{"title":"Neumann GmbH","description":"\u003cp\u003eNeumann GmbH Collection - the gold standard for studio and broadcast recording. Available at Shivansh Electronics, Kolkata.\u003c\/p\u003e","products":[{"product_id":"microphones-neumann-tlm-107-studio-set","title":"Neumann TLM 107 Studio Set","description":"\u003cdiv class=\"product-description-container\" style=\"font-family: 'Helvetica Neue', Arial, sans-serif; color: #1A1A2A; max-width: 900px; margin: 0 auto; line-height: 1.65;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e1. PRODUCT OVERVIEW\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe Neumann TLM 107 is a large-diaphragm condenser studio microphone designed and manufactured by Georg Neumann GmbH, Berlin — the company universally regarded as the world's pre-eminent microphone maker. Sitting in the TLM (TransformerLess Microphone) series between the entry-level TLM 102 and the storied TLM 103, the TLM 107 was introduced to the market in 2013, earning the Best of Show Award at AES 2013 and the TEC Award in 2015. It fills a carefully considered niche: a microphone that delivers reference-class recording performance — with multiple polar patterns, flexible filtering, and exceptional dynamic range — at a price that brings it within reach of serious project and home studio owners as well as professional facilities.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107 is built around a newly developed dual-diaphragm large-diaphragm capsule created specifically for this microphone, rather than being derived from a pre-existing design. This design decision allowed Neumann's engineers to optimise the capsule geometry, diaphragm material and polar-pattern switching behaviour as a unified system. The result is a microphone that, unusually for a large-diaphragm design, maintains a consistent tonal character across all five selectable polar patterns — omnidirectional, wide cardioid, cardioid, hypercardioid, and figure-8.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eUnderpinning the TLM 107's electronic architecture is the transformerless circuit topology that defines the entire TLM series. By eliminating the output transformer, Neumann achieves a signal path of extraordinary transparency: no transformer saturation, no low-frequency phase shift, and no restriction on bass transmission even at the highest signal levels. Self-noise measures 10 dB-A — among the quietest large-diaphragm microphones in production — while maximum SPL without pad reaches 141 dB SPL (at 0.5% THD), for a dynamic range of 131 dB. With the -12 dB pad engaged, maximum SPL rises to 153 dB.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe physical design deliberately echoes the silhouette of the M 49 tube microphone, with controls consolidated into a single navigation toggle on the rear of the body selecting among five polar patterns, three pad settings (0, -6, -12 dB) and three high-pass filter settings (flat, 40 Hz, 100 Hz). Available in nickel and matte black finishes, each offered standalone with an SG 2 swivel mount, or as a Studio Set with the EA 4 elastic shock mount.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e2. CAPSULE TECHNOLOGY \u0026amp; TRANSDUCER ARCHITECTURE\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107's capsule is an entirely new design rather than an adaptation of a legacy element, engineered specifically to achieve consistent tonal behaviour across all five polar patterns — a technically significant ambition, since acoustic loading and diffraction effects on a capsule vary with frequency in ways unique to each polar pattern. The capsule geometry and diaphragm design were optimised computationally and empirically to minimise these pattern-dependent frequency response variations.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe result is that all five polar patterns exhibit the same carefully balanced extended high-frequency response and smooth low-frequency characteristics — quite extraordinary for a large-diaphragm microphone. An engineer can select the polar pattern appropriate to the acoustic environment without needing to re-equalise the channel or expect a change in the fundamental character of the recording.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe operating principle is that of a pressure gradient transducer, giving rise to the figure-8 base response from which other patterns are derived by adding omni (pressure) components. The large diaphragm area provides higher sensitivity and a more favourable signal-to-noise ratio than small-diaphragm capsules. Sensitivity is 11 mV\/Pa (approximately -39 dBV\/Pa), and the frequency range spans the full audible spectrum from 20 Hz to 20 kHz.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eOutstanding transient response is a key design achievement of the capsule, governed by the ratio of diaphragm tension to diaphragm mass and by the mechanical compliance of the diaphragm mounting. A diaphragm with high tension relative to mass has a high resonant frequency, keeping mechanical behaviour across the entire audible range stiffness-controlled and highly linear.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e3. FIVE SELECTABLE POLAR PATTERNS\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107 offers five polar patterns, selectable via the rear navigation toggle. Each pattern is suited to different recording situations, and the TLM 107's consistent tonal character across all five makes pattern selection a workflow decision rather than a sonic compromise.