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2001 Workshop Schedule
Harmonica Masterclass Lesson Series

Last Updated October, 2008


Harmonica Masterclass Harmonica Microphone Museum
 Vintage, Custom and New


The Harmonica Masterclass Company has cataloged an extensive collection of harmonica microphones for you to peruse. These microphones vary from rare vintage pieces to new microphones available in today's market. If you have any comments or corrections on these mics, please email us.  The goal of this page is to gather and share as much information on harmonica microphones as possible. If you have good pictures of your mics that you would like to share (that are different from the mics presented below) please email us. If you're looking for a mic and amp to play, but don't know much about playing amplified, look at Using Mics & Amps for a starter course.


 New! Detailed booklet of harmonica microphones and how
to use them by David Barrett & Fritz Hasenpusch - More Info

Referrals
For custom built wood mics, repairs and modifications contact Fritz Hasenpusch
For vintage mics and repairs contact Tom's Mics
For vintage mics contact Dennis Gruenling
For vintage elements and rebuilding of vintage elements contact Chuck Gurney
All of the above persons I recommend are the best in the industry.


 

 Picture(s): SHURE  Description:
 Manufacturer, Model & Description

Shure 705A "Rocket" (1938) - The 705A is a pressure-actuated diaphragm-type semi-directional crystal microphone.  The width of the head is 2-3/8" with a depth of 3-7/16". The connection for this microphone when it had it's swivel base was a 3-pin.  I have never seen any harp players use this mic besides William Clarke (at least shown on the cover of one of his albums).  I assume this is so because of the rarity of this mic and the unwieldy stem.   This is the first bullet-shaped mic ever made by Shure.   Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 

Below is a Dutch bullet mic with a Brush crystal element that copied the "Rocket." Thanks to reader Mike for proving this for us.

 

Sure 9833 - Fritz "the Harp Mic Man" send us this mic and states, "This is an image of a mic I've just rebuilt. It's got the smaller stamped aluminum/black ink riveted badge reading Model 9833, SHURE BROS., CHICAGO. Smaller "52" body finished in brushed chrome. Grill has set screws at top and bottom, and like the 7A is finished in brushed chrome as well, not nickel-plated as with the earlier 707's or "SPECIALLY DESIGNED FOR RECORDING" models. Like them, it was furnished with a crystal element (in this case, a Pre-R7). This is the mic unmodified, before adding a Switchcraft 2501 MP thread-on output connector. Somewhere around the shop there's a near-identical mic that bears a name badge stating that it was made for KODAK by SHURE BROS. I haven't found any record of the 9833 or the Kodak model. Life's a mystery..."





The picture below is the rare 5E mic owned by one of our readers.

Shure 7A* (1939) - This is my personal favorite of all my Shure bullet mics; I currently gig with this mic.  This is all original (with the exception of the addition of a screw-on output connector in the cord hole) with the brushed chrome finish in beautiful condition. The older bullets (before the 520) series had a smaller casing.  The width of this mic is 2-3/8" and depth is 2-7/8", weighing in at just under 3/4 of a pound.  In comparison to the 520 with a width of 2-1/2" and depth of 3-1/4:, weighing in at just over 3/4 of a pound.  The original cartridge was a crystal (pressure-operated, with high and typical semi-directional pickup.  Garfoil Bimorph crystal.)  The output of this crystal, per Shure's specs" was ~53 db below 1 volt per bar at end of 7' cable.  The original cartridge was not in this mic when I got it, but it did have a nice Shure controlled reluctance cartridge.



Below: Shure Model 52 Econodyne from Nick "littleomar" Ouroumov. He states "This is an extremely rare model, made only in 1947. It is an all-brushed chrome, high impedance dynamic bullet, with smooth response, huge bottom end and high output. Some specs: Output 52 db, Frequency response 60-8000 cps, weight 2.5 lbs."


Click here for a Shure Spec Sheet on these microphones (look for this model on the list and click). 

Shure 18-51 "Specially Designed for Recording" Brown Bullet (1940's) - This microphone is the same as the 7A above, with a chrome grill and painted body.  This one is all original all the way down to it's cloth cable and wood stand.  The cartridge looks to be the original crystal, in non operating condition.  I also have two other mics of the same stamping and size, but with a metallic brown finish. 



Cartridge Reads... Top: 99-131 9, Bottom: 1601 341


Shure "Specially Designed for Recording" Brown Bullet (1940's) - Same as above mic with a metallic brown finish.  I believe these are the exact same models, but there is no "Model 18-51" designation on the chevron. 

 

Shure Private Label (1940's) - Same mic as the 18-51 above, but there is no chevron.   I assume this mic was purchased for use through another manufacturer.  The cartridge is crystal.



  Shure Private Label (1940's?)* - Same microphone as above, but finish is a little more pale; maybe just from age.  The microphone was modified with a screw-on output connector.





The pictures below are provided by harp player Andre Serrano.  This cartridge came form an older 707A.

 Shure 707A (1940-1970) - The oldest of the 707A microphones started their production in 1940, with the newest models going all the way up to 1970.  The older mics had the smaller bodies, with the newer having the larger 520 bodies.  The military green 707A to the left is the older model, this one having an on-off switch attached.  The silver 707A below is the later version with the larger body. Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 


Shure 440 (1960-1970)* - The body size is the same as the 520 with a nice silver finish.  The microphone came with a high impedance controlled magnetic cartridge and has been modified with a screw-on output connector.   Notice the green filler in the hole below the name plate.  Filling these vent holes will help prevent feedback when playing on stage significantly.  If you also leave the cord hole empty, it's a huge feedback source.  On mics where I drilled and placed a 1/4" guitar jack in the stand mount area, I filled the cord hole with a piece of cork.  This was a helpful hint from Fritz Hasenpusch. 

This controlled magnetic element inside also has a different frequency response than the standard bullets.  It has much more punch in the high end and has an over-all stronger signal.  I really like this mic for amps that tend not to have good high-end punch and drive.   I have had a reader state that on the bench he found no difference in these cartridges.  But... both Fritz and I can hear a very audible difference when played on the many ones we have along with his bench checks.

Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 

Reader "Harmonica Walter" provides this picture of the element he found in his 440.
Shure CR41 - Standard large size 520 body with a really nice light blue paint job.  This one is a bit beat up, but I've seen these bullets with paint in better condition and they looked really nice.  This CR41 came with a CM (Controlled Magnetic) cartridge, reader Richard Bush has one with a CR (Controlled Reluctance).

Shure 520 (1949-1977) - This is the most common Shure bullet microphone known to modern harmonica players.  This 520 bullet released in 1949 and came with a controlled magnetic cartridge made in the USA.  After going out of production for a while, it was brought back as the 520D, with a controlled magnetic cartridge made in the Mexico. This mic is now (520DX) made with a volume control and uses a dynamic cartridge.  Though the tone is similar to the older controlled magnetic elements the output is a little less than the older mics.  If you have an amp you really want to drive, get the older bullets.  If you have an amp that distorts a lot (like the 1950's smaller tube amps), then the new one will do just fine for you.

