"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Arny Krueger" wrote in message
...
"David Looser" wrote in
message
"Keith G" wrote in message
...

"SpamTrapSeeSig" wrote
in message ...
In article
, Arny
Krueger writes
This begs the question why we don't worry about
reflections on unterminated
CAT5. The reason is that each CAT5 cable connects
only 2 points, and if one
point is disconnected, theres no other device whose
reception is adversely
affected by the reflections.

I don't think that's right.


Arny not right?

*Impossible* - just ask him!


Actually in this instance Arny *is* right.
"SpamTrapSeeSig" misunderstood the point.


Oh David, you're killing Keith. In his world I'm wrong
until proven right. ;-)

It's the same for everybody in these newsgroups! ;-)

No. There are people here whose comments should be taken at face value.


Why?


And others who come close to deserving a blanket dismissal out of hand.


Why?

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
It works just fine for any type of music. Being extremely dead on
the
sides has uses in a multi-mic setup too.

In many instances, hyper-cardiod ís not the best choice.

You're really showing your ignorance, Iain. A 4038 is not a hyper
cardiod.

You described it as being "extremely dead on the sides".
It's a ribbon so that could also mean it's bi-directional.

That's basically what a ribbon is. Bi-directional. Some are modified in an
attempt to alter this - but they're generally specialist mics and of no
real concern here.

You seem to be working very hard to do a "sell" on the
Coles. Do you have half a dozen of them in a shoe box
from Camden market that you can't get rid of:-)

Coles? No. perhaps you're unaware that Coles bought the manufacturing
rights from STC.

They bught mnore than the rights, they bought the parts
inventory, design and tooling, lock stock and barrel
when STC found due to decreasing demand that
peroduction by a company of their size was no
longer viable. It's a good thing that the Coles
partnership did buy it, or the whole lot would
have gone to landfill.

I have just sent them an e-mail and asked for
a catalogue and price list, just out of interest.

If I could borrow one, I would be interested to try
it on cello. Do you have any experience/comments?


And their production numbers would be tiny compared to
STC. I prefer having an original rather than some copy.

Your choice. Have you taken the trouble to compare the
old and new? Your findings would be of interest.

Keep it as your ace up the sleeve, Dave.
I prefer the Telefunken u47:-)

An excellent mic too. But not so versatile as the 3038. Care to guess why?

There is no such microphone as the 3038.

Now if the boot had been on the other foot here, and
I had made such an error, instead recognising it as
the typo it almost certainly is, you would have probably
thrown in a few "liars" and "he's contradicting himself
again" or "he doesn't know what he's talking about".

Or perhapd you would have said "I doubt if he owns
such a mic at all, but has just drooled over them at
some time or other" Pretty sad, Dave.

But if you mean the 4038, well, its versatility cannot have
anything to do with its unobtrusive colour or shape, or its
ease of fitting to a music stand, now can it?

OK I give up.

I am sure you will tell me:-)

Iain

"David Looser" wrote in message
...
"Dave Plowman (News)" wrote

Yes. I have used an acoustic recording machine at Decca.
But by the 1930s the period you were talking about, when
you wrote "Carbon mics were used into the '30s." electrical
recording with ribon mics was well established.

I never said they were used exclusively by the '30s. But perhaps you
throw
away all your equipment when new comes along? If so, why are you farting
around with all those ancient analogue tape recorders? Can't be for the
performance...


Broadcasting House opened in 1932. It seems that whilst carbon mics had
been standard studio provision at Savoy Place, they were not used at BH.
This would also line up with the early 1930s as being the time when
moving-coil loudspeakers began to become standard in domestic radios.

That would make the BBC's "carbon mic" era 1922-1932,. ie. principally the
1920s.

I did not want to contradict Dave or question his
superior knowledge in broadcast related matters,
but I could not work out why, if ribbons were in
use elsewhere from the first days of electrical recording
why they were not in use in broadcasting.

It seems that they were. Thanks for that info
David.


Iain

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
Broadcasting in the 1920s wasn't a "high-fidelity" business. Most
listening was done using earphones that were basically just two
telephone earpieces on a head-band.

