Hohner HB-52 Vs Two Different JT-30s with vintage Shure Controlled Magnetic Elements
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- Опубліковано 20 сер 2024
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I've put this video together quickly to compliment a review I wrote on the Hohner/sE Electronics HB-52 Harp Blaster harmonica microphone. The review can be found here:
www.leedsharmo...
My two JT30s came from Dennis Gruenling. If you want to buy a vintage harmonica mic you won't find a better source. Not cheap, but you can buy with complete confidence.
badassharmonic...
The element in the brown model 30 is labelled: 99B86 ED (which I think makes it from April 1966 but I'm happy to be corrected). The element in the green JT-30 is labelled: 99S556 AG (July 1961? Again, happy to be corrected). I got the dating info from greenbulletmic...
In the UK The Hohner HB-52 is available from The Harmonica Company
(theharmonicaco.... And also from Harmonicas Direct (harmonicas-dir.... Tell 'em I sent ya!
Harmonica lessons and harmonica nerdery at
www.leedsharmon...
Thanks for watching,
Kev.
a bit of trivia: Shure invented controlled reluctance mic elements. they got tired of people asking them "controlled reluc... how do you say that word?" so they changed it to controlled magnetic, which is another way for an engineer to say the same thing. other manufacturers continued to use controlled reluctance. either way, it's a variation of a dynamic mic.
There are some differences between Controlled Reluctance and Controlled Magnetic elements. The CRs are hand wound, not the CMs. The diaphragm of the CRs is attached to the pin with a small metal "hat" while with CMs it was done with a drop of glue. Both of these things make the CRs in general a bit fuller and raspier sounding than CMs. The ohms also varied over the years, a strong early black CR (1949 - 1953) might be over 1300 ohms, a strong white CM (1954 - 1957) might be just under 1100 ohms, a strong early CM (1958 - 1962) might be over 1100 ohms, a strong single impedance CM (1963 - 1980s) might be 1050 ohms and a strong dual impedance CM (1980s - 1996, many made in Mexico) might top out at 1400 ohms. All these elements age differently however, so a strong CR might actually sound worse than a so so CM, but in general the earlier the element the better the sound (assuming all the elements considered are strong and have aged well).
Nice sound samples, and I appreciate that you play very well and get a big tone...much more informative this way than some of the other youtube gear reviewers who can't play.
The HB52 has such a wide frequency response, running it thru an EQ pedal to sculpt the tone is a really good idea.
I use a 7 band EQ pedal on to boost a little bass and shave a little off the highs off on the HB52, and I do the reverse with my Bulletini.
FYI, I’ve have owned my Bulletini for almost 6 years, and the volume knob is still solid and very quiet. And, strangely, My HB’s volume control crapped out in April, after only 18 months. However, sE, who designed and manufactures the mic(that’s why it sounds so good. Hohner didn’t design it), sent me a new one. So, they honored the 2 year warranty, with no hassels at all. I am still very happy with my “Harp Blaster”.
Thanks for the comment. You know, I've now heard a couple of people say that. It's bit worrying. Conversely I've not heard a single complaint about the VC on the bulletini, so clearly my skepticism is unfounded. Good to know, I should have just trusted Greg. :)
The HB52 is a fantastic mic for me. I habe had chrystal, cm/cr white and black Label. But I not amused for the old elements, because when I want to buy a new old one, it is difficult to buy a good one nowadays. With a HB52 no worry. I like it.
Thank you Kevin. I think the Shure CM/ A is the warmest of the three mics, particularly the mid tones, but it sounded to me as though the HB-52 is least prone to muddiness at the bottom end. Your video is helpful re my current dilemmas (below) but has, inevitably, begged more questions.
Very soon after I bought a VHT Special 6 (my first amp) a friend moved overseas and left his modified VHT Special 6 with me to look after - I played his modded amp thereafter. The mods were done by a reputed guru of amp mods for harps in Germany, with, I believe, the Mexican made Shure green bullet in mind. I have really liked the two together but, my friend came home unannounced, reclaimed his amp and returned abroad before I had got around to noting the mods. Now it has become very obvious that my un-modded amp sounds brash, is much more prone to feedback and is less powerful, usually needing a mic out to a PA when I'm playing in a band with a drummer using a full kit.
1. Have you been pleased with the alnicomagnet mods on the Special 6? Did it reduce feedback issues much? In your video it sounded quite hot, can it be readily set to play either clean or gritty?