The 520 (pictured left) with a width of 2-1/2" and depth of 3-1/4", weighing in at just over 3/4 of a pound.  Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 


Shure 520D (Made in Mexico)


Shure 520DX - Current model on the market with Dynamic Cartridge. The tone is similar with this model, though the output to the amplifier is lower. This is fine for smaller, more distorted amplifiers... though this could hurt the tone on a larger amp.

Offered by reader greenbullets, “This is a 1949 520 mic, that is in all brushed chrome, and has the old smaller type shell. It's all original, and not an older 7A or the 500 series shell. I've never seen a 520 that wasn't 'green' until I got this mic. It came equipped with a black label CR dated 6-49 and is a 99A86 model element, as are all the 1949 CR element's I've seen except for one that was a 99B86 that I got in an old Shure 510C mic. The 520 did not have the 39K resistor across the leads as all the 1950 and later 520's do. This is the first actual 1949 model 520 I've ever had, or seen for that matter. I have a couple 1950 model's that are the green full size shell. I don't know if this mic was a special made 520, or possibly something offered only to employee's or what upon it's introduction, but it's the only model 520 I've ever seen that didn't come with a green body. The tag is also a tag I've never seen before with dark blue paint and the raised lettering. I'm 100% sure that this mic is all original.” Thanks greenbullets.

Shure CR278 - Reader Diamond Jerry provides us with this mic and states, "I want to share with you what I think might be a rare Shure bullet. It's a model 278, controlled reluctance Chicago made mic. Inside is the original black label element 99A86 dated 10-50. The shell is a standard 520 size. The color is lighter green than the 520's. If you have any info. on it I would appreciate it."


Shure R7 Crystal Cartridge - Now we get to the meat of the microphone... the cartridge.  This R7 (The crystals inside the microphones were not labeled with a model number. The R7 is the replacement cartridge designation.) is the only crystal Shure ever made that I am aware of.  These are among the most collectable crystal cartridges due to their great tone and rarity.  Crystals break down over time and are easily broken with a good drop.  The tone of this cartridge is fantastic.  The bass response and high-end strength is great.  This cartridge also has the mid range presence that usually only comes from a CM or CR cartridge.  In comparison to the controlled CM or CR cartridge, this cartridge is a little more transparent.  In other words, you can hear the harmonica qualities better, but still have good bass, presence, and high-end crunch.  

In the literature it shows the R7 to have a frequency response of 50-10,000 c.p.s., with an output of -50 db (this is hotter than any other cartridge I know of).  Measurements: Depth 3/8"; dia. with rubber ring 2-3/16"; dia. less ring 1-31/32". This cartridge will fit in most bullet-size mics and sounds good with almost any amp, with exclusion of really small amps that distort very easily.

After all these great words about the cartridge, don't spend your life savings trying to find a working one!  I have had around thirty mics with the cartridge, and only two lived after first playing to play again (or were very weak).  



Controlled Reluctance (Pic 1A)

Controlled Reluctance (Pic 1B)

Controlled Reluctance (Pic 1C)


Controlled Reluctance (Pic 1D)


R5 Controlled Magnetic (Pic2) 


Controlled Magnetic (USA) (Pic3) 


Controlled Magnetic for 520 (USA) (Pic4) 


R44D Controlled Magnetic for 520D (Mexico) (Pic 5)



Dynamic (Mexico) for 520DX (Pic6A & B) 
 Shure Cartridges (non-crystal)
Picture 2 is the older R5 (the controlled reluctance is the oldest type of this cartridge shown in picture 1 that also carried the R5 replacement stamp) controlled magnetic cartridge.  In the literature, it shows the R5 to have a frequency response of 100-9,000 c.p.s., with an output of 51.5 db.  Measurements: Depth 27/32"; dia. with rubber ring 2-3/16"; dia. less ring 1-31/32".  Ben Bouman from Holland states “I have a few Shure controlled reluctance (CR) elements and there are different types. I have a "military" T70, strong output and wonderful sound (James Harman) with a black back. These seem to be very rare, I found mine in a T70 handheld Shure with on/off pressure switch (for $4!!). Another "white back" CR sounds almost identical to a CM (controlled magnetic)."

The next controlled magnetic cartridge (pic 3) is the same, but does not carry the older R5 insignia.  The next controlled magnetic cartridge (pic 4) has what was common to many mics including the 520D models, a resistor (39K ohms says reader Andre Serrano) from the hot lead to the cold lead. This is used to bleed a bit of the high-end off.  I personally take this off, I like the punchier high-end. 

Picture 5 (provided by reader Andrea Scagliarini from Italy) shows the 520D model controlled magnetic made in Mexico.  This has the same tone quality, but I have found them to be a little hotter in the highs.  Again, every batch is different.  Quality control on these elements were not too high.  All these cartridges were budget ham radio mics.

Picture 6 shows the newest Shure bullet model, the 520DX dynamic cartridge.  Again, the output is lower.  This cartridge is fine for amps that distort at low volumes (like the old Gibson, Valco, and Supro amps), but if you want to make most Fender amps sound good (Princeton Reverb, Bassman, Twin, etc.), you will want the stronger controlled magnetic cartridges.

These controlled magnetic (CM) and controlled reluctance (CR) cartridges are the choice of many players.  All of the recording and gigging work I have done has been with these type of cartridges.  These cartridges are very rugged, I drop my mics on a daily bases and have never had a cartridge go out!  These cartridges will fit in most bullet-sized mics and sounds good with almost any amp, with exclusion of really small amps that distort very easily.  These are especially good with amps that don't have a lot of natural distortion when played through the clean channel, such as a Fender Bassman with no tube changes.

 Reader Dave Kott provides, "If you'd like to know how to date the Shure CR & CM elements, I have the date code system explained on my website WWW.GREENBULLETMICS.COM. It's on, "The Element's" page."
Shure 520 Stands - Many of these vintage Shure bullets came on stands like these.  The cord came out the back and you pushed down the lever to speak.  

Shure 520, Customized* - This was originally a Shure green bullet (520SL) that has been customized with a beautiful red paint job and a screw-on output connector to be more player-friendly.  It has a Shure Controlled Magnetic cartridge. This mic was customized by Fritz Hasenpusch.

Shure 520, Customized* - This was originally a Shure green bullet (520SL) that has been customized with a wrinkle paint finish; a quarter-inch barrel jack; and an on-off switch in the back.  Notice how the back end of the mic has been milled for the on-off switch; nice work.  It has a Shure Controlled Magnetic cartridge. This mic was customized by Fritz Hasenpusch.