Iain knows very little about broadcasting, it seems.

Not of much interest, I'm afraid. I have seen the mics
clipped on to the music stands for violin players:-)

I simply don't believe you've ever seen that done in a radio studio. And
radio is what's being discussed here?

Your term was "broadcast" I, and 200 million others have seen
it done on British TV. You might like to take a look and see
how the Danes and Germans do it. They understand that without
good quality mics properly placed (and therefore highly visible)
the sound will be inferior.

Even so I'd have thought even you might realise why microphones might not
always be in the ideal position in TV. Only requires a moment's thought
for one with some experience who can see beyond the recording studio.

Yes of course I realise. The sound is secondary to the picture.

When radio started in
the UK the majority of discs were acoustically recorded.

Yes. I have used an acoustic recording machine at Decca.
But by the 1930s the period you were talking about, when
you wrote "Carbon mics were used into the '30s." electrical
recording with ribon mics was well established.

I never said they were used exclusively by the '30s. But perhaps you throw
away all your equipment when new comes along?

If you bothered to look at the pics I posted previously, I still
have the Vortexion CBL6 which I bought when I was a teenager.
I also still have the pair of British Film Industries M8 ribon mics
used with this machine. I also have a pair of Kef K1 monitors,
and a Radford STA 100 ex BBC. So lots of goodies


If so, why are you farting
around with all those ancient analogue tape recorders? Can't be for the
performance...

Analogue multitracks, particulaly A80/24/DolbySR
are very much sought after these days in music
projects for basic track laying, keys, drums, bs,
guitars, etc particularly if there are saxophones
and brass to be recorded. After this material is
transferred to a digital workstation for editing
and mixing. Not may facilities have analogue
multitracks for for hire, so the rates are
remunerative.

The three 15ips stereo machines, one LR E200 and
two Studers transfer archive tape material to CDR
from which clients select music for (re)issue.

Without good analogue transfer facilities there would
be no re-issues of pre-digital recordings, and these
make up a considerable share of the market. There
are many companies who specialise in such material
and issue nothing else.

Hope that answers your question:-)


Iain

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

I tend to like the best the world has to offer.

I too, and it certainly isn't the 4038:-)

Not surprising given it's a 40s design...
Are you so stupid you don't realise the context things are said in?

If you said "it is the best the world has to offer" there is
no "context". You are making a claim.

Are you seriously saying that it sounds better
to your ear than an u87 in critical applications
such as male vocal?

Are you seriously saying a U47 'sounds better' in critical applications
than any other?

Nice effort at avoiding my question.
I will answer yours:

There is no "universal mic"
I am saying that the U47 certainly sound better,
in a far greater number of applications than any
ribbon, British or not. As said, try your ribbon
on bass drum, or get Keny Wheeler to blow
into it:-)

In applications such a solo cello or viol da gamba
the u47 is unsurpassed. Pretty amazing for rock
vocals too! There is no "universal mic"

Since you put that forward as an alternative to the 4038.
Which of course it is since they both date from approximately the same
time.

No comparison. Dave:-(


The Coles has none
of the versatilíty of the Neumann either.
Try the Coles on a bass drum:-)))

I've never used a 'Coles' so can't comment.

So try an STC 4038 on a BD.
Equally unsuitable.


Iain

Yes of course I realise. The sound is secondary to the picture.


Try sometime turning the sound off and Vision on, and then the other way
around .. and see which one actually carries more information;!...
--
Tony Sayer

"tony sayer" wrote in message
...
Yes of course I realise. The sound is secondary to the picture.


Try sometime turning the sound off and Vision on, and then the other way
around .. and see which one actually carries more information;!...


It's a well-known fact that radio has better pictures than TV!

:-)

In article ,
Iain Churches wrote:
And their production numbers would be tiny compared to
STC. I prefer having an original rather than some copy.

Your choice. Have you taken the trouble to compare the
old and new? Your findings would be of interest.

Why would I take that trouble? It's of little interest in this day and
age. Many Coles 4038s are bought for display purposes.

