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Neumann TLM 67 Set Z Large-diaphragm Condenser Microphone

Large-diaphragm Condenser Microphone with 20Hz-20kHz Frequency Response, Variable Polar Patterns, K 67 Capsule, Shockmount, and Transformerless Design
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Item ID: TLM67SetZ
Neumann TLM 67 Set Z Large-diaphragm Condenser Microphone
Neumann TLM 67 Set Z Large-diaphragm Condenser Microphone

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TLM 67 Set Z Large-diaphragm Condenser Microphone with Stand and Cable
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Neumann TLM 67 Set Z Large-diaphragm Condenser Microphone
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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-diaphragm condenser microphone, take a piece of Neumann - and recording - history into your studio with the TLM 67.

Related Videos: TLM 67 Set Z Large-diaphragm Condenser Microphone

Neumann TLM 67 at a Glance:
  • Today's development of a classic
  • A versatile three-pattern condenser
  • Classic Neumann look with commemorative emblem
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:
  • Sound characteristics based on the legendary U 67
  • Three switchable directional characteristics (omnidirectional, cardioid and figure-8)
  • Switchable highpass filter and pre-attenuation
  • Transformerless circuit technology
  • New dual-color exterior design
  • Acoustical operating principle: Pressure gradient transducer
  • Directional pattern: Omni/cardioid/figure-8
  • Frequency range: 20Hz - 20kHz
  • Sensitivity at 1kHz into 1 kohm: 10/18/9 mV/Pa
  • Rated impedance: 50 ohms
  • Rated load impedance: 1 kohms
  • Equivalent noise level, CCIR1) 29/24/30dB
  • Equivalent noise level, A-weighted1) 16/11/17dB-A
  • Signal-to-noise ratio, CCIR1) (rel. 94dB SPL) 65/70/64dB
  • Signal-to-noise ratio, A-weighted1) (rel. 94dB SPL) 78/83/77dB-A
  • Maximum SPL (tube characteristic) for THD < 0.5 %2) 110/105/111dB
  • Maximum SPL (tube characteristic) for THD < 5 %2) 130/125/131dB
  • Maximum output voltage: -1 dBu
  • Dyn. range of the mic. amplifier (A-weighted, 0.5 %2)) 94dB
  • Dyn. range of the mic. amplifier (A-weighted, 5 %2)) 104dB
  • Matching connector: XLR 3F
  • Weight: 490 g
  • Diameter: 56 mm
  • Length: 200 mm
  • Includes E87 Shockmount
  • Requires +48V phantom power
The Neumann TLM 67 is a contemporary development of the U 67 studio legend!

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Tech Specs

  • Microphone Type: Condenser
  • Polar Pattern: Cardioid, Figure-8, Omnidirectional
  • Frequency Response: 20Hz-20kHz
  • Max SPL: 105dB (Cardioid), 110dB (Omni), 111dB (Figure-8)
  • Output Impedance: 50 ohms
  • Signal to Noise Ratio: 83dB (Cardioid), 78dB (Omni), 77dB (Figure-8)
  • Self Noise: 11dB (Cardioid), 16dB (Omni), 17dB (Figure-8)
  • Low Cut Filter: Yes
  • Pads: -10dB
  • Connector: XLR
  • Color: Pearl Grey
  • Power Source: 48V phantom power
  • Weight: 1.08 lbs.
  • Included Accessories: Shockmount, Wooden Box
  • Manufacturer Part Number: USTLM 67 SET Z

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Reviews

5.0

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Incredible

I've had the Neumann TLM 67 for about 4 months. It's been used on vocals, acoustic and electric guitars, drum overheads and room duties. It works effortlessly every time. It's a no brainer pick in my mic collection. The TLM 67 has a very smooth and detailed capture and brings a familiar sound to an engineers arsenal. Warm, tight lows and low mids, world famous Neumann mids and a smoky, subdued top end.


A few singers I've used it on have told me it's the purest they've ever heard their vocal. I've used it through my BAE 1073, Langevin DVC, Cyclops Audio PM1000 and WA412. It sounds killer through everything. I don't find the mics tube emulation circuit to be heavy handed. It works exceptionally well on rock vocalists, which checks out since the U67 is a gold standard mic choice in that application and as a universal choice on just about any source.


On guitar amps, you can forget about your fancy multi mic dynamic/ribbon combo up close on the speaker. Pull the TLM 67 back about a foot and a half and it sounds like a record. On vocals, it lends that familiar sound we've all heard before. It often gets used in figure 8 as a part of a stereo acoustic guitar setup with singer songwriters, with its null pointing toward the singers mouth. Once again, controlled and detailed with a pleasing color. The multiple polar patterns just adds to this mics versatility. In vocal shootouts, it's usually between the TLM 67 and the Beesneez T1, a beautiful U47 style mic. Depending on the singer, it could go one way or the other.


