“Show Us Your Mic Collection” is a new Radio World feature in which intrepid broadcasters and readers show off their microphones. Have a submission? Email us at radioworld@futurenet.com.

Does the “cool factor” of your gear actually change how you work? Is there a psychological boost to using equipment that is high-end, sleek and just plain fun to operate? Or is it all just window dressing?

Meet Geoffrey Hacker, a design engineer and collector who views microphones not just as transducers, but as masterpieces of industrial design.

With a doctorate in Industrial-Organizational Psychology from the University of South Florida, Hacker is uniquely qualified to explore the intersection of form and function. His fascination lies in the “why” — specifically, how great curves, lines, and colors affect the human experience.

Hacker’s journey into collecting began 20 years ago with microphones, which eventually led him to the world of rare, hand-built automobiles. As the founder of Undiscovered Classics, he now spends much of his time researching, restoring, and showing one-of-a-kind prototype cars.

But he hasn’t forgotten his audio roots. Many of us in the broadcast industry know that if a studio is clean and the gear looks “pro,” talent and engineers are less likely to blame an error on “crappy gear” — and they tend to treat the equipment with more respect.

“I’ve always loved design,” Hacker told us. “Around 2005, I came across an Astatic 600. It was only produced for a single year, and that rarity piqued my interest. As I researched its history, I discovered a wider range of stunning designs across various manufacturers than I ever could have imagined.”

Hacker’s collection blossomed from there, fueled by advice from collectors and historians across the country.

We noted in particular Hacker’s Turner Colortone mics — and he has them in all colors, made specifically in 1955–1956. They were short-lived due to the fact they were plastic/lacquer coated and didn’t hold up well on stage.

But Hacker’s core background is neither professional audio nor radio. In fact, Hacker credits his friend, Tim Masters, a musician and recording artist, for testing the models in his collection.

“I am strictly driven by the design aspect,” Hacker explained, “that’s what fuels my passion for collecting.” As a result, while Hacker has used a few of them for his recording studio, he’s never personally tested a microphone he acquired.

His Astatic 600 is his personal favorite, as it’s what he said kicked off the mic collecting hobby. “However, I recently found an American C-5 after searching for over 15 years,” he told us. “That was a major win for the collection.”

Which one is the best sounding?

Hacker simply isn’t sure. He asks you, the reader, if you have used any of the models in his collection and what your audio impressions are.

If you’ve used any of the mics in Geoffrey’s collection and want to share your technical feedback or memories of the gear, we want to hear from you! Contact us at Radio World or email Geoffrey directly.

Have a submission for “Show Us Your Mic Collection?” Email us at radioworld@futurenet.com. 

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