The only possible consideration may be a minute microphonic effect due to movement of the wires connecting the capsule.
While the head basket clearly has some sonic influence, I just don't see any evidence that this was a theme of discussion in the literature by (or around) Neumann at the time. Where there is discussion of acoustics, in the material I've seen, it is always in connection with the capsule design. Do you have any specific citations handy?
What specifically did you notice between the two orders of head basket layering? I would think the coarse weave on the inside would break up the modes more than the finer weave on the inside.
In my experience, removing the finer layers can remove important shielding causing audible hum problems.
The opposite: the coarse weave on the outside makes the sound less opaque. I have no scientific explanation. After all, one could claim that, if the same three layers are present, the sequence does not matter. But it clearly does. One possible explanation is that the diffraction/reflection of sound waves arriving at the first, coarse weave is different, maybe allowing more shorter wave lengths getting through the consecutive layers, arriving at the capsule with higher velocity than if they were already weakened and deflected by a very fine outer weave?The good shielding properties of the C12's single, very coarse weave would contradict that hypothesis.
Re: the shielding issue, my experience is with removing the inner fine mesh on a Peluso VTB and running into intermittent hum issues until I put it back in the rear of the basket.
Back to the original question about wiring a capsule Klaus. Does anyone know the brand of wire that Neumann is currently using or the number of strands as it must be less than the GAC-3 96 strand? QuoteI don't but if you really want to try it, I have lots of it lying around.Quote Also Klaus is "leaded silver" solder, as you wrote before, necessary? Or can pure silver solder without lead be used? For health reasons I would prefer to not use lead in any application, but for sound reasons I just might have to use the "leaded" if it is necessary.I understand agree with the lead caution (or why else has the majority of seasoned microphone technicians died before their time?) But I see no way around it if you really want good connections: molten lead in a 40/60 lead/tin mix covers best, and allows for the most perfect connections between components, especially when a few percent silver is added (silver alone cannot be used, because of its high melting point. It would melt or destroy parts).
I don't but if you really want to try it, I have lots of it lying around.Quote Also Klaus is "leaded silver" solder, as you wrote before, necessary? Or can pure silver solder without lead be used? For health reasons I would prefer to not use lead in any application, but for sound reasons I just might have to use the "leaded" if it is necessary.I understand agree with the lead caution (or why else has the majority of seasoned microphone technicians died before their time?) But I see no way around it if you really want good connections: molten lead in a 40/60 lead/tin mix covers best, and allows for the most perfect connections between components, especially when a few percent silver is added (silver alone cannot be used, because of its high melting point. It would melt or destroy parts).
Also Klaus is "leaded silver" solder, as you wrote before, necessary? Or can pure silver solder without lead be used? For health reasons I would prefer to not use lead in any application, but for sound reasons I just might have to use the "leaded" if it is necessary.
I understand agree with the lead caution (or why else has the majority of seasoned microphone technicians died before their time?) But I see no way around it if you really want good connections: molten lead in a 40/60 lead/tin mix covers best, and allows for the most perfect connections between components, especially when a few percent silver is added (silver alone cannot be used, because of its high melting point. It would melt or destroy parts).
Where are the parallel opposing surfaces supposedly causing standing waves between the flat capsule diaphragm and the circular basket in the U 47?
The curved grille creates a rough parabola where the incoming pressure waves are reflected back into a focal point, probably right on the front surface of the capsule.That doesn't happen with the angled grille.