RCA 77DX

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Coco
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RCA 77DX

Post by Coco » Wed Nov 09, 2005 9:43 am

I have been lusting after a 77DX for some time now. I am going to bite the bullet after X-mas and get one. I figure I will have to pay about $1500 for a nice one that has not been molested, abused ect. Is this an Ebay thing or are there any reputable vintage dealers that sell these or refurbished ones on a regular basis. I have also heard they are a bit dark sounding and would like some of you guys who have or have used these to chime in. I will probably torture it on elec. guitar, mono drum overhead, brass ect. Comments?
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Post by r0ck1r0ck2 » Wed Nov 09, 2005 9:57 am

ok i only have experiance with the 77D....
but they are HEAVY as fuk...and the mount is not a standard size...
acutally it's probably a 1/2" standard thread...40's us you dig...
you're gonna need a very heavy stand.....especially if you want to use it on overhead....

that might be fine....probably sound good.....
but i doubt you'll be able to throw it up in front of a guitar cab....
you WILL destroy it....

these things are amazing looking and the mechanism it uses for multipattern is really funny...and i can't find another multipattern ribbon....
but i think they are overpriced...simply because larry king has one on his desk...
i think you'd be better off with the aea....
or something that dosen't have that high of a reputation....
christ bob hope used the dam thing....
they are Very Famous...
i don't want to burst your bubble here...but....just a note of caution....

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Post by cgarges » Wed Nov 09, 2005 11:01 am

These are one of my favorite mics and alas, I have yet to get off my duff and buy one. I love it on electric guitar, saxophones, and certain vocalists. It's a great mic and sort of need to be paired with the right pre to really shine, but it's not as finicky to me as, say, a BK5 in that regard. They pop up on ebay a good amount for between $1k and $1500 in varying degrees of repair. If the casing isn't too ugly or dented, you should probably pick up one of the less expensive ones and simply send it to Clarence Kane at ENAK in NJ to be aced-out. Clarence used to work for RCA and is great. That way, you'll have a spanking 77DX for less than $1500 that you should be able to use happily for many years.

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Post by Coco » Wed Nov 09, 2005 11:33 am

r0ck1r0ck2 wrote: they are HEAVY as fuk.../quote]

Yep. They are a weapon for sure. Regarding the AEA, had an R84 and it sounded good, but it seemed kind of light weight and cheap to me. I am not afraid to stick a ribbon on front of an amp either, I usually use a pop screen.
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Post by r0ck1r0ck2 » Wed Nov 09, 2005 11:48 am

cool....i think my experiance was colored by the fact that it wasn't mine....

now what about this non standard mic mount?

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Post by Coco » Wed Nov 09, 2005 12:22 pm

r0ck1r0ck2 wrote:cool....i think my experiance was colored by the fact that it wasn't mine....

now what about this non standard mic mount?
It is some old US size for film industry or something. My Fostex ribbons have the same huge stand mount. I picked up a threaded insert/adapter at a local music shop for around $10. I assume the RCA is the same ginormous thing.
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Post by mr scratchy esq » Wed Nov 09, 2005 1:24 pm

Just wondering why you're particulary interested in the 77-DX? I have a pretty good mic collection, including a RCA 44-BX, BK-5A and a Coles 4038 and I find the 77-DX to get the least use out of all my ribbons. I'm not saying I don't like it or that sounds bad (it and the BK-5A were both reribboned by ENAK), it's just that for any given source it usually gets beat out by the other ribbons. And yes, it's a very good idea to make sure you have a heavy duty stand for any large, heavy mic.

Bill

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Post by cgarges » Wed Nov 09, 2005 2:09 pm

Coco wrote:I assume the RCA is the same ginormous thing.
It is. The adapters pop up on ebay occasionally for between $10 and $15. I imagine the usual ribbon mic suspects like Clarence Kane, Wes Dooley, etc. should have them available, too.

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Post by Coco » Wed Nov 09, 2005 2:37 pm

cgarges wrote:
Coco wrote:I assume the RCA is the same ginormous thing.
It is. The adapters pop up on ebay occasionally for between $10 and $15. I imagine the usual ribbon mic suspects like Clarence Kane, Wes Dooley, etc. should have them available, too.

Chris Garges
Charlotte, NC
AEA does. Believe it or not some musicshop here has a bunch. Strange for a city that has no place that one can even rent an RE-20 in.
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Post by joel hamilton » Wed Nov 09, 2005 8:39 pm

mr scratchy esq wrote:Just wondering why you're particulary interested in the 77-DX? I have a pretty good mic collection, including a RCA 44-BX, BK-5A and a Coles 4038 and I find the 77-DX to get the least use out of all my ribbons. I'm not saying I don't like it or that sounds bad (it and the BK-5A were both reribboned by ENAK), it's just that for any given source it usually gets beat out by the other ribbons. And yes, it's a very good idea to make sure you have a heavy duty stand for any large, heavy mic.

Bill
I agree. I never freaked out about the 77DX. I did however freak out about the Tannoy large ribbon. The black "london" and the gold "england." those ribbons have ruled my life since i got one, then the other came into the studio...

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Post by cgarges » Wed Nov 09, 2005 8:59 pm

joel hamilton wrote:I agree. I never freaked out about the 77DX.
They sound good uncompressed.

Chris Garges
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Post by soundguy » Wed Nov 09, 2005 9:18 pm

cgarges wrote:
uncompressed.
whats that?

this is almost 2006. get with the program.

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Post by jca83 » Wed Nov 09, 2005 9:52 pm

cgarges wrote:
joel hamilton wrote:I agree. I never freaked out about the 77DX.
They sound good uncompressed.

Chris Garges
Charlotte, NC

i think he means 4:1.
that devil bastard protools

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Post by joel hamilton » Thu Nov 10, 2005 7:32 am

jca83 wrote:
cgarges wrote:
joel hamilton wrote:I agree. I never freaked out about the 77DX.
They sound good uncompressed.

Chris Garges
Charlotte, NC

i think he means 4:1.
The few times I liked the 77, it was being compressed, and it was recording drums.

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Post by @?,*???&? » Mon Jul 12, 2010 12:36 pm

cgarges wrote:These are one of my favorite mics and alas, I have yet to get off my duff and buy one. I love it on electric guitar, saxophones, and certain vocalists. It's a great mic and sort of need to be paired with the right pre to really shine, but it's not as finicky to me as, say, a BK5 in that regard.
These aren't necessarily a 'go-to' mic nor a favorite of mine. In this era of 8 zillion Chinese ribbons, you'd likely be just as happy with a Cascade Fathead.

For the best vintage ribbon tone, the Coles 4038 would be a better pick.

As for needing the 'right' pre, what Garges means is that you'll need a pre with a lot of gain. Ribbons have a reduced output level and need the additional gain to get them up in level. How a pre amp is built in that regard is not standard. Realize, you're introducing more noise in that process too.

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