Picture provided by reader Andrea Scagliarini from Italy		 Shure 545SD Unidyne-III (1974-1993) - This model style, made famous by Paul Butterfield (he used the model with the "pistol grip"), is a great addition to any harp player's collection.  This dynamic mic has a very good frequency response with a very strong output.  The tone is relatively clean, but has great punch.  Little Walter was also seen using one of these, the older model (see below). Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). Shure currently sells this model.

"In the text accompanying the photo of the Shure 545SD Unidyne-III, you write that Little Walter was known to have used on of those mics.  While technically that's true, it suggests that it may have been one of his chosen or preferred mics, and that does not seem to have been the case.  The only evidence that he ever used one of those mics is a series of photographs taken of him playing through a house PA system at a club in England that happened to have the Shure 545SD Unidyne-III as the house vocal mic. Other photographs of other club gigs during the same 1964 tour show him playing through other PA vocal mics at every stop, so suggesting that the Shure 545SD Unidyne-III was one of "The Little Walter Mics" might be somewhat misleading.  He was just using whatever happened to be on the end of the house PA's vocal mic stand when he showed up for each gig." Thanks to reader/author Scott Dirks.
Shure 565S Unisphere I (1967-1978) - Same basic mic as above, but with the "pistol grip" handle that has an on-off switch.  Ball on this mic is not original.  Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 
Shure 545 Unidyne-III (1960-1978) - Same as above.  Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 
Shure 540S - This is very close in design to the above mics, with a shorter body.  I personally use this mic because I like the feel and balance of this model better.  The insides are completely different from the Unidyne series, but they have very similar tone.  Frequency response is 50-13,000 Hz, output is -53.5 db to -56 db depending on how the cartridge is hooked up. Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 
Reader Shawn provides this mic and states, “This is the Lavaliere version of the Shure Commando Mic. It uses a CM element as stated in your website, but another thing to note is the fact that it is duel impedance! I've collected several vintage and modern mics and the loudest (hottest) one of them all is a modern Shure 545SD. I have since started using all my mics through a pre-amp (Behringer MIC100) to put them on an even field. They are all about the same output at feedback though a pre-amp without changing tone. As a side note-vintage mics have a certain cache', but I have played enough live to know that you can grab any modern mic that is into the house system and get a "Chicago" sound through technique (Compression is key). The Commando sounds almost exactly like a 520 and weighs "nothing." This is a very cool mic that I got from E-Bay for $12. Thanks- Harmonica Shawn”
Shure 533SA  - This mic has killer tone and the best feel of the Shure stick mics.  I would say this mic also has the best tone off all the Shure stick mics.  A real winner.  This was recommended to me by Tom of Tom's Mics. Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click).  I have also come across another model (PE53V) that looks identical with a volume control.
Shure 585  - Fairly clean in tone, but liked by players like Charlie Musselwhite (saw him gigging with one when I played with him in 2001) and James Cotton.  The one pictured to the left has a more hard to find volume control. Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 
Shure Slim-X 777S (1953) - Crystal mic. Same model that Little Walter is pictured holding in a performance picture (see below). This is a very light-weight, comfortable mic.  The tone is a little thin through most amps (of the mics I have had), but with the right amp maybe this little mic can do OK.  Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 

"In a similar situation to the Shure 545SD Unidyne-III above, there *are* many
performance shots that show Little Walter using this mic, but every one of these photos of him using this mic was taken at the same gig, and there are no other photos from any other performances that show him with a Shure 777.  There is the publicity shot of him with a similar mic in one hand and a harp in the other with his fists on his cheeks, but that mic is not a Shure 777, it's a cheap Japanese knock-off that was marketed under the name "Monarch" among others."  Thanks to reader/author Scott Dirks.
Here's another mic from reader Gary from Nashville.  “The tag is dated 1950, the element is an R7, it's mint and sounds incredible. I think the housing is catalin or bakelite... probably catalin since it's colored like it is. It's a tiny bit smaller in diameter than a JT-30 and weighs nothing. Killer little harp mic!” Thanks Gary.
Shure PE57 - Provided by reader Mike "Contains the R50 cartridge, which is a very hot cartridge... 575S is a similar mic with same cartridge... the 575SB with less output." Thanks Mike!



 

Shure 430 "Commando" (1957-1977) - The Commando used a controlled magnetic cartridge, and has great tone for a smaller mic.  The belled top makes it easy to hold.  The two pin connector cables are very hard to find, so if you buy one, get it with a working cable.  I have had several of these models, and they all varied in tone.  In general, the mic does not have a very big tone, but again, another option for players.

Click here for a Shure Spec Sheet on this microphone (look for this model on the list and click). 
RCA

RCA Aerodynamic MI-6266 - Beautiful dynamic bullet-style RCA microphone.  The head and body are chromed with a cable that terminates to a huge 3-pin connector. I have seen players unscrew the head to make a cool harp mic. Below is the same mic with a different finish.


Below is a before-and-after job done to a 1950 RCA M1.  Customizer is Joe Flynn.  Joe sandblasted and powder coated the mic.  Used a one meg military spec volume control and a 1950 Shure Black Label CR element.


RCA CX-56A - Reader and owner of this mic, Edwin Johnson, states, "This RCA has a light blue Shure element, and get this, a plastic shield behind it with a small circuit board. Out of all the mics I've owned... the JT30s, the Shure Bullets and others... this mic is Amazing... feedback...minimal." Thanks Edwin.

Here’s a Shure/RCA Brown Bullet model 9822B from Mike in Vienna

RCA Private Label Shure Bullet - This is a rare RCA bullet manufactured by Shure.  This is the older smaller bodied Shure, with a new cord.
ASTATIC





This is a W80.  Picture provided by Eric Besanko.  The cartridge inside shows a date of 1941.

Here's some classic labels from Mike in Vienna Austria...



Brown Astatic 30 late 1930`s, Youngstown Ohio, Y series.
 		 Astatic JT30 - Now we're getting to other most popular brand of harmonica microphones... Astatic.  Shown here (at left) is the classic JT30 harmonica microphone.  Originally this microphone came with a black wood stand and base.  Over the years this microphone came in many colors (you will see some below), but the mic body has always remained the same.  Most of the JT30's came with a crystal cartridge, but some models did come with ceramic cartridges.  This body will accommodate Shure cartridges as well with some gasket work.  Different chevrons have been used as well though time.


All Black JT30.  I have also seen them with a smooth brown finish and wrinkle-paint finish.



This is a JT31 provided by reader Eric Besanko.  It's all chrome and is the earliest "spokesman" model he owns from the "Astatic Microphone Labs - Youngstown, OH" era.  Thanks Eric.


Above: Hammer-tone finished (wrinkle-paint) mic is also from the Youngstown era.  Fritz Hasenpusch collection.

