Neumann remains on the technical forefront of microphone design, with its range of digital mics and reissues of legacy tube mics sporting new-age simulation circuits. The rated impedance is 50 ohms with a load impedance of 1 kohms. Published: October 15, 2008. The figure of eight nulls are very deep. But like any mic it's better on some sources over others 9 The TLM 67 is a three-pattern FET condenser microphone with two large Mylar diaphragms, a switchable 10 dB pad, and a high-pass filter. As such, the insides are very tidy. Neumann’s most recent microphone — the TLM 67 — was a welcome visitor when it arrived. By ProSoundNetwork Editorial Staff The TLM 67 sounds even quieter than its quoted figures. Unlike the U67, this is a solid state mic. The TLM 67 is smoother than the TLM 49 I reviewed a few years ago. Update my browser now. The microphone has a frequency range of 20Hz to 20kHz, features cardioid, omni and figure-of-eight polar patterns, and offers a 10dB pad and a low-cut filter. I placed it about a foot in front and aimed at the soundhole at the guitar’s bridge. It was fantastic on acoustic guitar and a winner on sax and male vocals. The Mojave MA200 is strident/detailed as hell, due to an extremely quick capsule and exacerbated by its bright tube circuit. From this relatively light workout, I went further, miking my vintage pre-CBS Fender Vibrolux and strapping on my ’72 thin-line Tele to record some nasty rhythm tracks. Equivalent noise levels, CCIR, are 29/24/30 dB. The TLM 67 is not inadequate. I think the the right approach in considering the TLM 67 is to not think of it as a solid state U67, but just a less bright and nice character mic over the U87ai. That said, after listening to the TLM 67 in a number of applications, it pleasantly surprised me. A bit of background from Neumann’s Juergen Breitlow: “The capsules K67, K87 and K870 are acoustically identical (the K87 and K870 are used in the U 87i and U 87Ai, respectively). There’s less proximity effect than I expected in either the cardioid or figure-of-eight pattern. In cardioid, it was tonally rich from top to bottom with great transient response and gave the instrument a very musical presence in the track. The mic excelled on tenor sax through a Neve VR’s mic preamp. The price is high, but if you’re looking for an able high-end mic for your locker, this could be the one. The mic is an enigma wrapped in a conundrum and constrained within a riddle. Is this not heresy? Visit our corporate site. Normally I have to pull out some low end when I work a mic at about three inches for voiceover — not so much with the TLM 67. Reach him at www.tyford.com. I found the TLM 67 great for vocals, acoustic guitar and guitar amps. I found that it wasn’t what the TLM 67 brought to the party I liked as much as what it didn’t: no nasty edges, no hyped bottom or top, just a clean and balanced sound. Flipping it over to the figure-8 polar pattern made the mic more directional and took out some of the boom from the “south” end of the guitar. ContactNeumann USA | 860-434-9190 | www.neumannusa.com On my D28S Martin and 314 Taylor, I liked the high-pass filter on because these instruments have a plenty of LF energy. But instead of electron tubes the TLM 67 relies on trouble free FET electronics with a special sound design for a gorgeous retro tone. Price$3,459 (list) with kit including EA 87 suspension mount. The kick drum’s presence was stellar and offered lots of “in your chest” boom, making the TLM 67 a great companion to the Shure Beta 52 inside the drum. At $3,858 list (about $2,600 street and $2,300 without the EA 87 suspension mount), it’s expensive and very nice. © 2020 MIX is part of Future plc, an international media group and leading digital publisher. Later I had the Vibrolux volume up to 7 and the TLM 67 took it very easily with no breakup. Ty Ford has been writing for PAR since the first issue. Normally I have to pull out some low end when I work a mic at about three inches for voiceover. Sure, there’s a case to be made for that kind of creativity, but I find it’s frequently a ploy to cover up design inadequacies. Fast Facts ApplicationsAll professional recording. It was equally effective on male vocals. The TLM 67 is the darkest mic I've ever owned (now it's a "U67" thanks to Max Kircher). There’s less proximity effect than I expected in either the cardioid or figure-of-eight pattern. Update your browser to view this website correctly. I think it’s probably better not get too caught up in the “tube/not tube” thing and, instead, listen to how the TLM 67 makes things sound in its own right. Let the impassioned fist-pounding arguments begin about how close to the original U67 (or prototype U60) this TLM 67 could be. Maximum output voltage is -1 dBu. A-weighted self-noise is 16/11/17 dB-A. The TLM 67 offers three polar patterns (omni, cardioid and figure-8), and has a -10dB pad and a highpass filter dropping 6dB per octave starting at 250 Hz in cardioid and 180 Hz in omni. After briefly auditioning the TLM 67 on my own voice, I felt comfortable using on “real work” — a recording of someone else’s voice for a narration and a workout with one of my voiceover students. The TLM 67 captures the spirit of Neumann’s classic U 67, which defined the sound of the 1960s. In any of its three patterns, the TLM 67 doesn’t sound particularly thick or “tubey” to me. The TLM 67 microphone can support sounds pressure levels of up to 105 dB without any kind of distortion, it also has a dynamic range of 94 dB, without the use of the pre-attenuation The TLM 67 is smoother than the TLM 49 I reviewed a few years ago. Inside the TLM 67, Neumann uses surface mount technology similar to that in the TLM 103. If you want a mic “with character,” I’m not sure what that means other than a mic that changes the way things really sound. I first heard it in use as a mono, omnidirectional drum overhead placed about eight feet up and four feet back from a drum kit in a medium-sized room with a concrete floor. The cardioid is fairly wide. To wit; how can a mic with no vacuum tube or transformer be positioned as the evolution of a mic with a tube and transformer? It’s crisp and clear with just a hint of something going on in the lower mids or upper bass. There’s less proximity effect than I expected in either the cardioid or figure of eight pattern. The patterns are the typical omni, cardioid and figure-of-eight.
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