Bullet Microphone Collection

OK, this has been a long time coming, but I am glad to finally say…it is starting!!!

part of the Gruenling Microphone Collection

I have been collecting, re-building, and customizing vintage bullet microphones for myself and other harmonica players for close to 20 years, and I have accumulated quite a collection of these microphones over the years (most of them years ago). The majority of my collection is made up of variations of the two most popular “bullet-style” microphones used by harmonica players – the Astatic JT-30 style microphones, and the Shure 520/707A bullet-style microphones. My plan is to add or “archive” one microphone a week (from my collection) here on the website. Doing it this way will take me more than 3 years to finish, but at least I will finally get the ball rolling!

“Why?” is probably the question that people ask me the most when they see my collection. Well, being a blues & roots harmonica player who enjoys to play amplified is one reason. There IS a difference in microphones from one to the other. Certain model microphones (and certain types of elements) have particularly good tonal qualities and characteristics when held in the hand with a harmonica by a player who has good playing tone and technique on the instrument, and a good gripping technique on the microphone. Don’t let all the nay-sayers fool you…the microphone DOES INDEED make a difference. Of course, some people just don’t care enough about it, and/or their ears aren’t paying attention to the difference(s). And just like old amps, guitars, cars, etc…the old mics all vary greatly, even mics of the same kind, style, model and age.

part of the Gruenling Microphone Collection

The other reason is most of them are so cool-looking! Even non-musicians and people not particularly into equipment or vintage items seem to get excited when they see cool old microphones. Maybe it’s the chrome (not many things are cooler than chrome, you gotta admit), or the art-deco/space-age styling of some of these, but there is no doubting their visual appeal.

Now, it should go without saying (although nothing goes without saying anymore, thanks to the internet and the myriad of self-proclaimed “experts”) that the value for any of these microphones is a result of three main factors: the cosmetic condition of the microphone, the rarity of the model, and the “practical” working condition of the microphone (different than the “working condition”). By “practical” working condition, I mean specifically how well the microphone can and will sound when used while playing harmonica through a decent harp-friendly amplifier. Many of these vintage microphones still in existence “work”, but the majority of the crystal and ceramic style microphone elements have aged/deteriorated/been abused/etc…to the point where they do not have tonal characteristics suitable for use and/or will not endure the pressure that comes from playing while cupped in the hands. I cannot tell you how many microphones I have been asked to “re-build” or “modify” over the years (and still counting…) because players have been told they are buying a “working condition” microphone, and it either does not work well at all, or the tone is completely unsuitable and makes the microphone basically unusable for practical purposes for any player who wants to have a decent sound.

Me and some Shure Mics

Having said all that, let the archiving begin! These are all part of my personal collection, and are not for sale, although I do occasionally have harmonica microphones for sale from my collection, or from my personal arsenal of usage. Note that there will be many “duplicates” of some models in the collection, since there are many variations including ID tag differences, model # differences, body style/shape differences, color/finish differences, etc. The microphones will be added to this online archive/collection in no particular order, just to keep it interesting…

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* * * Astatic JT-series * * * This is one of the (if not THE) most popular of the vintage bullet-style microphones used by harmonica players since the 1940′s. There have been many variations of these made over the years, and a vast variety of voluminous variations of this vintage valuable make up approximately 1/3 of my bullet microphone collection!
(#7) Astatic JT-30 (TT) just added! This is one of the earlier versions of a grey & chrome JT-30. Grey body (not the later “Hammertone” grey), chrome grille, “A” series serial number, “wide-slot” or “shorter” body (notice the wider screw slot indents in the profile, and the slightly shorter and more tapered length of body), Astatic Corporation pre-logo rivet label, with original box & stand (“TT” stands for two-tone grey & chrome, original stand base is wood, not metal) {circa 1942}


(#1) Astatic JT-30 This is one of the more common variations you will see of the Astatic JT-30 style microphone. Hammertone Grey, chrome grille, “B” series serial number, regular body, Astatic Corp lightning bolt logo w/centered “Made In USA” rivet label, “flat-top 3″, with the original box and stand {circa late 1940′s}


(#4) Astatic JT-30 This is another of the more common variations you will see of this model. Hammertone Grey, chrome grille, regular body, “black adhesive” old logo label, with original box and stand {circa 1970}




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* * * Astatic T-3 * * * This Astatic chrome model is one of the earliest “bullet”-style designed microphones. Being a crystal microphone, it also happens to make a great harmonica microphone with some modification. With an applied patent in 1937, this basic shell design was used for the model T-3 series microphones, as well as the rare Astatic UT-48 microphone.
(#5) Astatic T-3 This is one of the more common variations of the T-3. All-chrome, sloped elbow connector, “B” series serial number, lightning bolt Astatic logo rivet label (“Made in USA” on right), curved “3″, with original box and plug adapter {circa mid-1950′s}

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* * * Shure 520 “Green Bullet” * * * This is the OTHER most popular bullet-style microphone used by harmonica players for decades. Coming into production approximately 1949, there have been several variations of the Shure model 520 “Green Bullet”, as well as other microphones with the same or similar bullet-shaped Shure bodies. Variations of this and other Shure bullet microphones make up more than 1/4 of my microphone collection.
(#2) Shure 520SL This is one of the most common variations of the Shure Green Bullet microphone. Green paint, brushed grille, Controlled Magnetic, bright green Evanston tag, “SL” model (comes with base and grip-to-talk handle) – {circa mid 1960′s}



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* * * Shure 707A * * * This is another popular bullet-style microphone made by Shure, sometimes used by harmonica players. Unlike their more popular 520 “Green Bullet” microphone model that uses a Controlled Magnetic or Controlled Reluctance cartridge, this Shure bullet microphone incorporates a crystal element. This model started out in the 1940′s with a slightly smaller body/shell (similar to the other older Shure bullet models), and then took on the same slightly larger size of the 520 “Green Bullet” model around the time the 520 was introduced in the late 1940′s.
(#6) Shure 707A Here is one of the most common variations of the 707A. Light grey/silver body, larger shell, bright blue “Chicago” tag, with original box and stand {circa 1952}


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* * * Turner “Challenger” Bullet * * * Here is another common vintage bullet microphone used by harmonica players. Made by the Turner Co., the “Challenger” model came in both brown (“B” series) and brushed chrome (“C” series), with the choice of either a crystal element (“X” models) or dynamic element (“D” models). With it’s very cool space-age aesthetics, it is definitely one of the cooler looking bullet microphones made. Some people, such as myself, like the size (a little smaller in diameter than a standard bullet mic) and think the that “fin” on top helps when holding onto the microphone. Some other players tend to think it can get in the way, but either way, it adds to the cool look of the microphone.
(#3) Turner BD “Challenger” This is an example of the brown version of the Challenger, with a dynamic element – model “BD”. The dynamic elements are obviously a little cleaner sounding, but still sound great for amplified harp if you have good cupping technique. This shell has the curved cut-out in the back and the original stand and tag. {circa late 1940′s}