Here's another mic from reader Gary from Nashville.  “This Model 30 came with a late '30's Wilcox-Gary Recordio disc recorder. It was still sealed in the box when I got it. Had to buy the whole Recordio thing to get the mic. It's truly NOS!"



"The element's gasket kinda reacted with the paint and it's basically glued into the shell so I can't get to the back of it without hurting something... so I'll leave things be. That brown stuff on the front of the element is bakelite or catalin... it's not plastic. That's the way it looked when I took the grill off, nothing crumbled... it's just very crudely cast."



"I plugged it in, when I first got it, and it sound HUGE! I'm sure this thing was made in the late '30's. I think they had a little better quality control early on. Most of the Youngstown mics I have work perfectly and sound way better than the later ones. These elements just kill the later "101" and "151" elements... much more bottom end, more bite and they're louder too... they really hang with the Shure crystals for tone and output.” Thanks Gary.



 

The Astatic below comes from reader Chad. Chad states about the mic below, "I work at an old radio shop in Chicago. I came across this mic in our shop
the other day, and can't seem to find any information on it. It's an Astatic Model 41 mic, serial# Y21404. The element is stamped T4, & APR 40. The element also reads a D.C. Resistance of around 220K. Any info you have would be greatly appreciated Triodeelectronics.com"



Hohner Blues Blaster - Current model available on the market today. Note the nice XLR Output Connector and Volume Control. The output to the amp is a little weaker than with the older JT30's. This is fine (and better in some ways), though with a larger amp this might make it harder to get the overdriven tone you desire (if that's what you're going for).

Harp customizer Greg Heumann notes, "These mics were originally made with the same element found in the JT30 and had essentially the same tone, however for the last several years of production these elements were no longer available, and Hohner substituted an inferior element. I bought a Blues Blaster about three years ago hoping to get a nice fresh MC-151 and instead got this god awful piece of junk inside it. I would hate for people to still  think it is a desirable mic!"

---

Note from reader Keith Adams, "This is concerning the new type Blues Blasters and their supposedly terrible tone. I was wondering if you might pass on to your readers that if they move the element back away from the grille just a little, they'll get all the tone that the BB of old had. It seems to me that harp players with their infatuation with collecting mics and getting their tone would
understand the proximity affect and would automatically experiment with the
element placement. One caution. If you move it too far back the mic becomes
boomy." Thanks Keith!

 

Astatic T3 - With its fully rounded design, the T3 is a very comfortable mic to play.  The body is all chrome and uses a 3-pin cable.  The cartridge it came with a choice of crystal or ceramic. Literature shows a frequency response of 30-10,000 cps.  The crystal model had -52 db output, and the ceramic -62 db (the higher the number, the less the output.) Cable is hard to find. I have seen Fritz Hasenpusch do a nice mod to make these more user-friendly.

A reader provides us with the M3 pictures below.






Above: Another Custom By Fritz		 Astatic 30 - This mic is commonly known as the "biscuit" by Little Walter and many other players.  The grill is very comfortable with its completely round design.  The shallow body depth makes this mic one of the most light-weight and easy to hold mics around.  I particularly like this mic for use with a chromatic... the shape is just right.  The silver model has been customized by Fritz Hasenpusch. The grill and body is original; It has been painted and a screw-on output connector has been added. The brown model below is in its original form.  




Below is a mic from Jerry Kippola, from Ishpeming MI.  A little puzzling.  An Astatic Model 30, with an RCA chevron and a Shure R7 cartridge. Thanks Jerry.


Astatic UT48 - This Astatic UT48 is the oldest of the Astatic bullet mics and is very rare.  It looks like the predecessor of the T3.  The original cartridge is pictured below. 




This mic and labels come from reader Mike.






 		 Astatic 200 & 200S - The 200 series came in many colors with the option of an on-off switch.  All these mics came with crystal cartridges. Though unwieldy with the stem, I have seen many players (Charlie Musselwhite, Annie Raines, and more) use this mic.  I don't commonly see players use these mics anymore.  I think with the growth of the blues harmonica industry and eBay, there are too many choices of other great harp mics. But, now with the expense of these other mics, I commonly see the stem chopped off with an XLR fitting.  The chrome 200S below is not original.  This mic was chromed and fitted with a 1/4" barrel jack by Fritz Hasenpusch.






The common mod to these mics is to lop off the stem and turn it into a more harmonica player-friendly bullet mic. A note from our mic customizer friend from Honolulu (Kevin) "It was a poor basket case with the volume pot and screw on in opposite of each other. My friend gave it to me to see if could do something with it. It has a hot CM 99B86 @ 1.2 ohm., a 250 K pot, finished off with several coats of two tone (green/purple), some glitter for a retro sparkle look, and several more coats of PPG (2) part clear urethane acrylic. It has held up pretty well (picture below)."


Astatic DN-50 & DN200 - These two mics I have never seen used by harp players (though a couple players have written me that they use this mic), but cool none the less. 
Astatic N30 - Here's an example of an early Youngstown era bullet provided by reader Jim Greenwood.  He states "The predecessor of the 10-C, and 10-D...  Commonly referred to as 'The Voice' in Astatic Literature, and referred to by many players as 'The Tea-cup.' The Element in this mic is dated 1945, but of course may have been made earlier.  The element itself is an early Brush, as noted on the label, under license to Astatic before the later joint patent."  Thanks Jim.  

Astatic 10DA - Another mic from Jim.  Michael "Fathead" Easton states about the mic: "The all chrome mic is an Astatic 10DA. It has a freq. response of 33-3000Hz. For any one that is a fan of the Shure CR mics and 545 this is a perfect non crystal mic that fills the tonal void of the Shure models.  The tonal  characteristics lend itself well if you like to work your hand cupping techniques. The mic is heavy on the midrange.  I own two of these mics and like to use them with my Champ and GA-5 amps. The sound is gritty and adds much needed bottom to smaller practice amps.  When I use it with a Fender Concert it doesn't get boomy like a Bullet nor have feedback tendencies like the 545. It sounds more like a hot crystal then a dynamic element. Raw. Gritty. Fat."  Thank you for your comments Jim.


___________

Harp mic customizer Greg Heumann brings us this nice mod for the output connector. Greg states, "Here is a beautiful Astatic 10-DA with its original element. Only problem was the 3-pin connector - not XLR, hard to get connectors for. This customer has pretty much standardized on Switchcraft screw-on for everything. But because it is on the swivel mount, I couldn't just
remove it and install a new connector in the shell, like a bullet or JT30. I managed to engineer what I think is an elegant solution.

I made a plug just the right size for the hole where the 3-pin connector was. I threaded it at one end for the 2501MP. I threaded it on the side for a retaining screw through the original hole (that held the 3-pin connector in place) and I threaded a small screw hole on the back side for a ground connection. The result not only works and is rock solid, it is 100% reversible. Remove the retaining screw and this assembly can be removed, and the original connector replaced.

