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Yes it was a SM56, a Wally mainstay microphone. Same element as an SM57 but with the convenient built in mic mount. Wally had hundreds of these in his studios and remote trucks because they sounded good and survived such events. However astute viewers of the entire Monterey Pop movie can observe that no more expensive condenser microphones were used on the overheads in sets after this moment.

I lived in SF from 2004-2014. I could walk from my house to baker beach

Well, Ampex machines had only had 3M in the beginning and Ampex never had a tape brand until they bought Shamrock around 1970. Shamrock was always inferior a tape. Ampex brand tape turned out to be much worse.

@@sbarncar actually, not true. BASF was making audio tape 10 years BEFORE 3m did. Scotch (3m Brand) made the famous 111 standard play tape in 1946 BASF was making audio tape since 1934

Get over it!

The VR1000 must have been in development by the time of this recording. Amazing that magnetic recording would come and go in such a few decades.

yer great grandpa could barely work the cassette machine that Bob gave him. But he typed out a script and did it. Also he did 9 or 10 tape letters with more stories. I need to archive those pronto. I think I need to add captions, really.

Thanks for your comment. The secret is simplicity. And no artist "experts". They left the tech decisions to me. Now today sessions are more about pleasing the artist rather than the audience. I'll be doing some tech video soon about the sessions soon.

​@@sbarncar WOW!!! THANKS for your reply!!! I feel so honored to receive a reply from someone of your stature!!! THANKS!!! During the 1970s, after I got out of the Army, a friend of mine and I started a "garage" audio business where we not only were dealers for Pro-Audio equipment (AKG, Cerwin-Vega, JBL, TAPCO, Sennheiser, BOSE Professional Products, etc.), but we also designed and built touring PA systems for local and regional rock bands (REO Speedwagon being our biggest gig) and nightclubs in the Indianapolis area (one of which was voted as "The 4th Most Popular Nightclub In The World")!!! As a result of all of this combined audio design work, my life shifted from purely "audio" work to more along the lines of "design engineering" work. (This rambling actually leads to something.....) -- In 1979, my sister decided to move out to L.A. to be with her then-boyfriend due to the fact that she was tired of -- literally -- "freezing" living in Minnesota for a job she took that she ended up not liking. She asked me to help her with the driving out to California and I agreed. In addition I thought, "HEY!!! LA!!! The "Land Of Audio Companies"!!!, so I took with me a bunch of drawings of mechanical and PCB designs that I had created for various reasons.....just in case. As it just so happened by pure coincidence.....the AES Convention was taking place during the week that my sister and I had showed up and somehow from somewhere I had managed to finagle an "Exhibition Pass" that at least got me in the doors!!! Once I was inside, within my brain I was in "7th Heaven", walking around amongst all of those Pro-Audio equipment companies. What a "Dream-Come-True" for me. WOW!!! I met with officials from UREI and I even met and personally spoke with Mr. Paul Buff of ALLISON Research. GET THIS!!! Paul Buff had even agreed to sell me 2 bare circuit boards of the original "Gain-Brain" for $25!!! I gave him my money there at the AES and he was to mail me the PCBs once he got back to his office after the show. Now.....> THIS < was a -- BIG DEAL -- for me because it was the first time that I had the opportunity to "Reverse-Engineer" a PCB so I could replicate it on my own for my own purposes. Once I was able to get back to Indiana, I replicated the "Gain-Brain" circuit board and I packaged it into a 1U rack-chassis, so I could have my own "Stereo Gain-Brain" unit!!! This was just the beginning of many other similar projects yet to come within my design life. (FINALLY!!!.....) -- I bounced around out there in California for a few months before finding myself in the heart of "Silicon Valley". I amazingly also happened to find this other audio guy that I had known back in Indianapolis years earlier!!! As it had just turned out, his room-mate decided to move-out, so he and I decided to share his apartment together there in Mountain View. From somewhere I had borrowed a typewriter and I pounded out a resume and mailed it out to companies out there after buying a Sunday-edition of The San Jose "Mercury News" or something similar. And.....(FINALLY!!! TA-DA!!!) -- one of the first companies to respond back to my resume mailing was The AMPEX Corporation in Redwood City, CA!!! They were looking for a "Printed Circuit Board Designer" and my background of performing this type of work back in Indiana met their criteria and so.....THEY HIRED ME!!! YAY!!! Now that I had a good job and an actual income, I was able to go out and buy my very first > NEW < car, so I could actually get myself to my new job. While I was there at AMPEX, I met the PCB Designer who had designed all of the circuit boards for the MM1100 24-Track recorder, which I thought was WAY COOL!!! He had told me that it took him nearly 15-months to go through the process to manually "hand-tape" each and every PCB. He showed me the MM1100 motherboard that he had designed and I was completely floored both by its complexity and its physical size, as all of the PCBs that I had designed up to that point were relatively simple and small. MAN!!! WHAT A MONSTER THAT MOTHERBOARD WAS!!! GEEZ!!! Now.....I have designed 10-Layer PCBs for NASA, tiny 1.25" square 8-Layer PCBs for "covert" Dept. of Homeland Security projects and >> ALL << of the mechanical and PCB designs for "The World's First AM & FM Digital Radio Broadcast Exciter" prototype chassis, which has now become the new "worldwide standard" in radio broadcasting!!! >> All from Mr. Paul Buff selling me a pair of bare "Gain-Brain" circuit boards so I could teach myself how to "Reverse-Engineer" them!!! << WHO KNEW??? Anyway.....that's my life in a nutshell.

