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Discussion in 'Amps, Mics & Pickups [DB]' started by tito mangialajo, Dec 9, 2018.
Do you know what kind of microphone uses Mr. P.C. here? I think it's a studio session...
Could be a Neumann CMV3 although the capsule housing looks a bit larger than I recall.
The U47 and M49 came later as an improvement on that design but with the same excellent M7 capsule. Both are great on bass IMO and along with the AEA (RCA) 44BX my favourite bass mics.
Based on the logo it's most likely a Neumann, great studio microphones, premium price. Not one I'd personally use for live performance, but you already knew that.
No, it is not similar. The mic you show is a omni with an APE, looks like the k133 which I have three of. Completely useless mic for bass and this capsule design with an APE came first with the M50 and was never made in a bottle mic version by Neumann. It is designed as an orchestral main mic and pretty much never used for anything close.
Great to know
It's one of Francis Wolf's photos from a Blue Note recording session from when Rudy Van Gelder was still recording at his family home (see the Venetian blinds in the background)....
Who has PC's bass? Does anyone know what happened to it, who's got it?
I believe the family still has it, somewhere that was mentioned in an article I read
If that was at Rudys studio it is almost certainly a neumann, and it looks to me like theres a second mike, further down right below bridge level.
His action looks pretty low for guts too. Must be the angle...
It surely does dosen’t it. Before adjustable bridges, most players had
a winter and summer bridge that they
swapped out at the begining of the fall and spring seasons it could be that the bridge was to low due to seasonal moisture changes.
The late great John Neves knew Paul. When I was a student of John’s he told me Paul was incredibly adept at playing any string height. John brought a bass to Paul with extraordinary high string height and P.C. loved it.
Could be a Telefunken-badged Schoeps microphone. Van Gelder used Schoeps quite a bit, I think.
That doesn’t surprise me at all. Paul had studied and played in the orchestra at Cass Tech in Detroit. He played in the student orchestra so he would have experienced basses with high action, as that was way more common before steel strings came along. He
also toured extensively with Coltrane and others in Europe and they didn't usually take their basses with them, so he would have had to adapt to whatever loaner bass provided for him, when he was out of the United States. According to John Clayton there was a list
of players and shops who regularly loaned their instruments out in Europe.
That is the one. I actually thought this Telefunken was a Neumann rebrand and just a variant on the M7 housing, but this is the one. One of the few Schoeps I have never owned or even heard. Is this the CM51 with a capsule/housing I am unfamilliar with? Guessing N5 or U.
I read somewhere once, a long time ago, that Rudy was notorious for changing out microphones during photo shoots to “hide his secrets.” Wish I could remember the reference.
It is a CM51, but I'm not sure what's going on at the top. Maybe it's just a windscreen housing over the capsule? Van Gelder always seemed to put the windscreen on his small diaphragm Schoeps mics in photos I've seen. Maybe just so no one could see which capsule he was using...
Fascinating, he was a bit of a odd duck from what I've read.
Paul Warburton wrote somewhere that PC played guts on top of steel EA and that Haden`s setup would have been close to what PC used. That would explain lower than all gut action?
It's a small world. I'm 73 years old. When I was @ 7 (1952) my mother took my brother (11 at the time) and myself to Rudy Van Gelder's studio, a living room, maybe at his parent's house, in New Jersey, to record a recorder (Blockflöte) duet for my father's birthday. I still remember it well, and sometimes wonder if it set an unintended (by my mother) life course of playing in recording (tape) studios. And... the Bluenote years of Rudy Van Gelder still sound to me like the best recorded jazz before or since. What ears he must have had.