The knurled ring cannot be removed without destroying it - so I thought it was better to just leave it there.

Anyway - it is all back together. This mic ROCKS!!! It is very hot, the crystal sounds GREAT. I haven't played it through a big amp, but it sure sounds great through a Kalamazoo. Output as hot as a good CM."



 
Astatic DK-1 crystal mic provided by reader Andy (From the band "The Amoreys"). He states "...It totally rips. With the amp set on half the usual volume I must say I was wailing or at least this was. Air comes in at sides on this Martian beast and spit stays out of the mic due to solid face.."

Astatic 600 - This is a rare and highly collectable mic due to its combination of plastic and chrome.  I believe it was the first mic to use a combination of materials.  Photo provided by reader Ernie O. 


Astatic Model "A" images and text provided from Gary in Nashville
"Thought you guys might dig this, just got it. It's a Model "A," Youngstown, OH, element's dated "Dec. '39." The guy I bought it from said it works. I kinda doubted that statement... he was right! Real hot element that really honks, just a shade bright and thru the right amp it just nails the "Juke" tone. The right amp seems to be '57 Supro "Twin Speaker Supreme"... with two 6x9 car speakers. The element really lets the sound of the harp itself come thru... very cool!"
Astatic Crystal Cartridge - Here is a picture of one of the Astatic crystal cartridge boxes they came in.
TURNER   



Turner Challenger - The Turner family of microphones really add a deco touch to the harmonica players collection.  Most of the microphones came with the high-impedance dynamic cartridge pictured below or a crystal cartridge.  The dynamic cartridge is a little smoother in its response compared to a Shure controlled magnetic.  These mics are nice for amps that tend to distort easily.  Some players stay away from the Turner mics because of the protruding fin.  Most experienced players can overcome this.  Also pictured is a brown Turner BD.

The BX models are crystal and have an output of -48 db and frequency response of 60-7,000 c.p.s.  

The BD models use dynamic cartridges and have an output of -52 db and frequency response of 100-6,000 c.p.s. 

The CX models are the same as the BX, but with a satin chrome finish like the one pictured at left...


Picture of label from our friend Mike in Vienna. Thanks Mike!

The CD models use dynamic cartridges with what they call "a high quality magnet" and have an output of -52 db and frequency response of 100-7,000 c.p.s.  This is the model shown at left and below.

Turner VT73 - Same as above mic without the fin.  It originally came on a stand with a swivel where the screw-on connector is.  The body was originally black with no paint on the grill.  It has been repainted silver with a new Astatic crystal cartridge.  This is a very comfortable mic due to its size and not having a fin like the above mics.      
Turner .55 - Very unique crystal Turner. I assume this mic to be the same as the pictured below. The label tells a lot. Picture supplied by reader Wendell Jenkins. Thanks.

Turner .55? - Very nice, super simple, design.  The cartridge works and sounds much like a dynamic mic, even though the above mic says crystal.  The ring that holds the grill and body together looks like a pressure fit band.  To take it off probably means to destroy the mic.  The wood handle unscrews below the metal ring. Bellow it is a picture of one of Fritz Hasenpusch's mics that looks like a mix of the two mics.  He believes that they could of been made by Brush by looking at the manufacturing similarities. 

 
Turner 304X - Nice light-weight crystal Turner mic. Sound, I don't know, but worth trying next time I'm at Fritz Hasenpusch's house.  
  Turner 80X - This little mic with a crystal cartridge is great for the player looking for a vintage finger-mic.  The tone is a little thin from such a small diaphragm cartridge, but doable with a good amp and EQ.
Turner 211 - I have never seen any players use this mic, but it's an interesting shape.  Reader Joe V. states "I found one in an antique store and by chance it was in working order.  It has a nice bright sound, goes especially well with my Bassman, but is very heavy. It would be murder to play all night!"  Thanks Joe.
Turner? - This little Trojan warrior I also believe to be a Turner.  The head does detach, but it's not the most comfortable mic to place in your hands. Cool.
Turner + 2 - Now that mics are getting harder to find and are continuing to go up in price, mods like this one from reader Patrick Caffey are becoming more common.  The Turner+2 mics have a base that is cut off to make it playable.  Patrick placed a dynamic element, on/off switch, cable, and nice paint job.
Turner S22X - Great looking mic with base.  The fins on this mic and its weight make it too hard to hold. The dynamic cartridge sounds pretty nice. The ring that the cartridge is attached to is also very large, making for any swaps difficult.

 ELECTRO-VOICE  
 
 Electro-Voice 605 - This is the most collectable and used mics within the EV line.  The head is very comfortable with a nice streamline rear.  The dynamic cartridge (65-7500 c.p.s., -55 output level) has good response with nice volume and bass response.  There were many of these models made, and many of these models I have had in the past had low output, so give it a taste test if you can before buying one of these.  They also came in low impedance models, so make sure to look that it's high impedance.  Many players also replace the cartridge with a Shure CM or CR.  Tone is a little brighter due to the shell.

Pictured below is a older EV605 from Fritz Hasenpusch's collection with a sound collecting collar.  Great looking mic.  I did not hear any difference in tone from the newer mics pictured at left. 




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Reader Chet states, "I have a microphone that looks exactly like an electro-voice 605 except that it has no tag on it that specifies the model, etc. But, if I turn the mic upside down and look into the threaded socket intended for a stand, 614S is stamped into the metal. I couldn't find any info on this model, but it has nice frequency response, is clean, and loud."

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Reader Tim states, "I’ve recently acquired an EV dynamic. It is military spec and looks like the 605 body and grill, but has a different mounting arm cast on the body. Model m 47/U is stamped on the arm… (m designating military perhaps)… Anyway, it sounds pretty cool and I’ve used it for recording a few times" Pics below...






 



Pic 2		 Electro-Voice 606 - This is the 605's distant brother.  This mic had very thin tone (100-6,000 c.p.s., and -55 db output).  This body can also accommodate the Shure CM or CR cartridge, but I heard it's hard to work with. 

Reader Michael "Fathead" Easton adds. "The EV 606 deserves more attention. I purchased one of these for its specific usefulness. It is classified as a differential Dynamic, close talking, noise canceling mic by EV. Freq. Response is 100-5000Hz.  It makes a good harp mic due to its higher gain before feedback capabilities. I tested it against an Astatic 'biscuit" mic w/ crystal element.  While I was only able to turn my Fender Concert up to 2 with the hot crystal mic I was able to turn the volume up to 6 1/2 before feedback set in with the 606. Although the crystal element had more bite at lower volumes I was able to tweak more gain before feedback with the 606 making it slightly louder then the crystal mic. Its a good mic when you have to perform in a loud environment or need to hear yourself better on stage. It's also less sensitive to minor volume adjustments."  Thank you for your comments Michael.

