NEUMANN TLM 67

Product overview

The NEUMANN TLM 67 is a three-pattern large-diaphragm studio microphone that captures the spirit of Neumann's classic U 67: the same K 67 capsule, with trouble-free FET electronics and a special sound design for a gorgeous retro tone.

Like its predecessor, which defined the sound of the 1960s, the TLM 67 is a versatile studio workhorse with three polar patterns (omni, cardioid, figure-8), pad and low cut options. It shares many of the U 67's key features, including its elegant shape and the famous tapered headgrille that has become iconic for the Neumann brand, and it uses the classic K 67 large-diaphragm capsule, also used in the Neumann U 87 A.

Key features

• Inspired by the legendary Neumann U 67 tube microphone
• Same K 67 capsule as the U 67
• Transformerless solid-state circuit with tube sound characteristics
• Three polar patterns: omni, cardioid and figure-8
• Switchable low cut and -10 dB pre-attenuation
• Very low self-noise: 11 dB-A in cardioid
• Versatile studio workhorse for vocals and instruments
• Unique dual colour retro look: satin nickel head, pearl grey body
• Balanced XLR 3 output, 48 V phantom powering (P48, 3 mA)

Reimagining the sound of the 60s

Instead of the U 67's tube electronics, the TLM 67 has a transformerless head amplifier built with highly reliable solid-state technology, yet with a retro twist: it meticulously reproduces the sound of the 1960s. This results in a seemingly low maximum SPL of 105 dB (cardioid) for 0.5 % THD, but, as in a tube circuit, distortion rises gently to 5 % THD at 125 dB SPL. The TLM 67 thus captures the sound character and dynamic behaviour of its famous predecessor without tubes, a power supply box or multi-pin cables.

Patterns, pad and low cut

The pattern slide switch sits on the front, below the headgrille; the -10 dB pad and the high-pass filter are switched on the back. The pad avoids overloading at extremely high sound pressure levels; the low cut reduces the proximity effect and structure-borne or wind noise. After a pattern change an increased noise level may occur for about 30 seconds while the capsule is recharged to its bias: this is normal.

A retro touch

The TLM 67 combines a capsule head in classic satin nickel with a stylish pearl grey body. Released in 2008, its front carries a metal emblem of the company founder, Georg Neumann, commemorating the company's 80th anniversary.

Applications

A universal studio microphone and true workhorse: its tube-like midrange makes it excellent for vocals and spoken word, and its essentially linear frequency response suits a wide range of instruments such as acoustic and electric guitar, piano, percussion, drum overheads and much more.

In the box

• TLM 67 microphone
• Wooden box
• Operating manual

NEUMANN TLM 67: frequently asked questions

Is the TLM 67 a tube microphone?

No. It uses a transformerless FET (solid-state) head amplifier with a special sound design that reproduces the sound and dynamic behaviour of the tube U 67, and it runs on standard 48 V phantom power.

Which polar patterns does the TLM 67 offer?

Three: omnidirectional, cardioid and figure-8, selected with a slide switch on the front of the microphone.

Why is the maximum SPL only 105 dB?

Like a tube circuit, the TLM 67 distorts gently: THD is 0.5 % at 105 dB SPL in cardioid and rises to 5 % at 125 dB SPL. The -10 dB pad raises the maximum signal level by 10 dB.

Why is there noise after changing the pattern?

For about 30 seconds after a pattern change the capsule is electrically recharged to its new bias, which can raise the noise level. This is normal; reduce the level of connected equipment while switching.

Where can I buy the NEUMANN TLM 67 in India?

The NEUMANN TLM 67 is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Lead vocals with a 1960s character

Singers and producers after a classic vocal tone.

Connections

Setup

1. Select cardioid with the front slide switch.
2. Connect the microphone and switch on phantom power.
3. Face the front (Neumann logo) to the singer behind a pop screen.
4. Set the gain and record.

Tip: Reduce the monitor level while changing patterns: the capsule needs about 30 seconds to settle.

Workflow 2: Spoken word and voice-over

Narrators, presenters and podcasters.

Connections

Setup

1. Select cardioid.
2. Engage the low cut if the voice is close to the microphone.
3. Set the level with normal speech.
4. Record.

Tip: Its tube-like midrange flatters the spoken voice.

Workflow 3: Drum overheads

Engineers recording drum kits.

Connections

Setup

1. Place the microphone above the kit.
2. Choose cardioid or omni.
3. Switch on the -10 dB pad for loud kits.
4. Set the gain and record.

Tip: Distortion rises gently like a tube circuit as the level increases.

Workflow 4: Acoustic and electric guitar

Guitarists and engineers.

Connections

Setup

1. Place the microphone in front of the instrument or amplifier.
2. Use cardioid to focus on the source.
3. Use the pad for loud amplifiers.
4. Record.

Tip: Its essentially linear response keeps the instrument's character.

Workflow 5: Room sound and ensembles

Recording piano, percussion or small groups.

Connections

Setup

1. Select omni for room and ensemble sound.
2. Place the microphone at a suitable distance.
3. Check the balance.
4. Record.

Tip: Cable lengths up to approx. 300 m do not affect the frequency response.

Workflow 6: Two-person interview

Two speakers facing each other.

Connections

Setup

1. Select figure-8.
2. Seat the speakers on the front and rear axes.
3. The sides are rejected.
4. Set the level and record.

Tip: Test with speech, never by blowing into the microphone.