Bullet Microphone Collection

* * * 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 (the other most popular model would be the Shure 520/Green Bullet). 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!

(#10) Astatic JT-30

This is one of the earliest versions of a model JT-30 from Astatic. Dark grey body & grille, serial number w/no prefix, wide-slot/shorter body, Astatic Microphone Lab rivet label, “bullet” screws, with original all-grey stand {circa 1940}

(#7) Astatic JT-30 (TT)

This is one of the earliest 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}

(#16) Astatic JT-30

This version is still called a JT-30, but has a brown shell, with the usual chrome grille. Rivet label with lightning bolt logo, centered “Made In USA”, flat-top 3, B-series serial number, “wide-slot” body, with original E-5 base and stand {circa mid-1940′s}

(#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 rivet label (“Made In USA” in center), “flat-top 3″, with the original box and stand {circa late 1940′s/early 1950′s}

(#13) Astatic JT-30

This is another more fairly common variation of the JT-30. Hammertone Grey, chrome grille, silver border adhesive label, original stand {circa early 1960′s}

(#19) Astatic JT-30-C  JUST ADDED!

This is the most common of the Ceramic versions of the JT-30 microphone (“C” stands for Ceramic element, as opposed to Crystal). Hammertone Grey, chrome grille, regular body, “black adhesive” old logo label, with original box and stand {circa mid-1960′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}

* * * 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 early & rare Astatic UT-series bullet microphones.

(#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}

* * * Astatic 30 “Biscuit” * * *

This Astatic microphone model was mostly manufactured to be used in conjunction with home recording machines in the early 1940′s. There have been some cosmetic variations with these, but mainly they have been brown, with either a brown or chrome grille. These incorporated a crystal element. Some players find these easier to hold compared to a bullet size, due to the shorter depth of the microphone body. However, the diameter of the grille is slightly larger than the Astatic JT-series…just about the size of the larger Shure bullet style.

(#15) Astatic 30 Biscuit

This is one of the more common variations – not ID tag on it, with a chrome grille on the brown body. With original stand. {circa 1941}

* * * Astatic 200-series “Velvet Voice” * * *

This Astatic microphone model also has a “bullet” shaped head, but has the handle permanently attached as part of the microphone itself. These have been commonly modified to be used for harp players by chopping off the handle, although I have known and seen some players use them with the handle still attached. They usually came with a crystal or ceramic element, but just like other models, commonly don’t work well when found nowadays. There have been several variations of this model for use with recorders from the 1940′s & 1950′s as well. The diameter of these microphones is about the same as the bigger-size Shure bullets, which is slightly larger than the JT-series shell.

(#8) Astatic 200-S

This is one of the more common variations of the 200-series microphones. Gold color, chrome grille, “B” series serial number,  lightning bolt Astatic logo rivet label (“Made in USA” in center) on back-bottom of handle, with on/off switch (the “S” in 200-S), with original box and base {circa early 1950′s}

* * * Shure Small Brown Bullets * * *

Before Shure started making the “Green Bullet” microphone, it made plenty of other bullet-style models, and they mostly incorporated crystal elements. Up until the late 1940′s (close to 1950), all of these Shure bullet microphones were a slightly smaller size, and have proved to be more popular for harmonica players due to the size difference. It isn’t a big difference, but to someone who is familiar with the size of a Green Bullet, it will be noticeable. Of these earlier models, there have been certain models Shure made to market on their own, as well as models to be sold under other manufacturer’s names and/or with other companies’ recording machines. Here are some of the early Shure Brown smaller-size bullets.

(#9) Shure 9822A

This is one of the more commonly seen Shure “Recording” Bullets. Brown shell & brown grille, Shure “Specially Designed For Recording” tag, with original stand, base and box {circa 1942}

(#17) Shure 9824A

This is another of the more commonly seen Shure “Recording” Bullets. Brown shell & brown grille, Shure “Specially Designed For Recording” tag, with original stand, and base {circa 1942}

* * * Shure 520 “Green Bullet” * * *

This is the OTHER most popular bullet-style microphone used by harmonica players for decades (aside from the Astatic JT-series microphones). 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 (as you see here in this section). Variations of this and other Shure bullet microphones make up more than 1/4 of my microphone collection.

(#14) Shure 520

This is one of the earlier variations of the popular Shure “Green Bullet” model 520. Green paint, brushed grille, Controlled Reluctance, same color green Chicago tag, with original box {circa 1950}

(#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}

* * * 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}

* * * 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}

 * * * Turner “22″ Bullet * * *

Here is another cool-looking vintage microphone from Turner, with space-age aesthetics, thanks to the “fin” running along the top of the microphone. I have used one myself in the past, and have seen a few in use, but due to the larger size & heavier weight, I don’t know many players who use them. They sure look great though! The 22-series microphones came in either a dynamic model (usually specified by a “D”) or a crystal model (usually specified by an “X”).

(#11) Turner S22X

This is an example a Turner model 22 with an On/Off switch integrated (“S”), and a crystal element (“X”). Some models had an On/Off swicth on the side as opposed to the front. {circa mid-1940′s}

* * * Miscellaneous Bullet Mics * * *

In this section I will include some of the one-offs, oddballs and various obscure models of the bullet microphone kingdom. Many of these will be Japanese made, but there will be plenty of others as well.

(#12) Lafayette PA-42

Here is another one of the coolest looking vintage bullet-style microphones, the Lafayette PA-42. This was also branded with several other model #’s and under other manufacturer names (as many of these vintage Japanese microphones were). Very lightweight plastic body, intricately detailed grille, and bold colors make this a joy to hold & gaze upon. Incorporating a crystal element, a good one can sound real nice, although many of these aren’t close to the tone or warmth of the American-made crystal elements {circa early 1950′s}

(#18) Kent M-20

Here is a variation of the cool Lafayette PA-42 style microphone. As you can see, it’s the same basic design, same kind of materials (very lightweight), but with a slightly different grille and different color scheme. Also a crystal microphone. {circa 1950′s}