Pic 2 - Munro sends this mod and states, "Took up the challenge on the electro-voice 606... I removed the EV cartridge and replaced it with my Sure CR, the only real problem was the tar inside the EV. Other than that it was some minimal grinding on the two flat sections inside and it fit like a glove and still retains its famous tone." Thanks for sharing that Munro.

Electro-Voice 638 - This is the other most desirable EV mic.  Very good tone, with a cool body to match.  Shown below is the EV 641.  This is the same mic with a plastic extender and on-off switch.

Electro-Voice 607 - An interesting mic in the family of the above mics.  Dynamic noise-canceling HI-Z.  Picture provided by dirtydan@dirtydansmics.com

Electro-Voice 630 - These two models do not say Electro-Voice, but they are.  These were very common handheld mics, and not bad sound quality either.  They are very clean, and most commonly used by chromatic players.  I do not know any players that currently use this microphone.  

From reader Will Vogtman "I currently gig with an EV 630 and I love it!  I have a big enough hand to cup it about 80% with one hand.  When I cover it with the second hand, I get a real tight cup.  I use a 7 band EQ pedal into a Blues Junior."  Thanks Will.
Electro-Voice 924 - Cool little crystal mic. Cable is about 20' in length and terminates to 1/4". Tone is not bad for a small diaphragm cartridge.
Electro-Voice 623/DuKane 7AI55 - Nice mic, thin in tone.  I don't know any players that currently use this microphone.
Electro-Voice Spherex 920 "Buchanan Michigan" Cool ball mic that could be held in the hand.  From the Fritz Hasenpusch collection.

Below is a mic from reader Kevin in Hawaii
"I like the size, so I decided to see if I could modify it. The adaptor is an unusual Switchcraft (or Amphenol?) male/male to female/female. Very cool.
The pot shaft extends approx. at a 45 angle. This was made possible by grinding the original hardwired output inlet until it would accommodate the knob. The CM 99A86 fits snug up into the screen a bit. I used two gaskets-one to hold it to the screen enough, and cut another one to hold the element tightly to the shell. The pot is very small and works great. I have one more just like it, and they both honk like nobodies business."



Here's an Electro Voice 920 (below) from Kevin in Hawaii, he states, “Modified for harp by Greg Heumann, and yours truly. Greg provided the means to turn an idea into reality, enabling me to get closer to the element. He designed and built an amazing aluminum grill. Replacing the original dome shaped chrome screen grill. Adding to the original idea, Greg removed all stock plating, and stand hole from the shell as well. I later had it re-chromed by Advanced Plating, in Tennessee.”
CALRAD 
Calrad 100C - Crystal microphone with on-off switch.  Reader Bob Maglinte says that he has also seen the name "Conqueror 887" on these mics.  
Calrad DM9 - Mini screw-on connector.  Mic didn't work, I am not sure of sound quality.

”You stated in reference to the non-working Calrad dm-9 that you weren’t sure of the sound. Rest assured it is a tone monster!! I used to find these cheap mics for five dollars. I have played through tons of mics and this one is one of my favorites. Very hardcore electric sound, even through a solid-state amp. I use a 545S Butterfield special now, but its still not even as close to the dirty tone that Calrad had. Thanks for the cool collection of mics to fantasize over.  Randy in Sacramento"  Thanks Randy.
Calrad DM8 - Dynamic mic with screw-on connector.  Killer tone for a Calrad. 
 OTHER  

VHM7 - Bushman Torpedo Mic
This is definitely one of the best looking new mics on the market today. Based on the Astatic JT30 design with added venting on the side makes for a pretty slick look. Basically this is a bullet mic with a vocal mic cartridge. For those of you who like to play through the PA, just unplug the house mic, plug in your Torpedo Mic and away you go. If you do purchase this mic experiment with how tight of a cup you use. I would recommend that you play with a VERY loose cup to achieve an acoustic tone and play with a tighter cup for specific passages where you desire some tonal difference (basically the opposite of a standard bullet mic). You can of course play this mic through an amp (you'll need an in-line transformer), but its strength is through the PA. I like the concept of this mic.

 

Shaker Family of Microphones
Shaker mics have been around the harmonica scene for a while now. The standard shaker (pictured at far left) comes with a dynamic or crystal cartridge. Though not as full-bodied in tone as the large diaphragm microphones (like a Shure or Astatic bullet) they don't sound too bad with the right setup of equipment. The size, feel, 1/4" output connector and price make this a nice starting mic for the general harmonica player (or the player not that fixated on the classic blues tone).

Though innovative in design and comfort, I wasn't impressed with the sound of the Madcat model. The Retro Rocket is new from Shaker Mics. This model follows the common trend towards smaller-bodied mics with pro output connectors. I have not had a chance to try it... review to come in a future update.

Harmonica Honker - For those that are fans of the finger mic, this is a nice design. It doesn't get much more comfortable than this. Also, for any readers that have mobility issues with a either of your hands, this finger mic is a good solution.

These lapel mics (their first use in the music world) can have a pretty good tone when cupped tightly. They do have a tendency to pickup breathiness and other hand noises. An interesting choice. I should note that you can pick up a lapel mic at Radio Shack for less than $20 to try and see if you like this design idea before laying any more bucks down on a system like this. Below are some more lapel mics on the market for harp.


 Barcus-Berry 5600 Harmonica Microphone - As stated on Best Li'l Harp House's website, "The model 5600 designed to be lightweight for use on a harmonica. The system has wide-band frequency response, excellent dynamic range, and provides clean, faithful reproduction of the acoustic sound. Both systems include the 3000a preamp/power supply, microphone and attachment adhesives."


 Microvox - As stated on Best Li'l Harp House's website, "A hand held, studio quality, microphone, which fits comfortably between the fingers and can be used in conjunction with either of the power supplies shown below.
 Construction: Element mounted in rubber molding.
Connection: 1.2m lead to Gold plated phono.
Mic element: Omni directional electret
Frequency response: 20Hz - 50kHz.
This (PSU) is used in conjunction with the Harmonica microphone. It clips onto your belt allowing the cord from the mic to be plugged into it and allowing a connection for a standard 1/4" instrument cord. The volume control is easily accessible from the top of the PSU, making this one of the most practical systems available today. (The mic and the PSU come with a fine soft case as one unit). A larger, belt mounting, power supply with on/off, volume control, internal balance and LED battery indicator in a die cast aluminum case."


 Suzuki Universal Mic Set - As stated on Best Li'l Harp House's website, "Amplify every performance with this universal Suzuki Harmonica mic set. Includes compact, dynamic mic with foam surround, finger clip that won’t impair hand movement, tie clip, and 17' of cable with inline on/off switch to 1/4'' plug. Make your music memorable with amplification for every harmonica model."


