would EV stop making, as far as I can tell,
the RE55 or ANY successor omni, flat frequency
response dynamic mike?

Are there such things still available, at least at that price level?
Most dynamic omnis seem to have large treble boosts or serious rough
response wiggles.

Doug McDonald

[mcp6453]

On 2/19/2012 1:25 PM, Scott Dorsey wrote:
> mcp6453 <mcp...@gmail.com> wrote:
>> Based on the accolades by Roy W. Rising (and because of an experience I had with
>> one 30 years ago) I just bought an EV RE55. While I probably paid too much for
>> it, they aren't exactly making them any more. It will be interesting to test it
>> out.
>
> And how is it?
>
> I haven't used one for years, I just remember using one on a guitar on
> stage and getting the cleanest sound, and with gain before feedback that
> was better than an SM-57... and wondering "how the hell do they do that
> with an omni?"

Now that I have had a little time to play, I can report that the mic has a very
natural sound to it. I'm going to try a different preamp in the near future as
the one I used is not very good. Unfortunately, the acoustics of my studio are
not good. It's easy to tell it's an omni because of room reflections.
Nevertheless, I can already tell that in a proper studio environment, this mic
could be very useful.

[mcp6453]

Just find one on eBay and buy it. The one I bought was not that expensive. When
I got mine, the windscreen was crooked, and the screw holding the windscreen
looked bent. However, I was quickly able to massage the windscreen into
position. When I took the screw out, I found that it was not bent at all - it
just wasn't screwed in correctly. Once I screwed it in, with the windscreen
properly seated, the mic looks almost new. I assume it is is performing as a new
one would.

[Scott Dorsey]

Doug McDonald <mcdo...@scs.uiuc.edu> wrote:
>Back on the topic of the EV RE55:
>
>why would EV stop making, as far as I can tell,
>the RE55 or ANY successor omni, flat frequency
>response dynamic mike?

Because it costs a lot to make, and it's hard to sell in quantitites.

>Are there such things still available, at least at that price level?
>Most dynamic omnis seem to have large treble boosts or serious rough
>response wiggles.

I talked to someone at Shure when they discontinued the SM80 omni
condenser mike. The guy said they sold so many thousand SM81s that year,
and nine SM80s.

[Les Cargill]

I imagine that happened a lot. I've seen it in the wild twice.

> Swingin' and Surfin' is
> still exciting.
>
> d

--
Les Cargill

[Les Cargill]

With an omni, you can get as close as you need to without any
proximity effect. This will have all the ugly that goes with getting
that close, but maybe that's better than room ugly.

--
Les Cargill

[mcp6453]

On 2/23/2012 1:39 PM, Scott Dorsey wrote:
> Doug McDonald <mcdo...@scs.uiuc.edu> wrote:
>> Back on the topic of the EV RE55:
>>
>> why would EV stop making, as far as I can tell,
>> the RE55 or ANY successor omni, flat frequency
>> response dynamic mike?
>
> Because it costs a lot to make, and it's hard to sell in quantitites.
>
>> Are there such things still available, at least at that price level?
>> Most dynamic omnis seem to have large treble boosts or serious rough
>> response wiggles.
>
> I talked to someone at Shure when they discontinued the SM80 omni
> condenser mike. The guy said they sold so many thousand SM81s that year,
> and nine SM80s.

There's a nice RE55 on eBay at the moment.

[Mike Rivers]

On 3/7/2012 10:51 PM, mcp6453 wrote:

> There's a nice RE55 on eBay at the moment.

How do you know thtat it's "nice?" Are you the seller?

--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff

[mcp6453]

On 3/8/2012 7:41 AM, Mike Rivers wrote:
> On 3/7/2012 10:51 PM, mcp6453 wrote:
>
>> There's a nice RE55 on eBay at the moment.
>
> How do you know thtat it's "nice?" Are you the seller?

Okay, there is a nice "looking" RE55 on eBay. No, I'm not the seller.

[Peter Larsen]

Sennheiser MD211 is hard to outdo. Durable too, one was used for two-way
communication during a mine rescue. Great for vox at 8 inches with a foam
windscreen.

Kind regards

Peter Larsen

[Roy W. Rising]

The MD211 is a fine omni but lacks the low-end response of the RE55.

[Peter Larsen]

Roy W. Rising wrote:

> The MD211 is a fine omni but lacks the low-end response of the RE55.

It has a clean impulse - I used it for close miked kick with a bass boost on
the channel - if you don't want that then there is the MD21 with its
apparent 50 Hz resonator.

I'll grab an RE55 if I get a chance, including budget permitting, it took me
two years to find a MD211n again.

Kind regards

Peter Larsen

[nsha...@gmail.com]

L#★**##№№q1