Neumann BCM 705 Dynamic Broadcast Microphone

Dynamic Studio Microphone with Hypercardioid Polar Pattern
Neumann BCM 705 Dynamic Broadcast Microphone image 1
Neumann BCM 705 Dynamic Broadcast Microphone image 1

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Neumann BCM 705 Dynamic Broadcast Microphone
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The BCM 705 - Neumann's First Dynamic Mic

If you've ever wondered what a Neumann microphone could do for your electric guitar, bass, or kick drum sound in your recordings, but were concerned about putting a mucho expensive condenser mic in front of an amp or kick, wonder no more. For the first time in their 75-year history at the top of the recording world, Neumann has created the BCM 705, the first ever Neumann dynamic microphone. The dynamic BCM 705 costs considerably less than the BCM 104 condenser version, and will thus address the problem of the enormous cost pressure of equipping a studio with multiple mics. Designed also to be a great broadcast mic, the Neumann BCM 705 will also handle vocal chores around the studio as well.

The BCM 705 utilizes a Neumann-redesigned version of the Profi Power Sennheiser MD 431 handheld stage microphone and capsule. Housed in the same body as the previously introduced BCM 104, the BCM 705 is immediately identifiable as a Neumann dynamic microphone by its new 'green' Neumann badge.

For the BCM 705 a major overhaul of the production steps of the original MD 431's capsule was required. This was necessary to reduce tolerances in both frequency response and sensitivity to meet the application specifications for this new microphone.

To enhance low frequencies, the entire chamber surrounding the capsule in the BCM 705 is enlarged and acoustically coupled to a rear entrance port. Even though the BCM 705 is meant for close miking, there is relatively little low-frequency build-up due to the proximity effect. This makes the microphone a perfect choice for those who would prefer to work slightly further from the source yet maintain a good, solid bass response.

The same wire mesh pop screen principles used in the KMS 105 and BCM 104 microphones are utilized in the BCM 705 thus removing the need of foam in front of the capsule as originally used in the MD 431. Resistance to wind plosives was now improved but not at the expense of good, clear high-frequency response. The integrated pop screen can be removed for cleaning without the use of tools and like the BCM 104. Individual, color-coded head grilles are available for each user.

Finally, Neumann redesigned the capsule's mechanical suspension to reduce the mic's sensitivity to stand movement or handling shocks. The microphone in its mount is elastically suspended and compatible via standard broadcast-segment microphone arms.

If your studio lacks that "Neumann sound," the BCM 705 is the perfect microphone to add to your arsenal today for a lot less than you might expect!

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A special-order product is one that we don't normally keep in stock. We order it from the manufacturer as soon as you order from us. We have great relationships with all the manufacturers we carry, so we can get your special order to you as fast as or faster than anyone else. Remember that special orders are non-returnable and non-cancelable, so make sure the item is right for you. A Sweetwater Sales Engineer can help you decide — call (800) 222-4700 for assistance!

Additional Media

Studio Microphone Buying Guide

Tech Specs

Microphone Type Dynamic
Polar Pattern Hypercardioid
Frequency Response 20Hz-20kHz
Output Impedance 200 ohms
Color Silver
Connector XLR
Weight 1.1 lbs.
Manufacturer Part Number 008507

Customer Reviews

Based on 2 reviews
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I Like it So Far

I bought this microphone specifically to replace a Blue Snowball and several cheaper microphones I was using for podcast recording. I'm running it into an Apogee Ensemble. Basically, I didn't want the mic or the audio interface to be the weak link any more -- if my voice or performance is the weak link, that's fine, it's my own fault. I have just recorded my first short story using this microphone, and I am quite happy with the results so far. It seems to be slightly less sensitive to background and room noise than the Snowball (a condenser), so I was able to record in the same room with a Mac Pro down on the floor; the computer's fan noise is audible if you really listen for it, but it is not a big problem. An air conditioner downstairs was providing just a bit of noise through the floor, but the built-in rubber mount seemed to get rid of most of that noise. Things I like about this mic: - I can hang it from above, which makes it more suitable for recording something I'm reading. I positioned it so that it is a couple of inches from my nose, and I can see what I'm reading. - Because it's not extremely directional, if I tilt my head a bit or go slightly off axis I don't get a dramatic drop in volume. - I like having a bit of proximity effect since my voice is a little on the thin side. - I also like its resistance to sibilance and pops -- even when I got a bit dramatic in my reading it didn't pop much. I'm not experienced enough doing close listening to a lot of different mics to know whether another one would be better, but I think this is definitely a high-quality device. There are a few things I'm not really happy with: - It puts out a relatively low level, which means I have to bring up the gain on the Apogee's input channel quite a bit to bring it anywhere close to where I want it, in terms of average peaks and headroom. Maybe that's not a problem, but I'm always a bit concerned when I have to turn a gain control up most of the way. In practice so far it does not seem to be a problem, and I get a much smoother range of levels out of it when recording at 24 bit than I did with the 16-bit Snowball. - It is rather sensitive to mouth noise which can sound almost too detailed and realistic at times. I'm not certain if another mic would be better; I'd hate to lose the detail. Maybe someday I will have the chance to do an A/B comparison with a similar Neumann condenser mic. I would certainly consider buying a second one to do interview-type recordings.
Music background: Amateur Musician and Producer

A temperamental beauty, better suited to something else

I want to preface this review by saying that the BCM 705 is a fine instrument and a well built professional tool. It's also quite beautiful in person. However, judging from the fact that it is sold primarily as a voiceover microphone, I found it disappointing in that regard. If you work with only professional voice talent, who are experienced in working close to the mic, then you will probably like this product. I found it to be clear, detailed to a fault, and unless you work very close to it, rather unimpressive in the balls department. I much prefer an RE20 or 27 for around the same price. The proximity effect, which allows you very little latitude in talent movement, and the bright crisp top end makes the BCM 705 a bit unforgiving of non-professional talent, especially if they have dentures or a sibilance issue. I have pulled it from the boom many times now in favor of an alternative. Now it's only in the booth to make the boss happy. He thinks it looks impressive when he gives tours of the facility. At the same time, it's still a very fine microphone with potential use elsewhere in the professional audio world. I just won't use it for VO's if I don't have to. I will also say that if they dropped the price drastically, I would be tempted to buy a couple and do some experimenting.
Music background: Stinkin TV sound guy
See also: Dynamic Mics, Neumann, Neumann Dynamic Microphones, Neumann Dynamic Microphones