Mel Bay's Harmonica Sessions | Microphone Choices: Non-U.N. Translators and the Gear Between… "At The Harmonica Microphone Bench" - Fritz Hasenpusch

Imagine just for a moment that our Harpmobile is cruising the concrete canyons of Lower Manhattan, New York City. Near the East River, we come upon that venerable center for mankind's efforts toward diplomacy and a greater self-understanding, the United Nations building. Inside the U.N., these efforts are assisted by specialists who have the ability to transform languages from one into another. We call them Translators. Now imagine how much more difficult it would be for all of the various dialects to express themselves and interact with fellow members without these Translators in place? TOTAL CHAOS! So… Back in the Harpmobile, what can we learn from this?

Communication. Getting the information across, making the point. Whether it's through the language of the lyrics in a song or hitting that draw bend just right, it's the successful transfer of the info that matters. If the mail doesn't get there, nobody reads your letter… Although perhaps not as apparent or tangible, this applies to the electronic (hence audio) aspect of the equation as well: If all your gear isn't "speaking the same language" your message may become muted, or not make it down the chain of command at all…

The Gear Between

We've discussed the SOUND and WORKABILITY factors of many types of microphones and how many of these factors are influenced by their inherent physical and electronic traits, resulting in some very specific characteristics that must be considered and dealt with if you're to be heard as you wish to be heard. Much in the way that the difficulties and barriers of verbal language can cause a failure of communication, the variables in the nature of electronic audio signals and their requirements can stand between you and THAT SOUND you want to achieve. Being made aware of your gear's requirements and how to meet them is crucial. Solutions can be as simple as the length or type of wire employed at an input or as abstract as providing an external (Phantom) power supply, as is the case with Condenser Mics…

In the domain of Saint Harmonica, most of these electronic language issues have to do with IMPEDANCE mismatches between the microphone of choice and whatever would be placed next to it (effects box, wireless, amplifier). While there are handy formulas to help determine the details, a good rule of thumb is TOO HIGH/TOO LOW=TOO BAD. The point being that you'll want your gear speaking in impedances that are as similar as can be realistically attained to insure their proper operation and the desired sonic results.

A common example of a mismatch and its cure: The typical crystal element is extremely HIGH IMPEDANCE and needs to "see" an input with a value of a minimum 1 MEGAOHM. It's no coincidence that the tube gear developed at that time commonly employed 1MEG. Mic. Inputs. When fed into an input of significantly lower value, such as those of a "modern" musical instrument amp (often SOLID-STATE) designed to amplify guitar or keyboards, the bottom falls out of its response curve-literally! It loses proportionately more of its lower frequency response the lower the impedance of the input it's connected to. Since much of THAT SOUND lives at the lower end of the response curve, you can see (and hear) the consequences. There are simple in-line transformers that can correct this impedance mismatch. There's also a new array of "buffered" gear and-GULP!-preamps intended specifically for use with our venerated Tin Sandwich and the microphones we love. Cruel hoax or miracle?

THE SONIC SPITBALL… Next Time, on THE MIC BENCH

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