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.1 Omnidirectional (Omni)\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eCaptures sound equally from all directions with no proximity effect. Ideal for moving sources, room ambience capture, and preserving a space's natural acoustic. Preferred for orchestral room microphones and ambient beds.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.2 Wide Cardioid\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eExtends the front pickup angle beyond standard cardioid, offering inclusive coverage of sources spread across a wider frontal arc without going to full omni. Retains moderate rear rejection and mild proximity effect — valuable for ensemble recording and acoustic guitar.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.3 Cardioid\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eThe most commonly used pattern and the TLM 107's most common deployment as a vocal microphone. Provides a heart-shaped pickup with approximately 25 dB of rejection at 180 degrees, with usable proximity effect and Neumann's characteristic extended, smooth high-frequency presence.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.4 Hypercardioid\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eA narrower frontal pickup angle (~105 degrees at 3 dB down) with a small rear lobe of sensitivity at 180 degrees. Maximum rejection at approximately 110 degrees off-axis — effective for kick drum, close-miked loud amplifiers, and reverberant rooms.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.5 Figure-8 (Bidirectional)\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eCaptures sound equally front and rear while rejecting sources at 90 degrees from either side. Exhibits the strongest proximity effect of all patterns; used in M\/S stereo recording, ribbon emulation, Blumlein pairs, and face-to-face interview setups.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e4. TRANSFORMERLESS CIRCUITRY\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM designation defines a fundamental engineering philosophy at Neumann, introduced with the TLM 170 in 1983. The transformerless output stage replaces the traditional output transformer of FET-era designs with a direct-coupled solid-state circuit, removing several measurable artefacts: low-frequency high-pass behaviour from finite primary inductance, magnetic core saturation at high signal levels, and secondary high-frequency resonance from leakage inductance.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107's transformerless output circuit eliminates all of these effects. Bass transmission is full and unrestricted even at the highest signal levels, because there is no primary inductance to impose a low-frequency roll-off. THD behaviour at high SPLs is governed by the electronic circuit rather than core saturation, resulting in a more linear and controllable distortion characteristic. The circuit achieves a low output impedance of 50 ohms, delivering excellent voltage damping and freedom from cable-capacitance or preamp-impedance level changes.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e5. NOISE PERFORMANCE \u0026amp; DYNAMIC RANGE\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107 achieves a self-noise figure of 10 dB-A (A-weighted, per IEC 61672-1) and 22 dB CCIR (quasi-peak, per CCIR 468-3) — among the lowest available in a large-diaphragm condenser microphone at any price. A well-treated studio with HVAC off typically has a noise floor of 20–30 dB-A, meaning the room or the source — not the microphone — determines the noise floor in virtually all realistic recording scenarios.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eSignal-to-noise ratio is specified as 84 dB (A-weighted, referenced to 94 dB SPL at 1 kHz) and 72 dB (CCIR-weighted, same reference). Dynamic range — the interval between the noise floor and the onset of distortion — is 131 dB (141 dB maximum SPL − 10 dB-A self-noise), placing the TLM 107 in the same dynamic range bracket as the finest studio recording chains, including top-tier 24-bit A\/D converters.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e6. SPL HANDLING \u0026amp; PRE-ATTENUATION (PAD)\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eEven without pad attenuation, the TLM 107 handles a maximum SPL of 141 dB (at 0.5% THD) — sufficient for close-miking percussion, brass, guitar amplifiers, and most loud acoustic sources. The -6 dB pad raises this ceiling to 147 dB, and the -12 dB pad extends it to 153 dB, approaching or exceeding any naturally occurring acoustic source except a jet engine or explosive detonation.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe pad is implemented as electronic pre-attenuation in the circuit, introducing no acoustic compromise such as altered directional patterns. Engaging the pad shifts the entire dynamic range window downward by 6 or 12 dB while the noise floor remains at 10 dB-A, increasing the effective dynamic range in context.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e7. HIGH-PASS (LOW-CUT) FILTER SETTINGS\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107 offers three high-pass filter settings: flat (linear \/ no filtering), 40 Hz, and 100 Hz, switchable from the rear navigation toggle.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe 40 Hz filter attenuates subsonic content — stand-transmitted rumble, building vibration, HVAC infrasound — without affecting the musically meaningful bass content of most sources, and is also useful for reducing proximity-effect bass boost at close distances. For classical recording, broadcast, and most studio applications, 40 Hz provides a sensible hygiene filter that doesn't colour the source.