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Neumann TLM 67 Set ZItem ID: TLM67SetZLarge-diaphragm Condenser Microphone with 20Hz-20kHz Frequency Response, Variable Polar Patterns, K 67 Capsule, Shockmount, and Transformerless Design 
Special Order, But We Can Get It FastBecause of our great relationship with Neumann, we can get this item as fast as or faster than anyone else. Please note that special orders are non-returnable and non-cancelable - Order online or call your Sweetwater Sales Engineer for information.Note: While most of the items we sell ship for free, this item does not qualify for free shipping due to special circumstances. Get more value at Sweetwater
From Our Research Team:A Modern Development of the Classic U 67!The Neumann TLM 67 contains the legendary number "67" in its name for good reason. Indeed, the TLM 67 is Neumann's contemporary development of the studio classic U 67. Closely reproducing all the sound characteristics of the famous 1960s staple, the TLM 67 incorporates the same K 67 capsule as the U 67, with TLM 49 tube circuit. This particular TLM 67 "Set Z" comes with its own professional shockmount. An extremely versatile three-pattern, large-diaphgragm condenser microphone, take a piece of Neumann - and recording - history into your studio with the TLM 67.Neumann TLM 67 at a Glance:
Today's development of a classic Along with the numbers "47" and "87," the number "67" resonates within studio professionals the world over. All classics in their own right, The elite Neumann U 47, U 67, and U 87 have attended some of the most legendary recording sessions in music history. Today, Neumann gives us a contemporary development of the classic U 67 in the form of the TLM 67. Using the same K 67 capsule as the U 67, the TLM 67 employs a transformerless design - the same circuitry proved extremely successful with the TLM 49. A versatile three-pattern condenser The TLM 67 maintains all the hallmark qualities of the U 67, including its versatility. Switchable between three patterns - omnidirectional, cardioid, and figure-eight - the TLM 67 is a perfect vocal microphone for all types of music and spoken voice. It's also excellent as a main microphone and as a spot mic for individual instruments. Classic Neumann look with commemorative emblem The TLM 67 is all-Neumann in its presence, yet features a new and elegant dual-color pearl-gray/nickel exterior. What's more, on the occasion of its 80th anniversary Neumann pays honor to founder, Georg Neumann, with a three-dimensional metal emblem adorning the front of the TLM 67. Neumann TLM 67 Features:
The Neumann TLM 67 is a contemporary development of the U 67 studio legend!
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Reviewsbased on 2 reviewsThe Go-To Vocal Microphone
by Lawrence Gillespie from Whitehorse, Yukon Territory, Canada
Neumann applied their TLM technology to create an homage to the famous U 67. Of course, they're not claiming that this is the U 67 reincarnated, but it does have a quality one might find in older reco... read more [+]rdings: distortion.March 27, 2010 Music Background: Professional Musician, Songwriter, Home Recordist Sing or play your acoustic softly and you'll get a very smooth, pleasant sound throughout the frequency spectrum. This smoothness is very noticeable in the high end. Even with a lot of processing during mix-down, I found that I didn't need to insert a de-esser in the signal chain. Es sounds come through clear, but never harsh or too loud. Of course, keep in mind that every singer is different. Now, try a higher SPL source, such as loud vocals fairly close to the microphone (don't forget to use a pop screen). You'll start to hear some old school distortion that may remind you some recordings from the 60's. Back then, recording equipment didn't have the dynamic range that today's gear has, so when singers would really belt it out, the result was a lot of distortion. However, many engineers and musicians liked this effect as it added to the emotional intensity of the recording. Looking at the specs, the tube emulation distortion starts to become audible at around 105db on the cardioid pattern, and steadily rises until it reaches 5% at 125db. I believe the 10db pad is placed before the tube emulation electronics, in case you want your recording a bit cleaner. Now, the sound of old recordings made with a U 67 was much more than just the microphone itself. It was a culmination of the entire path: the microphone, preamplifier, the mixing board, and the tape machine. I believe that this microphone was designed not to emulate only the U 67, but to emulate the entire signal path an engineer might have used back then. How does this fit into modern, computer-based recording? Well, you could use your most transparent microphone preamp and no outboard processing with the TLM 67, record straight into your DAW, and you'll get a much more processed sound than you may expect. I've heard many modern recordings (and even recorded a few tracks myself) with a U 67, and overall, I've found the microphone is overly bright for most singers. That microphone was