The omni is mildly beamy at high frequencies, but most are. The B&H mic showroom in Manhattan would be a good place to start. On my D28S Martin and 314 Taylor, I liked the high-pass filter on because these instruments have a plenty of LF energy. I found recordings of both guitars were accurate and with nice attention to mid range detail. Selfnoise is not a problem. Wie bereits beim TLM 49 erfolgreich geschehen, will der traditionsreiche Mikrofonhersteller Neumann auch mit dem TLM 67 den Sound einer Mikrofonlegende, in diesem Fall dem U67, mit den Vorzügen der aktuellen Technik dem Vorbild nach empfinden. As a continuing part of its 80th anniversary celebration (1928-2008), Neumann unveils the TLM 67, a new microphone based on its legendary 1960s workhorse U67. Three directional characteristics—omnidirectional, cardioid or figure-8—can be selected via a switch located below the grille. The omni is mildly beamy at high frequencies, but most are. The Neumann U 67 is also known as: U 60, U67. He knew about my extensive mic aray (U47, 800G, Rode Tube Classic, U87, C12, M149), but brought a mic he just got off Ebay. Both mics perform very well but sadly they've been discontinued. I have had the TLM 67 for about a year and a half. As such, the insides are very tidy. The figure of eight nulls are very deep. © 2020 MIX is part of Future plc, an international media group and leading digital publisher. From this relatively light workout, I went further, micing my vintage pre-CBS Fender Vibrolux and strapping on my ’72 thinline Tele to record some nasty rhythm tracks. For more information, visit www.neumannusa.com, or to download a brochure in PDF format, click here. Update your browser to view this website correctly. The TLM 67 sounds even quieter than its quoted figures. The TLM 67 introduces a novel Neumann dual-color design. But instead of electron tubes the TLM 67 relies on trouble free FET electronics with a special sound design for a gorgeous retro tone. Later I had the Vobrolux volume up to “7” and the, For about 6 years, I’ve been suggesting that mic design needed to change because, with good digital recording, the extra HF boost needed to overcome analog tape HF loss is no longer needed. Update my browser now, By By George Petersen The other weekend I had a friend come over and track some vocals. Sorry it took so long to see this. Like its predecessor, the TLM 67 is a versatile studio workhorse with three polar patterns, pad and low cut options. The cardioid is fairly wide. The TLM 67 captured that classic slightly overdriven Vibrolux tubey edge very accurately, without adding any edge of its own. If you have thin sounding sources that you’re trying to beef up a bit, then run without the filter. The mic was released in 1960. they are referred to as “Silicone Tube” by MXL, they have no vacuum tube and are essential FET mics. I insisted on the U47, but he was dead set on the 67. I didn’t need the high-pass filter, but did need the 10 dB pad, even though the Vibrolux was only cranked up to 2 3/4 out of 10. What we have is a three-pattern, FET, condenser microphone with two, large Mylar diaphragms, switchable 10 dB pad and high-pass filter. It would be a tragic mistake to presume the M3 has the attributes of a TLM 67, or sounds anything like it. The TLM 67 captures the spirit of Neumann’s classic U 67, which defined the sound of the 1960s. The rated impedance is 50 ohms with a load impedance of 1 kohms. Using the TLM 67's figure of eight pattern, I found a good spot about six inches from the cabinet that gave me a nice chunk, good mids and a nice clean top. Neumann U67 and Neumann U87 come from the same family of condenser microphones. It uses the same K67 capsule and features a special circuit design that closely reproduces the valve or tube sound characteristics of the U67. Equivalent noise levels, CCIR are 29/24/30 dB. Inside the TLM 67, Neumann is using surface mount technology similar to that in the TLM 103. Meanwhile, the TLM 67’s noise specs are kept at a minimum, as low as 11 dB-A in the cardioid pattern. A-weighted selfnoise are 16/11/17 dB-A. The chosen setting is indicated by a symbol shown in a window above the switch. The question becomes do you end up paying so much more just for the polar patterns with no discernible sonic advantage?