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe 100 Hz filter is a more assertive intervention for pronounced proximity effect or environments with substantial low-frequency noise — common in project studios and location recording. At 100 Hz the filter begins to attenuate the musical bass range, so its use is situational: appropriate for spoken word, voiceover, and broadcast where intelligible midrange is the priority, and for drums and instruments where low-frequency clarity outweighs extended bass.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e8. BUILD QUALITY \u0026amp; FORM FACTOR\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eManufactured in Berlin to the standards of precision and longevity that have characterised Neumann microphones for nearly a century. The body is precision-machined metal with characteristic Neumann heft — a weight of 445 g confirms a substantial professional instrument. At 64 mm diameter and 145 mm length, the TLM 107 sits in the traditional large-body format, compatible with standard clips, boom arms, and shock mounts designed for the U 87 and comparable large-diaphragm designs.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe headgrille is a substantial metal mesh structure inspired by the M 49's design language, with a tapered profile from body to capsule housing that provides diffraction-free acoustic entry and contributes to the extended, smooth high-frequency response. Interior acoustic damping controls cavity resonances that can colour more abruptly-profiled designs.\u003c\/p\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe rear panel navigation toggle is a tactile, positive-action control cycling through patterns, pad, and filter settings, with LED indicators confirming the selected state at a glance even in dim lighting. Available in nickel (with SG 2 swivel mount, wooden presentation box) and matte black finishes, both acoustically and electronically identical; Studio Set versions substitute the EA 4 elastic suspension shock mount for enhanced vibration isolation.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e9. IDEAL APPLICATIONS \u0026amp; USE CASES\u003c\/h5\u003e\n\u003cp style=\"margin: 14px 0;\"\u003eThe TLM 107's combination of very low self-noise, very high maximum SPL, five selectable polar patterns, and a consistently balanced tonal character across all patterns makes it exceptionally versatile:\u003c\/p\u003e\n\u003cul style=\"margin: 14px 0; padding-left: 22px;\"\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eLead Vocal Recording\u003c\/strong\u003e — cardioid's controlled proximity effect, extended presence, and low noise floor produce studio-standard realism across genres\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eAcoustic Guitar\u003c\/strong\u003e — wide cardioid or cardioid captures full harmonic complexity without small-diaphragm edginess\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003ePiano\u003c\/strong\u003e — stereo pair in XY or Blumlein, or as a spot microphone over the strings\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eUpright Bass\u003c\/strong\u003e — 40 Hz or 100 Hz filter tames low-frequency room modes while capturing full instrument body\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eDrums\u003c\/strong\u003e — overhead recording in cardioid, hypercardioid, or figure-8; 141\/153 dB SPL handling prevents capsule overload\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003ePercussion\u003c\/strong\u003e — congas, djembe, shakers benefit from outstanding transient response and high-peak handling\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eBrass \u0026amp; Woodwinds\u003c\/strong\u003e — high SPL handling and transparent reproduction capture bite and body equally\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eGuitar Amp Cabinet Close-Miking\u003c\/strong\u003e — cardioid or hypercardioid at close range with pad engaged\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eOrchestral Recording\u003c\/strong\u003e — omni or wide cardioid stereo pairs as main microphones\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eChoir \u0026amp; Ensemble Recording\u003c\/strong\u003e — omnidirectional pattern for natural, even pickup of large groups\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eBroadcast \u0026amp; Radio\u003c\/strong\u003e — cardioid for single presenters; figure-8 for face-to-face interviews\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eVoiceover, Narration \u0026amp; Audiobook Production\u003c\/strong\u003e — low noise and smooth HF response for intelligible recordings\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eM\/S Stereo Recording\u003c\/strong\u003e — figure-8 as the side (S) microphone paired with a cardioid mid (M)\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eRoom \u0026amp; Ambient Capture\u003c\/strong\u003e — omnidirectional at distance for acoustic beds and room prints\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eFilm \u0026amp; Broadcast Soundtrack Recording\u003c\/strong\u003e — extended dynamic range and consistent pattern behaviour for music-to-picture sessions\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e10. SPECIFICATION CROSS-VALIDATION AND MATHEMATICAL ANALYSIS\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e10.1 Dynamic Range Verification\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eDynamic Range = Maximum SPL (THD 0.5%) − Equivalent Self-Noise (A-weighted)\u003cbr\u003e\nDynamic Range = 141 dB SPL − 10 dB-A = \u003cstrong\u003e131 dB\u003c\/strong\u003e\u003cbr\u003e\nNeumann states a dynamic range of 131 dB. Confirmed exactly. ✓ VERIFIED.