Keep it as your ace up the sleeve, Dave.
I prefer the Telefunken u47:-)

An excellent mic too. But not so versatile as the 3038. Care to guess
why?

There is no such microphone as the 3038. Now if the boot had been on the
other foot here, and I had made such an error, instead recognising it as
the typo it almost certainly is, you would have probably thrown in a few
"liars" and "he's contradicting himself again" or "he doesn't know what
he's talking about".

Given I've mentioned the 4038 by its correct name several times in this
thread while you continue to call it a 'Coles', you'd be wrong. Again.

Or perhapd you would have said "I doubt if he owns such a mic at all,
but has just drooled over them at some time or other" Pretty sad, Dave.

But if you mean the 4038, well, its versatility cannot have anything to
do with its unobtrusive colour or shape, or its ease of fitting to a
music stand, now can it?

OK I give up.

I am sure you will tell me:-)

The usual Iain tactic of not answering a direct question. Here it is once
mo-

An excellent mic too (U47). But not so versatile as the 3038. Care to
guess why?

--
*Isn't it a bit unnerving that doctors call what they do "practice?"

Dave Plowman London SW
To e-mail, change noise into sound.

In article ,
Iain Churches wrote:
Not of much interest, I'm afraid. I have seen the mics
clipped on to the music stands for violin players:-)

I simply don't believe you've ever seen that done in a radio studio.
And radio is what's being discussed here?

Your term was "broadcast" I, and 200 million others have seen
it done on British TV. You might like to take a look and see
how the Danes and Germans do it. They understand that without
good quality mics properly placed (and therefore highly visible)
the sound will be inferior.

You mention only seeing those mics attached to a music stand. Did you hear
the results? Are you even certain they were actually in use - and not just
there as set dressing? Lots of questions, you see. Not everything is as it
seems.

Even so I'd have thought even you might realise why microphones might
not always be in the ideal position in TV. Only requires a moment's
thought for one with some experience who can see beyond the recording
studio.

Yes of course I realise. The sound is secondary to the picture.

And correctly so. I can just imagine the likes of you being let lose in a
TV studio with carte blanche. Huge mics obliterating faces...
However, the challenge of marrying decent sound to decent pictures is one
many enjoy.

When radio started in
the UK the majority of discs were acoustically recorded.

Yes. I have used an acoustic recording machine at Decca.
But by the 1930s the period you were talking about, when
you wrote "Carbon mics were used into the '30s." electrical
recording with ribon mics was well established.

I never said they were used exclusively by the '30s. But perhaps you
throw away all your equipment when new comes along?

If you bothered to look at the pics I posted previously, I still
have the Vortexion CBL6 which I bought when I was a teenager.
I also still have the pair of British Film Industries M8 ribon mics
used with this machine. I also have a pair of Kef K1 monitors,
and a Radford STA 100 ex BBC. So lots of goodies

But no carbon mics?

As usual you miss the point. There were only a few years between the
start of radio broadcasting in the UK and the introduction of ribbon mics.
And like all such things there will have been a transition period where
both were in use.


If so, why are you farting
around with all those ancient analogue tape recorders? Can't be for the
performance...

Analogue multitracks, particulaly A80/24/DolbySR
are very much sought after these days in music
projects for basic track laying, keys, drums, bs,
guitars, etc particularly if there are saxophones
and brass to be recorded. After this material is
transferred to a digital workstation for editing
and mixing. Not may facilities have analogue
multitracks for for hire, so the rates are
remunerative.

As I said, not for performance. Otherwise there'd be no 'digital
workstation for editing and mixing'

--
*Heart attacks... God's revenge for eating his animal friends

Dave Plowman London SW
To e-mail, change noise into sound.

In article ,
Iain Churches wrote:
I am saying that the U47 certainly sound better,
in a far greater number of applications than any
ribbon, British or not. As said, try your ribbon
on bass drum, or get Keny Wheeler to blow
into it:-)

Most have more respect for a U87 than to use it on a kick drum. Certain MC
mics are more suited.

--
*I wonder how much deeper the ocean would be without sponges*

Dave Plowman London SW
To e-mail, change noise into sound.