That's correct 👌

I think he was at least well off before he got into Ampex. Besides all the movies he made, wasn't he a partner in Decca Records?

Don't forget He grew a lot of "Minute Made" oranges and invested even more money in Video Tape in 1953 which eventually replaced Kinescope in the late 50's.In 1938 there are some good examples of German made Magnetic tape that still exists today. eg. "The cremation of Sam Magee" read by Robert Service.

Magnetic audio tape recordings came out of Germany.

Yep. "the spoils of war" after Germany's unconditional surrender. We hauled the Magnetophones home to the USA and reverse engineered them.

FROM TELEFUNKEN? STOLEN? HOW MANY PATENTS, MANUFACTURING METHODS, FACILITIES, ETC WERE STOLEN DURING THE THIRD REICH? READ YOUR HISTORY, HELMUT. IN GERMANY, A.C. BIAS WAS STUMBLED UPON BY VERY OBSERVANT TECHNICIANS IN THE ENGINEERING DEPT OF THE RRG. A FEW YEARS BEFORE THAT MARVIN CAMRAS WAS GRANTED HIS PATENT IN THE US IN 1941. IN 1927 (NOT A TYPO) ONE WAS ISSUED TO CARLSEN & CARPENTER IN 1927 (NOT A TYPO). MULTI - TRACK WAS, WITH, THE PARTICIPATION OF BELL BABS - WESTERN IN AN OPTICAL FILM 35MM MEDIUM FOR THE FILM FANTASIA.

No, you are incorrect.The movie business invented multi-tracking back in the 30s, before Les Paul. And the technology was improved by Mullin and Ampex. I don't know the patent story, but please do remember that the Germans were NAZIS and probably had as much patent protection as the current Russians. Perhaps it was the 'spoils of war' but you are not telling the whole story. Rangertone, Presto, Scully, etc.

@@sbarncar Re the movie business inventing multi-track audio, you do mean optical, not magnetic recording, right?

@@moldyoldie7888 BOTH

Les Paul did not invent sel-sync. He was an Ampex custom product customer who requested the feature. It was an Ampex employee that came up with the tech and presented it to Les Paul. It was more than just simple switching, and required extra coils and other components. All the movie guys had to do was add another sound on film or magnetic recorder to the other recorders. They were already using synchronized multi “track” and editing equipment in the 30s.

PERHAPS IT WAS FOR DATA APPLICATIONS

LMAO ok this the best comment. For real lol there should've been some jazz cats smokin reefer and plottin to throw down some shit on 28 tracks.

Les Paul and the Beatles created the first Multi-track recordings!

@@artshifrin3053 Some progressive rock sounds like data.

@@jaminova_1969 The film industry was recording multi track long before the Beatles.

Very cool, Thank you for what you do. 👍

No, the key for Classic Tape recording came from Telefunken!!! That ampex have Stolen, and the synch with multitrack came from les Paul!!!! Telefunken and studer have a bit better Sound, and that say i as ampex Recorder Fan!!! In my list IS Telefunken in 1th place than studer and ampex in 2th place!!! Love all 3! My dream Maschine is the Telefunken M10 4track 1" Tube Tape Recorder!!! Than studer j37 (4track) and ampex 300/350/351 3 and 4 Track Recorder ;)

Btw. first multitrack recorder in London in world bigest Studio (Abbey Road) was the Telefunken M10 4 Track (end 50s to mid 60s), than thay buy studer J37 4 Track maschines (becouse thay was Lidl and Not so big Like Telefunken) in Sound and Tape Transport, Telefunken M10 1, 2 and 4 Track was the best at thay time!!! But as i sayed, Love all 3 Brands!

Ditto! I had my 1st experience with an Ampex 351 ful track; it sounded excellent! What an awesome machine, I think they referred to it as the "washtub." Of course, Studer and Telefunken were on par as well. Wished I could've worked with those machines as well.

@@Creatormelodie you obviously dont know your history very well. Putnam was multitracking before as well as overdubbing etc.. and no thanks the classic American sound IS ampex. Literally every damn record made in america which was all the shit every other country was copying was Ampex. King, Sun, Columbia, RCA, Vee Jay, Cobra, Fire, Modern, the list goes on and on. Ampex, Ampex... period. You can have all them beatles records and shit it doesnt compare to American music done on Ampex. Period. And who needs multitracking.... mix it all live yourself. Putnam did everything from Ray Charles to Muddy Waters to Sinatra all mono live.

@@bob4analog The german stuff was great but the classic American sound is Ampex no arguments even possible. Ampex had the magic tone, the 350 and 300 models are my favorite. The washtub models were named on the Ampex 300 or the 3 track models which had the big silver metal housings. The 351 usually came in a wooden rack orportable cases

Jill Clardy really what happened ?

Jill, what division did you work in? My father worked in engineering in Redwood City from '59 to '84. By chance, did you know Mal Boyd, Tim Collins, Hank Alvord, Jerry Kazakis or Frank Banks?

@@raymondbanks4103 AVSD. I don’t recall any of those names.

@@JillClardy sorry to belabor this but what department did you work in?

@@raymondbanks4103 I was a Product Manager, then Manager of Customer service, then IT manager…among other positions

Germany surrendered unconditionally, so we weren't stealing. The whole country and everything in it belonged to us.

Reading through the Wikipedia article not one mention of ac bias, the most significant development of all. Not worth the "paper" it's written on then surely?

@@factorylad5071 well this is your opportunity to update the Wiki yourself. It's crowd-sourced..