I strive to keep gear in my studio that can hold its own in a variety of situations and the Neumann TLM 67 has knocked everything out of the park so far with ease.


There's a non destructive Max Kircher mod for around $ USD you can order which swaps out the TLM guts for a tube circuit that's basically a spot on reproduction of the U67. You can swap the TLM guts back in under a minute if you want. There's lots of discussion on Gearspace to check out and a few YouTube videos on the mod. The general consensus is that the stock TLM 67 gets you real close considering it doesn't have a tube, transformer and costs $ less than the Neumann U67 reissue.

by BC on
Music background: Multi-instrumentalist/engineer (20 years)
Absolute beauty but...
Out of the box it was smooth as butter heaven. I did have to make a few small rackmount adjustments because I had the TLM103 as a main mic before but once I got it dialed in, yummy.

I like the option of different polar patterns and I'll use them and the other switches are a nice touch also.

Now as far as a sound quality, I really don't notice much difference between the TLM103 and TLM67 for my vocal. I might actually prefer the 103 (but I've only had the TLM67 for a few hours). The 103 sounds more open and vibrant to my ears but the TLM67 sounds naturally compressed and a bit processed in a very good way. It's definitely a beautiful addition to my mic locker.
by Adam Turner from Lemoyne, PA on
Amazing Out of The Box
I got this mic about a month ago and have put a few hours in it with various sources.

I'll just say the day I got it, I threw it up in front of an acoustic, set as a mono overhead for drums, vocals, and guitar amp. I recorded through a UA LA610 MKII and compressed going in.

I just set the levels and added some reverb and the song basically mixed itself. I've never worked with an easier mic where sources just sat in the mix with little to no effort. Even my U47 clone (Golden Age) sometimes needs a little tweaking or more precise mic placement.

The Sound
Super smooth. No harsh transients or bumps. Not as thick in the low end as say a 47 or ribbon. No weird mid frequencies that makes the mic sound like it's going through a wah wah pedal. And doesn't suffer the wet blanket effect where it sounds like the mic is covered with a towel. On the other side, it doesn't have the old imported mic harsh bright top end you'll find on budget mics.

It plays well with other mics too. If you pair with a ribbon or a Shure SM81 on acoustic, it sounds fantastic.

This is now a go to mic for me and it makes recording fun and effortless. I love it.
by John on
Love this thing!
I used to work extensively with a pair of vintage U87i microphones, using them on everything from voice over work to pianos and drums. The TLM 67 reminds me of the old U87i. I think it's in the flatter top end. This is my favorite mic for my voice, because it brings out an amazing richness and depth to my baritone, while never sounding brittle or needing de-essing.

Aside from male vocals (I've used it on other artists too), it also excels on acoustic guitar, electric guitar, and especially drums. Since I only have one (for now), I've used it as a mono kit mic placed roughly 5 feet in front of the kit at Tom level with excellent results. I've also used it in Figure 8 as a room mic for bongos and cajon.

If I'm being honest, I would have rather had the tube emulation on a circuit switch, where I can control if and when I want it. In most music, I don't notice an issue at all, but in recording voice overs, I do hear the distortion when I'd rather the audio remain clean. I would like to thank another reviewer here, who suggested this emulation circuit is after the -10db pad. In practice, it does indeed seem to "fix" this issue, but ideally I go to other mics for critical clean work.
by Sweetwater Customer on
Music background: Engineer, producer, musician, designer
Great for rap / hip-hop vocals
I bought the TLM 67 for use as my main vocal microphone, and I almost exclusively use it to record rap/hip-hop vocals. With other mics I've had (ex: Shure KSM 32, Telefunken Copperhead, Shure SM7B, Manley Ref C) I used to spend so much time in post-production taming sibilance at the end of the mixing process...but not with this mic! It sounds big, warm, smooth, but still strong and in-your-face. My upfront hardware chain for rap vocals is TLM67 - Neve Shelford Channel Pre - Manley ELOP+ compressor - UAD Apollo Quad line in...from there just some plugins like SSL or API EQ, Tape (like the Empirical slabs FATSO Plugin), with sends for delay/reverb/Aphex Exciter and u are good! Thanks to Sweetwater for your help along the way in discussing my options - this mic is a keeper!
by Done Delivious from Minneapolis, MN on
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What Do Our In-house Gear Experts Think?
Kenny Bergle
Owning 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!)
See also: Condenser Mics, Neumann, Neumann Condenser Microphones