Description

Description

The Neumann U 67 is a universal studio microphone suitable for all applications. Its smooth top-end with a subtle tube shimmer makes the U 67 an outstanding vocal microphone. Due to its essentially linear response in three polar patterns. The U 67 is also a very versatile microphone for all kinds of instruments such as strings, woodwinds, brass, piano, drums, acoustic and electric guitar, bass guitar and upright bass.

The U 67 was the first microphone equipped with the famous K 67 capsule, which has since become associated with the Neumann sound and continues to be used in its successor, the U 87 A. No less important is the U 67's masterful tube circuit featuring a clever pre-emphasis/de-emphasis scheme to minimize tube hiss. The U 67 was also the first microphone to address modern recording techniques such as close miking. Its switchable low cut filter compensates for the proximity effect occurring at short recording distances. Using its preattenuation, the U 67 can handle high sound pressure levels of up to 124 dB without distortion (and much more if you don't mind a bit of tube grit).

As timeless as its sound and technical design is its outer appearance. The U 67's cone-shaped body and the tapered headgrille have since become iconic for the Neumann brand; the same elegant design would grace its solid state successor, the U 87, for the next 50+ years.

Description

Description

Description

Description

The Neumann U 87 Ai Studio Set Condenser Microphone is a large dual-diaphragm condenser microphone. It features three directional patterns, including omnidirectional, cardioid and figure-8. These are selectable with a switch below the head grille and the window above this switch shows the symbol of the selected characteristic. A 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. The low frequency response can be reduced to compensate for proximity effect.

The U 87 Ai is used as a main microphone for orchestra recordings, as a spot microphone for single instruments, and extensively as a vocal microphone for all types of music and speech.

The U 87 Ai is addressed from the front. The frequency response of the cardioid and figure-8 directional characteristics are very flat for frontal sound incidence, even in the upper frequency range. The microphone can be used very close to a sound source without the sound becoming unnaturally harsh. By means of a high-pass filter, interference through subsonic and low frequencies are reduced.

The circuitry increases operational headroom of the U 87 Ai by supplying the bias voltages for the capsule through a reduced resistance. The result is a higher sensitivity of 10 dB for identical sound pressure levels, and an improved S/N ratio of 3 dB.

A switch located at the rear attenuates the sensitivity by 10 dB. When this switch is activated, the microphone accepts sound pressure levels up to 127 dB (equivalent to a sound pressure of 45 Pa) without distortion.

An additional switch at the rear allows to change the microphone's cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. This setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect).

Description

Description

Description

The Neumann TLM 103 Studio Set Large-Diaphragm Condenser Microphone is a cardioid microphone that features low self-noise and high sound pressure level transmission. The capsule, derived from that used in the Neumann U 87, has a cardioid pattern, is acoustically well-balanced, and provides great attenuation of signals from the rear.

The TLM 103 is equipped with a large-diaphragm capsule with a cardioid pattern. By focusing on this pattern, the attenuation of unwanted rear sound has been optimized. Off-axis sounds are rendered naturally while isolation is increased. This also leads to a high feedback suppression when the microphone is used in live situations or where loudspeaker playback is a factor.

The TLM 103 is addressed from the side. The mic's large-diaphragm capsule is based on the K 87 and has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost.

The large, wire mesh head-grille protects the capsule from plosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects. The microphone maintains a great impulse response and reproduces details of music and speech without coloration.

With just 7 dB-A and 17.5 dB CCIR, the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced almost noise-free. It is capable of handling sound pressure levels up to 138 dB without distortion.

With TLM technology, the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.

The entire internal construction is elastically mounted to attenuate any structure-born noise that could interfere with the TLM 103's operation. The capsule is set on an elastic mount and the frequency range reaches below 20 Hz, allowing even very low bass signals to be reproduced without coloration. Due to this low-frequency extension, the TLM 103 is more sensitive to structure borne interference and wind noise.

Description

The black Sontronics Podcast Pro is a dynamic broadcast microphone designed to deliver a clean and clear vocal sound out of the box for a range of applications including podcasting, broadcasting, voice-over work, gaming, and more. The supercardioid polar pattern yields tight frontal pickup with enhanced side rejection while the integral 3-layer pop screen impedes problematic vocal plosives and sibilance.

The dynamic capsule produces a frequency response of 50 Hz to 15 kHz, ideal for detailed speech and vocals without EQ. The Podcast Pro features an integrated stand mount for easy placement on any mic stand or boom arm. Its balanced 3-pin XLR output allows standardized connectivity with a variety of mic preamps, audio interfaces, and mixers.

Description

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