Tenor saxaphone solo into the TELEFUNKEN U47
Tenor saxaphone solo into the TELEFUNKEN U47 (view less)
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TELEFUNKEN Elektroakustik U-48 Microphone, from TELEFUNKEN
Telefunken Microphones - NAMM 2010
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Telefunken Elektroakustik Microphones explores their entire line at the NAMM 2010 show. The line consists of some extremely well built affordable microphones from their RFT series, as well as the out...
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Telefunken Elektroakustik Microphones explores their entire line at the NAMM 2010 show. The line consists of some extremely well built affordable microphones from their RFT series, as well as the outstanding M80 dynamic microphone, and of course, their flagship line of museum-quality replicas of the most famous vintage microphones ever built, such as the Telefunken (Neumann and AKG) Vintage microphones the ELAM 251, U47, U48, C12, and many others. They go through the entire line in some detail at the NAMM 2010 show. Sound Pure proudly represents the entire line, and has numerous mics of theirs on demo, including all of the flagship staples in stock. Call Sound Pure to discuss your microphone needs, toll free, 888-528-9703
Jazz tenor saxaphone solo
(click to download)
TELEFUNKEN Elektroakustik U-47 Microphone >
Vintech Audio X73 (Neve 1073 Replica) Pre/EQ >
Lynx Aurora 16 I/O D/A and A/D Converter
Description:
Specs:
Type:Condenser Pressure Gradient
Capsule:M7 - dual sided gold sputtered center terminated
Frequency Range:20Hz / 20kHz Polar Pattern:Cardioid and Figure-8
Sensitivity:approx 1.2 mvolts per dyne / cm sq
Impedance:200 ohms stock / 50 ohms switchable
SPL:138 dB
Non Linear Distortion:less than or equal to 0.5% at 100 dyne / cm sq
Equivalent Noise:24 dB
Tube Type:TELEFUNKEN Elektroakustik VF14K metal tube
Power:Dedicated Power Supply
Weight:22oz (624g)
Size:9 3/4" (248mm) length x 2 1/4" (57mm) diameter
Extras:Locking Case, NG Style Power Supply, Shock Mount, Wooden Box
Description:
10 years subsequent to the release of the ubiquitous U-47, the U-48 was released with one variation to the U-47; it had "bi-directional" (figure 8) capability. While the head assembly from a U-47 can be fitted to a U-48 amplifier, the same does not work in reverse.
According to the book Recording The Beatles, the U-48 was one of George Martin's favorite microphones when actually "recording the Beatles". The bi-directional capability can be very useful in more "ambient" recording environments where the engineer recording the sound does not want hear as much of the room ambience as might be recorded with an omni-directional or cardioid pick-up pattern.
A microphone's capsule is often made of two sides. The front diaphragm will produce a cardioid response, as will the rear. When the two diaphragms are polarized in the same polarity an "omni-directional" effect is achieved. When they are polarized in opposite polarity a figure 8 pattern is created.
This is not an acoustic pattern creation; it is an electronic pattern creation. All microphone capsules are omni-directional in the low frequency regions of their response. As you climb the frequency spectrum the capsule will have a more directional response.
When you have two identical diaphragms with identical voltage to those diaphragms you will have a smooth "omni-directional" response. When those voltages are reversed, an electronic cancellation of common information is achieved; the result is two "lobes", one on the front of the microphone, one on the rear of the microphone, with full frequency cancellation through the frequency range achieved through electronic cancellation.
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