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Microphone Choices: The Children of Chicago and Evanston (This Time For Shure…)

"At The Harmonica Microphone Bench" with Fritz Hasenpusch

by Fritz Hasenpusch

Although Shure Bros. of Chicago followed/trailed the lead of a handful of other manufacturers into the marketing of budget priced Art Deco-inspired communications microphones when they went public with the 705A "Rocket" and the 7A in 1939, it has become apparent that these initial offerings helped to mark the beginning of a design dynasty. Although both models were short-lived (the 705A was to last only through 1941 and, unlike the 7A, would not be "reborn" under a different model number; The 7A both began and ended production in 1939), the impact of these designs would be long lasting and find significance beyond the dreams or even the intentions of Sidney "S.N." Shure, Shure's designers, or marketers. As part of the list of new products in 1939 that was spearheaded by the new 55 Unidyne (the "Fat Elvis mic" used by the skinny Elvis), these mics quickly gained visibility and acceptance with the public. It would be difficult to determine just how much Shure's new low cost communications mics were aided by their association with one of the most recognizable icons in modern design, but it would be easy to see that being sold alongside the 55 was a marketing advantage not available to the dispatch mics produced by other companies.

As previously discussed, the 705A "Rocket" fell a bit short on our SOUND and WORKABILITY chart when assessed for our hand-held-harp purposes due to its high rounded grill and tilting stand mount positioned far forward. But still, it's a great looker. On the other hand, the 7A did just about everything right…

The 7A would mark the beginning of Shure's entry into the La Salle Headlamp Factor sweepstakes and become the quintessential distillation of the Art Deco design that lives on in mics that Shure still produces today (the 520DX). The 7A was initially offered with the peizo-electric crystal element licensed from the Brush Corporation and the satin-brushed chrome finish that it shared with the 55 and 705A. In 1940, both the model number would change to 707, and the finish would change to a progression of grays and silvers. As the unofficial successor to the 7A, the 707 would continue on in production until 1970, with design changes consisting of a proportionate enlargement of the mic's high-pressure zinc cast body and grill, a 90 degree rotation of the grill, placing its two mounting screws at either side of the body, and a succession of variations in the crystal element, now commonly referred to collectively as the R7.

Virtually the same mic can be found but with varying details and labeling produced over the thirty years of its reign. There are the "Brown Bullets" and "Baby Bullets", the "Especially Designed For Recording" models with varying model numbers, those with nickel-plated grills and those with painted grills, those that were custom-branded for others to distribute, and those with no outer markings at all! And all of them sharing the hard-wired cable, crystal element, and the graceful lines of the original Shure 7A.

Next time, more detail on the Shure crystal elements, and we'll ask: "To CM, or not CR. That is the question".

For pictures and descriptions of most of the microphones listed visit
http://www.harmonicamasterclass.com/vintage_collection.htm

To contact Fritz for his Custom Mics or Repair email him at
harpmicman@earthlink.net