My name is Christian Guen
I'm the son of Yves Guen
the manufacturer of Stimer microphones
My father created the Stimer company in 1947
and made microphones for Django Reinhardt, and a few musicians of this period
My father made this microphones until 1986 until his last day
I worked with him after my engineering studies
for a period of twenty years
and even before that I was in the workshop
and I was making microphones as amateur following my father's advices
After his death in 86, I continued the manufacturing of the microphones
until around 94 when I did a temporary cessation of business
meanwhile a luthier who registered a trademark for the name Stimer
which has nothing to do with Yves Guen, so he was able to do so disputing the notoriety
in 2014 I retired
and I created the company Yves Guen
which manufactures microphones for guitars
with the same manufacturing methods
of that time that my father taught me
How did you get the idea of creating this microphone?
Was it specifically for the gypsy guitar?
My father, after the war, in 45
liked jazz a lot, went to many concerts
and became interested in guitar amplification
so he made a few microphone prototypes
and then he met Django Reinhardt in Saint-Germain-des-Prés
it's when they collaborated
Django wanted to be heard, because acoustic guitars
with orchestras, clarinets, violin and all of that
it wasn't loud enough, so he asked him if he could amplify his guitar
so he asked him to make a microphone
and at this point he made the ST48
which would mount on Django's guitar which was a Selmer guitar
and so he made his microphone
So this microphone was tailored for Django Reinhardt
Exactly for Django Reinhardt
So at the beginning Selmer guitars were his working tools
at the start it would screw onto the guitars which we don't do anymore of course
but back then we could find Selmer guitars with screw holes on them and it was the microphone slot
Why did this microphone become a reference for gypsy jazz guitar?
Django with this microphone obtained a peculiar sound with it
that isn't the an American sound but a sound with a specificity
and in order to obtain this sound there are many important parameters in terms of manufacturing
the materials, the winding that needs to be done a certain way
many manufacturers tried to reproduce it but they never manage to do so
and so, it's a whole technique that Yves Guen developed
and taught me, so I learned directly from him to make them
in the same way, and I keep the same characteristics
So without going into the detail of the manufacturing process of this microphone
Could you explain the different steps
to go from raw materials to the finished product?
So, the main manufacturing steps...
firstly there is the housing made with embossed brass
with the right thickness so it can be under the instrument
and underneath there is another housing made with another metal, a specific steel
that Yves Guen ordered and he made tests on it
on the bottom of the housing of the microphone
and in this housing there is a magnet
a magnet that has a specific magnetic field
next there is a winding done by a machine
without doing it automatically, we do the winding by hand
a certain way that Yves Guen found
that allows to obtain a particular sound with this microphone
All these parameters are important, because otherwise we don't obtain the sound of a microphone from Yves Guen
Okay, in this type of microphone there are two models the ST48 and S51
What's the difference between those two microphones?
So, 48 and 51 represent the year of creation of the microphones
so the ST48 was thus created in 1948
there is a volume dial on top of it
and has the sound that Django had with this microphone
then on certain guitars
there were guitars with holes on the sides
which weren't Selmer guitars but Dimauro guitars or from other manufacturing luthiers
My father was asked to make a microphone with a clip on the tailpiece
it is in 51, so that the S51 that my father release this microphone
so it's a microphone that stays under the strings
and that stays in place with a clip on the tailpiece
it would spare the guitar a few holes
and not damage the guitar
And sound wise those two microphone have the same type of manufacturing?
or is the sound a bit different?
The sound is slightly different
it's mostly the fixation method of the microphone which is important
Okay, so the more common model is the ST48
How do you mount it to the guitar
So, now I made a magnetic system
with a tab that goes inside the guitar that is removable
so, if we want to remove it, we can remove it easily
and on this tab there is a magnet
which is integrated on it
when we want to mount the ST48 microphone
we slide it underneath the string and it directly clips with the magnet
and you don't damage your guitar
your microphone is mounted and it doesn't move
Okay, and if someone watching this video would want to buy this type of microphone where could he find it?
He could find it on my website
I have a website www.yves-guen-original.com
they can order directly
Alright, so thank you a lot for talking with us about all that
and now we will see how to mount the microphone on the guitar, so I brought mine to do so
and you will do a small demonstration on how to mount it
Alright, let's do it
the microphone is delivered like this
with a fixation system which is my magnetic system
Next we have two small magnets on each sides
on which we put a self-adhesive tab
we remove the red part
and so I have a small screw that will allow me to attach the system
so this system we can put it wherever you want
Where is the best spot on gypsy guitar in general?
In general near the neck would be a good spot
Firstly you have to check the height of the string relative to the microphone
in order that the microphone doesn't touch the strings
when pushing on the last fret of the guitar
So, here there is no issue
so, we will put it just about here
then we push a bit so this piece is well in place and glued properly
Alright
So, we might have a height adjustment of the magnet because it needs to be at the limit
of the guitar's sound box to be mounted on it
I'm going to put the magnet a bit higher
So now your microphone is mounted on the guitar
Would this system work on small and big sound holes?
So for a small sound hole there is only one bar for big sound holes you need to put two bars
of this fixation system
you need to know that to adjust the microphone relative to the strings
The name Yves Guen needs to be centered relative to the strings
So the beginning of the 'Y' on the low E string
and the end of Guen on the high E string
In order to mount it there is a way to do it
we take the microphone we put it under the strings
and we orientate a bit on the side
and we push it down at the spot we want it to be alright?
So, here it's mounted properly
To remove it, the same thing, you don't pull it one way or the other
We rotate it a bit, to take it off the magnet and we slide it
Alright, and then jack-wise from the amplifier to the microphone, what type is it?
So, it's a RCA plug
a RCA plug provided
which is a professional plug with a clamp
the cable is clamped, so it doesn't snatch
so it's cable that I make
with a particular case and it may be a bit rigid
but it's a cable with a low capacity
that allows to have big lengths if necessary
we can have a 7 or 8 meters cable
it won't change the sound of your guitar
if we use bad quality cables
you'll have a distorted sound, there will be less high notes depending on the length
that's why my cables might be a bit rigid
but sound wise it won't be distorted when plugged in
as it needs to be
Very well, thank you very much for all that
And if you want to find those Yves Guen microphones you can find them on his website, I will put the link in the description
Thank you very much
Good bye
alright, good bye
On screen: Thanks to Christian Guen for giving me this interview to talk to us about the history and the manufacturing of the microphones Stimer Yves Guen
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