2. I am toying between a Bulletini and an HB-52 because I find the green bullet is a bit too big for comfort for a 2 hour gig and in a hot venue it gets slippery in my hands - hopefully less of an issue with a smaller mic. How do think their sounds compare? Which, if either, is less prone to feedback? I noted that you said the Bulletini's volume pot is inferior, is it well built otherwise?
Cheers, Adrian
I regularly play 2-3 hours shows with the HB-52 and it takes everything I can throw at it and keeps on chugging. I’ve even dropped it off the back of a pickup truck and it bounced and gained a few character scratches but still plays like a champ. I sweat pretty bad on stage, so I wrapped a couple thick rubber bands around the mic for added grip. I have a 520dx, bulletini, and a few others… the HB-52 wins everytime for tone, durability, and overall comfort.
1. If you’re looking at speaker swaps, a Weber signature alnico is the best all around harp speaker I’ve heard. Also, the speaker will not have nearly the effect that a tube swap will for controlling feesback. Swapping the high gain 12ax7 for a 5751 or 12ay7 will vastly improve the feedback issues. A speaker swap will improve tone as long as you do your part with mic technique.
As far as mic options for feedback, the best one I’ve played is a Bone Daddy. They are designed to kill all feedback, and they do a great job. The tone isn’t quite a rich as the HB52, but it does stop feesback completely. If you’re serious about playing the blues, it’s best to get a small 5w tube amp, swap the preamp tube for a 5751 or 12ay7, Weber Alnico speaker, and a nice bullet mic. The rest is up to the player and have solid mic technique. If you’re learning how to produce a thick blues tone, you’ll want to get a traditional bullet-shaped mic so that you can cup it tightly. That’s the secret to getting that think bluesy tone, you have to completely seal the mic/harp/face to send all of the pressure into the mic element.
The 99B86 element (date code ED) was made in April 1965. The 99S556 element (date code AG) was made in July 1981. Shure began the 2 letter date code in 1961 (which is "A"), and the letters for the year started over at "A" again in 1981. I don't have a 99B86 element but I have a 99A86 element from 1973 that is very similar. I have a 99S556 from the early 1990's in a 520D.
Thank you! That’s great info.
@@LeedsHarmonicaI now have a 99B86 element from 1961 in a purple Turner 250 shell.
@@keefmeister77 cool. I’ve never played a Turner but always thought they looked pretty comfy. Hard to get a good idea how wide a shell is without actually holding one.
It's my favorite shell that can accommodate a CR or CM element, not as wide as most and the lip around the grill helps you make a good seal around it. Tomorrow I'm supposed to get a Turner Challenger shell with a white label CR element.
The HB-52 can mimic a lot of other mics, and is built like an absolute tank. In this example, you can cut the highs and bit and boost the lows and it’ll sound like the jt30 with more punch. It also responds very well to hand techniques. L
As far as hand techniques on the HB52, it is the most responsive mic for cupping, wah-wahs, and all the hand techniques that I’ve ever used.
@@stuffnuns it’s definitely one of the more responsive mics for cupping, but I have to give the top title to my Turner mic. It’s like the HB52 but even more dynamic regarding hand technique. You can hear folks like Nic Clark doing all sorts of cool things with them as well.
Děkuji za krásné a důkladné porovnání!
Nice demonstration
That mike is going to be my next accusation
What are you gonna accuse him of? Molesting you?
Shure CM / A /.....pure winner !.....
Did you try the hb52 on vocals ? I’m looking for something that can just add a little dirt to vocals , but I don’t know if these harmonica mics would case feedback or not be loud enough on live settings . Thanks
Been playing amplified harmonica for 30+years and the hohner hb52 is the best mic I've ever owned.
Can I record my harmonica with my PC using HB-52? Can I connect this microphone to my camcorder?
The HB52 is a very hot mic. I’d run it thru something that can attenuate the volume - a mixer or a preamp of some kind.
@stuffnuns @fullsunforever8867 yeah it’s pretty hot. And high impedance too. You can connect anything to anything with the right hardware but I’m not sure connecting it to a camcorder is the best idea. The green JT-30 is hotter though, and much less well behaved.
,,, I like it!,,, I want one hb-52 !!!,,,
nothing wrong with the VHT special 6 for a reasonably priced amp
It’s a killer little amp when paired with the right mic and player!
thanks kevin, how does it compare to the shaker rocket?
Never played one unfortunately so I couldn’t say.
Hands down better than a shaker. I have 2 of them and even after using an impedance matching transformer and special cable (recommended by shaker), it doesn’t come close. The only mics I have that are better than the HB52 are all customs, JT30, t-3, Turner, all having vintage elements and costing more than twice as much.
👍😎👍
LOL