#16
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#17
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You know, I've been thinking about this for a while. i seem to remember that the Jeklin craze came on the heels of the Crown PZM craze. Do you remember the PZM (Pressure Zone Microphone)? The concept was to take a transducer and mount it very near an aluminum plate to take advantage of the boundary effect. The yield was a mic with a hemispherical pickup pattern and a remarkably smooth response with limited room reflections. You could tune the response of the mic by attaching it to various sizes of Plexiglas panels. The opportunities for stereo and binaural immediately became obvious. For binaural you placed a pair on opposite sides of a 2.5 foot piece of Plexiglas to both strengthen the blind spot of each mic and to get flatter response. That application lead to all sorts of contraptions mounting PZMs to two Plexiglas plates of various sizes set at various angles, etc., all claiming to be the greatest thing since sliced digital audio. If I'm not wrong, we've still got some of these contraptions around the studio, though I haven't seen them used in a while.
Anyway, the Jecklin seemed a development of that concept but using standard mics. Bob
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#18
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They were popular enough that Radio Shack even carried them, with the idea of being agreat choice for use as a "conferance table" microphone. |
#19
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I still have a couple Radio Shack (Crown made) PZM mics around here in my basement somewhere. They were great interview mics if you just dropped it in the middle of a table equally distanced between participants, and then only turned it up enough to get a solid output signal. Kept the room noise out of them… I used them a lot. As to Jecklin Disc recording, I played around with it for a couple years, and it wasn't (in my mind anyway) anything like the PZM mics. For one thing it was a stereo recording array. I saw theaters/churchs/auditoriums who were installing PZM mics on 3 foot by 3 foot plexiglass sheets and putting them near footlights for actors (pre-wireless mic days) in stage plays. I saw them hanging a pair 3X3 sheets (with the mics centered, facing in opposite directions from each other) centered above orchestras or choirs for live mics and stereo recordings. I saw a couple opera houses using them in the footlights for solo singers who were out singing orchestras. I don't think I'd ever try a Jecklin array for live work, and the stereo from them is far too subtle to be of useful live. I can see that the hemispheric pickup pattern of the PZM (˝ a sphere) would be ˝ of an omni mic's pattern (rising outward from the surface), but it was dependent on a large, reflective, flat surface to make it work effectively. That's why we taped them to the inside of grand piano lids (or dropped them on the floor underneath), but there were still a mono device. I'm not sure what the pickup pattern of a Jecklin would look like. Each source was in the middle of a dampened circle/barrier whereas the PZM needed a reflective surface. Just my rambling thoughts and only a short 'think'… |
#20
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They were awesome for live radio interviews. I used to interview bands and singing groups for promo work in conjunction with a local religious station. I was part of a group that hosted about 10 concerts a year with great bands during the 'Jesus Movement' and a few years afterwards. If you ran the PZM into a decent mixer, controlled the volume and monitored it with headphones, it was a lot easier than rigging 4-6 mics and running a live interview in a reflective space. The first time I piped in an interview (we used phone lines direct to the studio for broadcasting our main service weekly) using the PZM through a decent board, the station tech called me, and refused to believe I only using a solo mic till he drove out to the place I broadcast the interviews from and witnessed it in person. They rigged one on a wall of a small studio 'B' room for interviews from that point on. They are still made (not for Radio Shack) and they cost a whole lot more these days. Boundary mics can be very useful. |
#21
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Another good use is on table reads for animation. You may know that the dialog for animated shows is recorded before the animation is done. What you probably don't know is that producers often bring as many of the cast members as possible (and use substitutes when they can't) into a space and have them perform a scratch performance to see how the dialog is going to work and to get a head start on animation. They'll sit at a big, long conference table and perform the scenes. With a couple of PZMs in a dead room you can get a decent recording. Of course, there are some producers who demand a close mic for each character and that puts the kybosh on a simple PZM array. Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#22
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PZM's have re-emerged of course - the Baggs's Lyric or Anthem "True-Mic" is basically a PZM installed inside the guitar.
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#23
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You have very trained and sensitive ears as to recording techniques, and processing and equipment, ETC. Using them for table-reads makes good sense. |