This 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!
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!)
Probably the best mic I have used for my voice. I have not had to use EQ......
The TLM line of Neumanns seem to get knocked a lot. I'll agree that this doesn't have the sheen in the upper mids of my Beeznees Arabella (based on a u47 and m49), but neither does a U67! This mic is FULL and warm sounding. Think Crosby Stills and Nash - that dark but not dull sound. When doubled or stacked, it doesn't get muddy, but NEVER approaches harsh. It's ribbon-esque in that way and a perfect compliment to the DAW era of you can't let go of "warmth." With the tube emulation circuit, you can hear some of that vintagey saturation as you push into the mic. The best way I can describe this mic is versatile for some, but not for everyone. I, being a classic rock lover, f'ing love it! This mic might be fantastic on Dave Grohl, but might not work for Taylor Swift (based on their production style, not that it wouldn't compliment Taylor's voice well!) It's also fantastic on amps, upright bass, as a room mic.. I'm still experimenting with it, and there's nothing I hate it on so far. I guess they wanted a modern workhorse that's vibed like the u67. For me, that's exactly what Neumann has created!
Best all-around mic for rock and roll
The tlm67 is my go-to mic for everything rock and roll. It has depth and character for vocals, and adds a touch of harmonic distortion that thickens guitar amps. It takes eq brilliantly, so if you want the modern "breathy" character, the tlm67 delivers it with a midrange that has more flavor than most "airy" mics. I have never used a vintage u67, but I've used the u87 for years, and I pick the tlm67 for most duties, but prefer the u87 for more "realistic" sounds like backing choirs. The tlm67 is my "desert island" mic.
AMAZING MIC!!!. use it to record a vintage drum and I get the classic and warm sound I was looking for the recording, plus is exquisite for vocals and saxophones, the truth, you can record anything with this microphone, definitely going to buy another
This microphone sounds better and works better than any other mic I've used. I'd go ahead and say its the greatest of all time! So warm, crisp, and clean sounding. If you record vocals or any instrument, this is the microphone!!! SOUNDS EXACTLY LIKE THE U67
TRUELY IS THE BEST
This microphone is everything they described it to be!!!! I had it right next to a U67 for a shootout, and saw no difference!! Neumann hit a home run plain and simple!!! Sweetwater did the same!!!! My sales engineer Brian VanDeKeere, even call with a follow up to make sure it was what I was expecting!! BY THE WAY, THERE'S A REASON WHY THIS MICROPHONE WAS CHOSEN TO COMMEMORATE GEORG NEUMANN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
The Go-To Vocal Microphone
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 recordings: distortion.
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.
Make the jump to this Mic . . . it's the one you've been looking for.
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 this 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!
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 Mic comes with it's shock mount, ensuring that it is in the best hands when you're laying the next great track), I was content with the sounds from the stock phantom power from the Mbox2 Pro. Thinking about taking it up a notch, I plugged it into a Daking Mic Pre One to test out some professional Mic Pre and to contour the sound of the transformer based Mic Pre. I was pleasantly surprised to find that the mic did wonders when slowly crafting new tones. While adding small amounts of gain, the tonal characteristics of the classic Neumann U87 were apparent, and I will admit, I was blown away within the first 20 minutes of tracking.
Wanting to see how easily it translated to guitar cabs, I transported it to my isolated cabinet and cranked the gain up. What came next would surprise even the most jaded engineers; the bass was heavy, the mids were full, and the highs sounded immaculate. I was trying to throw new tones every few minutes to see if I could stump the German powerhouse, but in the end it was ME who was stumped. Every style I could conjure up; Blues, Funk, Rock, Jazz and Metal all were handled with aplomb. This microphone really handles itself in the highest regard.
So, after every instance I could put together to test every facet of this mic, I was left dumbfounded. My only conclusion? This is my new go to mic on all vocals and guitar!