obviously not designed for digital recording (it went out of production in 1967, replaced by the U 87). It was designed to work well with the other components available at the time. Making this microphone work today usually involves some sort of analog channel and/or tape emulation, either in the analog or digital domain. While Neumann engineers could have voiced the TLM 67 to sound very similar to its ancestor, they chose instead to make it much more useful for digital recording. I don't believe this microphone is for everyone. I can understand that some people won't like the idea that Neumann is making some of the processing decisions for you with the TLM 67. There's definitely a lot going on inside this microphone to shape the sound, and of course, you can't unprocess a sound. Also, If you're one of the few that has an old school set up, include a reel-to-reel multi-track tape recorder and a vintage console, the TLM 67 may not be the best choice. You need a real U 67. Good luck on Ebay! However, for the rest us making do with our digital audio workstations (not a bad thing - ever align the heads on a 24 Track TEAC?), this microphone fits in very well. This is based on several months of experience with the TLM 67. I believe this was the start of a new trend in condenser microphone design, and you will see many other companies finally start designing for the digital age. Pros: Silky smooth midrange and high end, tube emulation is very good. Gives a very finished sound without any outboard or software processing. Weighs only a pound. Cons: Tube emulation in a microphone is not for everyone. Not designed for extremely loud instruments. Premium price. Bottom Line: Owners of serious studios may want to take it for a spin first to see if it fits their needs, but for avid hobbyists and small studios, this is a no-brainer. close [-] Make the jump to this Mic . . . it's the one you've been looking for.
by S. Hefren, Stardancer Productions from New Richmond, OH
First of all, I'm in a home studio environment, not a pro by any means, just an avid hobbyist. In building the mic cabinet for this project studio I was always put off by the high price of mics like t... read more [+]his one, settling instead for some very good mics, but always holding back a bit from taking the leap to Neumann. Along the way I've worked my way up through a Rode NT-1, Shure KSM-32, an AKG-414 and a Blue Woodpecker ribbon. All are great mics, but none ever quite gave me the "sound" I'd been looking for . . . getting warm yet rich vocals that stand out in the mix (male baritone, pop and soft rock stuff, no screaming or shredding) and tracking accurate acoustic guitars that have a definite presence throughout the range of the instrument. I should add that a few months ago I added a Universal Audio LA-610 preamp (also a fantastic piece of gear, but that's a subject for a different review). The UA Pre made a big difference, but I still wasn't satisfied. Finally, I decided to bite the bullet and make the jump to the TLM-67. In a nutshell, I could have saved myself a lot of time, money and frustration by just swallowing hard and buying this mic in the first place. It does it all and is head and shoulders above the rest in almost every respect. Vocals finally have the clarity, crispness and warmth I've been looking for, and the guitar tracks hold their own and never have to compete for space with the resident electronic instruments and MIDI plug-ins scattered throughout the mix (which never seem to have presence issues!). The TLM-67 is now my "go to" mic whenever anything in the project needs to be tracked live. I have yet to try it out on a drum kit or bass amp, but it easily handles duties in front of a Fender Twin Reverb without breaking stride. I HIGHLY recommend this mic; it's everything it's been billed as, and more! close [-]
April 23, 2009 Music Background: Semi-professional musician, recording hobbyist inSync Review
by: Zach Neels
When picking up the Neumann TLM 67 Set Z, the classic styling already had me imagining crooning into this great mic, a la “The Chairman of the Board” Frank Sinatra.
After the initial set up (the Mi... read more
Sweetwater Advice
Kenny BergleOwning a pair of M149s, I thought I was done buying large-diaphragm mics. Silly me! The TLM 67 sounds so great, it's now my #1 go-to vocal mic for the high-profile studio client that wants the best in world-class studio sound. Also it's perfect, although slightly counter-intuitive, for the less experienced recordist as it overcomes rookie mistakes by virtue of the amazing sound it transduces. The TLM67 is the best investment possible in vocal recording, besides voice lessons! (It's also tremendous sounding on guitar cabinets!) 
Zach NeelsThis microphone is AMAZING! Not only did it give my voice the clarity that I haven't heard in years, when using it on my 1x12 recording guitar cab, the bass was heavy, the mids were clean, and the highs were absolutely soaring. If you're in the market for one of the best condensor microphones in the world, pick this up! Also popular
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