Universal 312 - This is one of my very favorite mics in the collection.  The shape, feel and esthetics are great.  The model originally came with a high impedance crystal cartridge with a frequency response of 40-9,000 c.p.s, and an output of -50 db. The connector is screw-on, spring loaded. 

Pictured below is the same mic in a gun-metal finish.  This mic is from the Fritz Hasenpusch collection.



American D5T - Beautiful rare mic.  This is fully chromed with unique 3-pin connector on the body.  Old spec sheet states a frequency response of 50-6,000 c.p.s. with an output level of -52 db, for high impedance.  Dimensions are ht. 3-1/2"xdia 2-1/2"xwt. 1-1/2 lbs. Heavy.
Ronette B110 - Very rare plastic bullet made in The Netherlands (Holland).  In fantastic condition with working cartridge.  It looked to be a crystal cartridge, not too bad sounding, but not exceptional either.  It's about the size of Shure 520 mic, but very light.

 



















 

Here are some pictures provided by permission from Bert van Oortmarssen's collection (http://www.xs4all.nl/~odemar/microphones/ronette-mics.htm). These are some great German and Dutch bullet mics.

Here are some old tape recorder mic's from our friend Mike from Vienna. He states, "Pictures from old Tape Recorder Mic's, but they are wonderful for playing.
Grundig GDM310, dynamic mic, High Output 600-1300 Ohm, very small, dirty sound like a bullet mic.
Grundig GDM317, dynamic mic, High Output 600-1300 Ohm, very light, great sound.
Grundig GDM316, dynamic mic, High Output 600 -1300 Ohm, deep sound.
Grundig GDM321, dynamic mic, High Output 6500 Ohm, full metal body, it looks like a Calrad mic, sound great.
Grundig GDM312, dynamic mic, High Output, 600-1300 Ohm, strong and very loud." Thanks Mike!

 
American C6 - This comes from Mike in Vienna. Mike states, “There is an American C6 crystal. The original element was dead and I gave the mic an old crystal brush replacement cartridge. The mic is light and has a small body and a strong output that’s great for playing harp.”

American D7 - Andrea Scagliarini from Turin, Italy has provided the mic at left and comments below.  Thanks!  "This is a dynamic low impedance mic, though I'm not able to date it. It's easy to hold and has a low output due to Lo-Z. If you can't find the Hi-Z version I recommend to replace the original element.  I've customized the D7 using a small Hi-Z ceramic cartridge from an EV 638 or EV641 mic. These cartridges really scream, but the real problem is how to find the two-pin female cable. While I don't have it, I've customized the mic cord using a Switchcraft Amphenole connector. Be sure to ground the cord."

 

Reader and owner of this mic, Edwin Johnson, states, "The Turquoise Torpedo... Shure magnetic element, 1/4 inch plug, 100k pot and on/off switch.... feels great but feedback is awful.... Massive bottom end." Thanks Edwin
American D8 - From reader Dave Kott.  He states it's a dynamic mic that has very high output with a tone similar to a Shure CR, but not quite as gritty. Despite being on the heavy side, it is not hard to hold.
American? From reader Nick "littleomar" Ouroumov's collection.

American C7H "An ultra rare American C7H crystal bullet.  Frequency response: 50-6000 cps and an output of -55 db. Can't attest to the tone because the original element was dead when I got it. Back of element has the year 1955 stamped on the back." From reader Nick "littleomar" Ouroumov's collection.

Ronette 210G - This is one of the most unique and favorite mics of my old collection.  I originally thought this mic to be a Turner, but Fritz Hasenpusch and reader Bo Harnesk from Sweden say it's a Ronette. Bo's chrome Ronette 210GS is shown below.  Bo says "The grille is screwed on to the head and my mic contained a dead element that was labeled "filtercell" if I remember it correctly. Since the head is just too small to take an Astatic cartridge I put in an old Shure R5 controlled magnetic element. I was expecting to get a very Green bullet-like sound, but it's not close to that raw distorted sound, it sure is very hot, but still clean."  

Argonne AR-18 - Interesting mic provided by reader Patrick Caffey made to clip to a harmonica.
Ronette - Here's another Ronette from reader Bert van Oortmarssen.  Interesting design.   
Summum Piëzo - Very rare Dutch microphone from Bert van Oortmarssen's website. He states "I have never heard from this company from Groningen. I have not found any information on the internet about this mic. This one has a Ronette DX-12 element inside."
Ronette Reader Gerald provides this mic and states, “I found this lovely little Ronette, in original box, had no plug on and looks as new. I put a jack plug on the lead, plugged it in and blew… wow, it sounds great.”

PIEZO SM-2 JAPAN - Interesting vintage mic from Japan provided by reader John.
Mars Model MC-1 - A Japanese version of the Astatic JT30.  What's nice about the mic is the lack of mounting ears, making it easier to hold.  The cartridge on this one was very strong, with nice tone.
Aiwa - A great super-light plastic bullet made by Aiwa.  The original crystal cartridge in this one had amazing tone, a real players mic for performing and recording.  

Gary from Nashville sends this pic and comments below...
"Check out this element, it's an Aiwa... says "Test OK" and stamped "Japan."  The Aiwa logo is cast into the metal. It came in a Canadian Astatic W-30.  Someone painted (by hand... ugh!!)  the poor thing an ugly brown color.  When I got it I figured the orig. element was dead or gone.  I opened it up and saw the Aiwa.  Plugged it in and man, was I impressed... this ugly hunk o' junk is my fave mic now!  I don't know if it's ceramic or crystal but it has lots of output, incredible bite and great bottom end."


Reader Dave Kott states that the cartridge is probably an Aiwa Crystal, the same as for the mic above. They were apparently made in Japan and Dave states that he is very impressed with their tone (very fat and impressive bottom-end, similar to the old Shure R7's).
 

Aiwa M-120 - Here's another mic from reader Gary from Nashville.  “This one's a New Old Stock Aiwa M-120 with a great sounding crystal. It's about as large, diameter wise, as a JT but it's a little deeper. Sounds wonderful!” Thanks Gary.
Aiwa DM-14 (Made in Japan) – Mike from Vienna provides this mic for us and states, “1960’s dynamic mic that’s small, but has a strong output that’s great for playing dirty blues.”
Philips Type 1100L - Nice little bullet-style mic with stand. Head detaches.  OK tone. The mic below is from reader Mike Gengras with the label "DYNAMAX." He said it was HI-Z and the tone was great.
Turner "Balladier" Model 566 - A predecessor to the Shaker Microphone?  Has attached short cable with decent tone.

"My name is Normand Beaumont, and I am a microphone collector. Here is some info on one of your mics. This mic is a "Balladier" made by Turner, model 566. It came in a pair (2 mics with cords and clip) in a plastic box and the price at this time was $100 US dollars.  That was a lot of money for the period... I have a pair in mint condition in my collection." Thanks Normand.
Brush - Here's a really cool Brush mic.  Obviously not a player mic, but cool nun-the-less.  Thanks to reader Mathew McNatt for the picture. 

