Categories
Pro Audio Archive The 4-Track

Fostex “Creative Sound Systems” 1981 full catalog

Fostex_250Download the complete 12pp Fostex “Creative Sound Systems” 1981 (???) catalog:

DOWNLOAD: Fostex_1981_Catalog

Models covered in great detail include: Fostex A-8, A-4, A-2 1/4″ tape machines; Fostex 250 cassette four-track; and the Fostex 350 8x4x2 mixer.

Fostex_350_MixerInteresting feature on the 350 – and something that’s not at all obvious from the top surface – it has 2 stereo RIAA phono preamps which are patchable on the rear of the unit, presumably to whichever inputs or external gear you like.

I’ve uploaded a ton of information on these machines before (see here, here, and here), so dig back if you want more commentary…  otherwise i’ll let the catalog speak for itself…

Fostex_A4Fostx_A8 Fostex_A2

Categories
Microphones

Fostex “Regular Phase” Microphones c. 1980

Fostex_M88Download the 4pp 1980 catalog for the original Fostex “Regular Phase” microphone line:

DOWNLOAD: fostex_mics_1980

Models covered, with text, specs, and photos, include: Fostex M85RP, M88RP, M80RP, M77RP, and M55RP.

Fostex_M88_M77These mics, like the Fostex RP headphones, use a unique method of transduction that combines elements of dynamic, ribbon, and condenser-mic design.  I’m not 100% sure why they are termed ‘regular phase,’ but I suspect that it might be because the design works without any driver suspension.  You may not have realized before, but consider a generic woofer, and the acordian folds in the suspension:  at any moment of driver excursion, portions of the suspension will necessarily be moving out-of-phase with the cone.  This is a significant cause of transducer distortion.  By eliminating the suspension, that particular distortion factor is eliminated.  Here’s a cutaway of the Fostex design:

Fostex_Diagram

I’ve seen a few of these things on eBay from time to time, generally from ex-US sellers, and I’ve never seen one in the flesh, so I imagine that they are pretty rare in the US.  The catalog that I’ve scanned above was actually printed in Canada, so I can’t even say for sure if these were sold in the US.  I am super-curious, though, as I have always really loved the Fostex RP headphone line (I own a pair of T50, a pair of T40, and several pairs of T20s), and I’ve also had good luck with the classic Fostex full-range Banana Cone hi-fi drivers, so these mics seem like something I might dig.  Anyone?

Fostex_specs

Categories
Early Electronic Music

The Best Books About Synthesis History You’ll Ever (be unable to) Read

Milan_Gustar_Cover_2MilanGustar_Cover_2

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I was recently at the excellent DOX center in Prague to see a mid-career retrospective of the Czech composer/artist Milan Gustar. Gustar could be described as a minimalist electronic composer.  His pieces seem concerned with the perception of sound and with systems of describing, organizing, and controlling sound.  One of the two pieces on display for actual playback (as opposed to simply a graphic score) was his TWIST; it was quite beautiful, and you can hear it here.  Anyhow, Gustar’s work has unsurprisingly also taken him into the realm of research, and at the DOX I was able to purchase the two above-depicted hardbound Czech-language volumes, approx. 400pp and 500pp respectively.  Although I can decipher very little of the text, these books are incredibly fascinating, with hundreds of photos and diagrams, and offer an extremely detailed account of the history of electro-mechanical instruments (vol. 1) and electronic instruments (vol. 2).  You can read detailed descriptions of both books at these English-language links  – VOLUME 1; VOLUME 2.  As far as I know, no texts with this degree of detail exist in the English language.  And remember, we always have Google Translate if you need to know roughly what’s being communicated – just type the Czech into the translation widget and cross yr fingers.

Anyhow, just a ton of stuff to dig into and use as a springboard for your own research and/or gear-hoarding activities.  The books are quite affordable, approx.  $30 US each, and you can purchase them by writing directly to the publisher at the email address here….

Tubon_1966 Stratosphere_Guitar_1958 Mixturtrautinium Kawai_EP_308_s EMS_KB1 Cullulophone_1927 ASYZ_2_1971

Categories
Microphones Pro Audio Archive

Neumann FET 80 Condensor Microphones c.1973

Neumann_1973_catalogDownload the 6pp 1973 Neumann FET 80 microphone catalog:

DOWNLOAD: Neumann_Fet80_1973

Models covered, with text, specs, and photos, include: Neumann KM 83, KM 84, KM 85, 87, and 88; KMS 85; U87, U47 FET, SM 69 FET, and KMA lav mic.

Neumann_U87_1973I have a U87 from this first era, and although it has its share of scars, it never fails to impress.  Expensive but worth it…  these things just WORK.

Neumann_KM_Mics_1973For our scan of the 1980 Neumann FET 80 catalog, click here…

Categories
Microphones Pro Audio Archive

AKG’s “Two-Way” dual-transducer dynamic mics c. 1970

AKG_Two_way_mics_1970Download the 6pp 1970 catalog for AKG’s ‘Two-way” dynamic mics, the D-200E, D-202E, and D-224E:

DOWNLOAD: AKG_2way_mic_1970

As the image above suggests, these operate exactly as you’d expect: there are separate ‘woofer’ and ‘tweeter’ elements, with a crossover at 500hz.  Although the specs are quite good, i’ve never picked these up when I had the chance…  just seems like they’ve gotta sound a little weird?  Anyone?  Anyone still using these?  How do they compare to (x)?

AKG_D224E AKG_D202E AKG_Two_way_mics_Diagram AKG_D200E