This is the AMPEX ¡®canon¡¯ pro microphone Model 1100 from the 1970¡¯s. I suspect that this microphone was one of a pair distributed with one of Ampex's high end reel-reel tape decks. They also made some microphones for Electrovoice such as the H-1390 and Ampex Slimlair.
Ampex celebrated their 25th aniversary in 1970 and were founded in 1944. Ampex was a well know proaudio company then and were known for their tube preamps & amplifiers, mixers, remote controls, speakers, professional reel-reel tapes and high fidelity tape decks with ferrite heads (For you analog freaks: MODEL 601-2, AG-300, AA-620, MX-10/MX-35 , etc). The first tape deck from Ampex, the 200A (1948) was used by Bing Crosby. Ampex won an Emmy in 1956 for the VR-1000 and an Oscar in 1961 for the "development of an advanced multipurpose theater sound system". In 1949 Les Paul modified an Ampex tape deck and began sound on sound recording but in 1953 it was perfected by Ampex engineer Mort Fujii and the first 1-inch Sel-Sync 8-track sold to Paul for $10,000.00 in 1955. The AMPEX SEL-SYNC 1(1955) was inducted into the Technology Hall of Fame in 2006 (Innovations that changed the proaudio world). Many professional record labels were sold on Ampex tape such as the Beatles.
There are a few things about this mike that I like. It is quite Art Deco in its assymetric design and represents Machine Age as well with it's conical chrome head. The mic also is quite compact, only about 2 inches by 1.5 inches at the bottom and 1/2 inch at the top. It fits quite comfortably in one's hand and could be of value to a harp player, although it is dynamic. The compact size is also ideal for live miking situations where a larger microphone might not easily be placed due to space limitations. Finally, it can tolerate very high sound pressure levels and could easily mic amplifiers or sound cabinets. It's omnidirectionality is easily overcome by simply placing it closer to the sound source then say a cardioid (perhaps 1/2 the distance)
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