Here's a Brush element provided by Mike in Vienna
Epiphone Electar - Wow!  Cool mic.  Picture provided by eBay seller Ann & Jack Bard
Crown MC40 - This picture is from reader Bert van Oortmarssen.  He states "This Japanese Crown MC40 (crystal element) microphone I re-soldered for a harmonica playing friend. It sounds quite good, (but) a little bit more trebly than an Astatic."

Astatic? X-10 - This is an interesting mic with a flat disc for a head and a wooden handle.  Cable terminates to a huge 2-pin plug. The stem is too close to the head to be used as a harp mic.

Reader Myria states "It is actually an Astatic R-3. There should have been a stand with it also like the Astatic 200. These are a very old design. As far as I know they were only made in Toronto. The label would have been on the front at the base of the mic head. Hope this helps. These are quite hard to find in good shape. I really love your site!"  Thanks Myria.

Another reader has the same mic and states "Inside, the little label tag says 'Youngstown' and says it was 'Licensed by Astatic from Brush Laboratories.' Also says 'Canadian pat'd 1931, Model F-2,' And lists several patent numbers. Metal cap on back snaps on and off." Thanks for your email.
Ruskin - Custom chrome mic with crystal cartridge and on-off switch.  This mic was on the market for a while on the 1990's and came with a variety of designs and cartridges.  Mark Hummel used to gig with one of these.

SHADOW - Reader Brad provides this microphone and states, “Here are some photos of a microphone I have had for years. Stamped onto the back of the mike is the manufacturer “SHADOW” made in West Germany. Interesting clip-on arrangement.”
As stated on the Sound Exchange 2 website, “The Strnad SHPVC-10 Harmonica Pickup features a built-in port for palm or finger manipulation to produce tremolo, muted or wah-wah effects. Many guitar-harmonicist performers use the STRNAD HARMONICA PICK-UP with a harmonica holder. Since the unit accepts fuzz, wah-wah, reverb, vibrato, and numerous sound effect accessories, there is an unlimited versatility in sound reproduction of the instrument. A new concept in capturing the true tone of the harmonica. The Strnad Harmonica Pick-up is the first to truly funnel all sound in and directly to a cartridge eliminating the problems found with open face mikes. Attaches to most Hohner, Lee Oskar and Haung harmonicas. This extremely light weight harmonica pick-up is easy to hold and attaches quickly to the instrument by slide-on/slide-off method. The pick-up body is made of hi-impact LEXAN finished in instrument black. A high quality dynamic cartridge is incorporated to insure professional sound. Feed-back problems are all but eliminated because of design. Can be used with high or low impedance amps. Comes with 10 ft. mike cable attached directly to pick-up with standard ¼ mike plug. The STRNAD HARMONICA PICK-UP reproduces sound equally, all octaves or notes responding with uniform true pitch. "Finger-Tip" volume control is an added feature to the SHPVC-10 pick-up. It makes it possible for the harp player to control his sound 100 without returning to his amp for adjustments. The finger-tip volume control was positioned so the harp player can manipulate it as he is playing. This adds to the versatility of the unit as fade-in and outs can be accomplished with ease. Many, many more special effects can be made with a little imagination. The unit was designed with a 10 dead spot on low end of taper, thus, when in this setting the unit can be set down without fear of squeal. The SHPVC-10 is for diatonic 10 hole harps. All Strnad Harmonica Pick-Ups can be used with many guitar gimmicks such as chorus, distortion, and even overload (to obtain the muddy sound so many blues harp players desire.) This new "unique" pick-up makes the beginner sound like a pro, yet the demanding artist is enhanced by the mellow sound reproduction and control of the Pick-up.”
Conqueror D879 - Dynamic mic with mini screw-on connector. I have never seen any players use this, but nice size.
VoM 1402 (The Voice of Music company) - "This mic with a golden screen used to come with VoM tape recorders, a beautiful mic that looks like it lends itself to harmonica playing due to it's nice size, this is a high impedance mike with great sound." Provided by Dick.

Gary (Via reader Claudio) from The Voice of Music Enthusiasts states. "The Model 1402 microphone is a high quality Sonotone CM10 or CM10A"

Reader Eric states "Hey, I did find out; SONOTONE manufactured these and licensed them out, and GE and VoM slapped their logos on them... yes, they are all identical."
Archer 91L130 - Dynamic mic with mini screw-on connector. 
American D4T - Mic worked, but output was very low. This is a decent size to hold, but very heavy.  I have not seen players use this mic.

“I have an American DT4 Salt Shaker and I disagree with you entirely about it having a low output. Of the 20 or so vintage mics and new or custom ones I have/or have had, this one has probably the BIGGEST output, warm, not too crunchy, but with a very strong bottom end.  Sadly, your element must have died.”  Thank you to reader Dave Shannon for this comment.

"I have to agree with Dave Shannon on his comments on the American
Saltshaker mic. I just picked one up on eBay for a mere $20.00 with the
intention of using the shell for a rare CR element that I recently
purchased. With its handy screw-on connector, I figured what the heck,
I'll give it a quick try before I dissect it. Wow! Huge tone and real
loud output. And especially loud before feedback. More so than any other
mic I own or have used (which is virtually every type there is). It
looks like I'm still searching for another CR shell because this baby is
staying just the way it is!"  Thank you to reader Fast Freddy

Philips - This mic is provided by reader l'arbre from France.  He states that the size and weight is comfortable and has a nice crunch, but not as strong as his green bullet.  Thanks l'arbre.
Kent WC17 - Harmonica mic that holds the harmonica fully cupped.  The mic element with volume control can also be held like a bullet and has good tone.  

Reader Adrian E. Day states ”It is actually designed for a 16 Hole Chro and sounded absolutely fantastic when I first obtained it, played through a 4x10 combo, and was exactly what I had been looking for. Mine is labeled as an "IBANEZ” It contained a crystal element. The output was comparable with my hot rodded JT30.  However, I was playing at a Jam Night a while back and dropped the mic and it stopped working............  When I took it apart I discovered that the Volume control was mounted on the back of the Crystal element with glue. The glue had gone hard over the years and the drop had shattered it, in the process the wires had ripped out of the element. I too was shattered! The element is integral with the metal shield and I couldn’t get it apart to repair it without completely destroying it. After trying alternative elements, none of which fitted or sounded as good I have finally relented and have now replaced the mic with an electret element retaining the original shield. The tone is excellent and as good as, if not better than previous, - mainly because so much of the sound is captured.”

Here's a mic from reader Edwin Johnson.  It looks to be the same as above, but for chromatic harmonica. Thanks Edwin.

Amperite - Interesting mic provided by a reader.  Nice size, but looks heavy.
Dynacard Bullet - From the Kelly