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e10.2 Signal-to-Noise Ratio Verification\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eSNR (A-weighted) = 94 dB − 10 dB-A = \u003cstrong\u003e84 dB-A\u003c\/strong\u003e\u003cbr\u003e\nSNR (CCIR) = 94 dB − 22 dB = \u003cstrong\u003e72 dB\u003c\/strong\u003e\u003cbr\u003e\nBoth figures confirmed exactly. ✓ VERIFIED.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e10.3 Sensitivity in dBV\/Pa\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eSensitivity = 11 mV\/Pa = 0.011 V\/Pa\u003cbr\u003e\nSensitivity (dBV\/Pa) = 20 × log₁₀(0.011) ≈ \u003cstrong\u003e−39.2 dBV\/Pa\u003c\/strong\u003e\u003cbr\u003e\nConsistent with the typical range for large-diaphragm condensers (−35 to −45 dBV\/Pa). ✓ CONSISTENT.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e10.4 Pad Attenuation Verification\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eWith −6 dB pad: 141 + 6 = \u003cstrong\u003e147 dB\u003c\/strong\u003e. Neumann specifies 147 dB. ✓ VERIFIED.\u003cbr\u003e\nWith −12 dB pad: 141 + 12 = \u003cstrong\u003e153 dB\u003c\/strong\u003e. Neumann specifies 153 dB. ✓ VERIFIED.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e10.5 Effective Dynamic Range with Pad\u003c\/h5\u003e\n\u003cp style=\"margin: 10px 0;\"\u003eEffective Dynamic Range (−6 dB pad) = 147 − 10 = \u003cstrong\u003e137 dB\u003c\/strong\u003e\u003cbr\u003e\nEffective Dynamic Range (−12 dB pad) = 153 − 10 = \u003cstrong\u003e143 dB\u003c\/strong\u003e\u003cbr\u003e\nThe noise floor remains at 10 dB-A regardless of pad setting, since the pad is applied after the capsule's signal while self-noise persists at the same absolute level. The pad raises the distortion ceiling without lowering the noise floor. ✓ INTERNALLY CONSISTENT.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eTECHNICAL SPECIFICATIONS AT A GLANCE\u003c\/h5\u003e\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eType\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eLarge-diaphragm condenser, dual-diaphragm capsule\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003ePolar Patterns\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eOmni, Wide Cardioid, Cardioid, Hypercardioid, Figure-8 (5 total)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eFrequency Range\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e20 Hz – 20 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eSensitivity\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e11 mV\/Pa (≈ −39 dBV\/Pa)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eSelf-Noise\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e10 dB-A (IEC 61672-1); 22 dB CCIR (CCIR 468-3)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eSignal-to-Noise Ratio\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e84 dB-A \/ 72 dB CCIR (ref. 94 dB SPL, 1 kHz)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eMaximum SPL (no pad)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e141 dB SPL (0.5% THD)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eMaximum SPL (−6 dB pad)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e147 dB SPL\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eMaximum SPL (−12 dB pad)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e153 dB SPL\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e131 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003ePad Settings\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e0 dB, −6 dB, −12 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eHigh-Pass Filter Settings\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eFlat, 40 Hz, 100 Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eOutput Impedance\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e50 Ω (transformerless)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eRated Load Impedance\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e≥ 1 kΩ\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eWeight\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e445 g\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eDimensions\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e64 mm diameter × 145 mm length\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eFinishes\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eNickel, Matte Black\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eIncluded Mount (Standard)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eSG 2 swivel mount, wooden presentation box\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eIncluded Mount (Studio Set)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eEA 4 elastic shock mount\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eManufactured\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eBerlin, Germany\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003eAwards\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eAES 2013 Best of Show, TEC Award 2015\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003c\/div\u003e\n","brand":"Shivansh Electronics","offers":[{"title":"Default Title","offer_id":52771128639855,"sku":"neumann-tlm-107-studio-set","price":134000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/files\/NEUMANN-TLM-107-STUDIO-SET-SHIVANSH-ELECTRONICS-KOLKATA-NEW-1.svg?v=1786961102"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/collections\/3.png?v=1774097548","url":"https:\/\/shivanshelectronics.in\/collections\/brands-neumann.oembed","provider":"Shivansh Electronics","version":"1.0","type":"link"}