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Neumann TLM67
Old 28th February 2021
  #1
Gear Addict
 
apotheosis's Avatar
Neumann TLM67

Any experience in the classical music field with this microphone as a 'general' large diaphragm spot microphone, e.g. for solo voice (AB pair), or mono spot on a cello or violin etc.?
It surprises me that I find a lot of references in the pop-commercial-voiceover world, but none in the classical music world.

Any thoughts or experiences?
Old 28th February 2021
  #2
Lives for gear
 
fred2bern's Avatar
 
🎧 5 years
It's my spot for celli and bassi on all my symphonic productions, I have 4 of them. Everytime I can, I try other options but at the end I always come back to the TLM67s. It's my taste, that's all.

On a session last December I tried the TLM67 vs the U67(new one) with 1st violins and it was really interesting. Both sounded almost the same regarding the "spot job" but the quality of the spill leakage was beautiful with the U67... (but I kept the MKH for this job)

In the same session I did TLM67 vs M147 for celli and for fun TLM67 vs U87 for bassi... for both I used the TLM67s in the mix.

Fred.
Attached Thumbnails
Neumann TLM67-20201216_083641.jpg  
Old 28th February 2021 | Show parent
  #3
Gear Guru
 
1 Review written
🎧 5 years
i have a vintage u67 in very good shape which i'm using on a multitude of occasions and for all genre - on one occasion, i couldn't get enough u67's (on request of the producer) so i rented a couple of tlm67's and fed them into tube preamps: no one could tell a difference to the original u67...
Old 1st March 2021 | Show parent
  #4
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king2070lplaya's Avatar
That touches on my questions re: this mic: how good/bad is the off-axis response? And what do users of the mic do to adjust for it?

Quote:
Originally Posted by fred2bern ➡️
It's my spot for celli and bassi on all my symphonic productions, I have 4 of them. Everytime I can, I try other options but at the end I always come back to the TLM67s. It's my taste, that's all.

On a session last December I tried the TLM67 vs the U67(new one) with 1st violins and it was really interesting. Both sounded almost the same regarding the "spot job" but the quality of the spill leakage was beautiful with the U67... (but I kept the MKH for this job)

In the same session I did TLM67 vs M147 for celli and for fun TLM67 vs U87 for bassi... for both I used the TLM67s in the mix.

Fred.
Old 1st March 2021 | Show parent
  #5
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by king2070lplaya ➡️
That touches on my questions re: this mic: how good/bad is the off-axis response? And what do users of the mic do to adjust for it?
Common wisdom seems to be that SD mics have less off axis pickup than LD, but that what’s more significant is the smoothness and even-ness of that unwanted leakage. Perhaps the quality of it matters more than the amount, and a tool like Rx has more success with removing a less uneven/spiky bleed...irrespective of SD/LD ?
Old 1st March 2021 | Show parent
  #6
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king2070lplaya's Avatar
Quote:
Originally Posted by studer58 ➡️
Common wisdom seems to be that SD mics have less off axis pickup than LD, but that what’s more significant is the smoothness and even-ness of that unwanted leakage. Perhaps the quality of it matters more than the amount, and a tool like Rx has more success with removing a less uneven/spiky bleed...irrespective of SD/LD ?
Definitely both quantity and quality, in my experience. It’s the major reason I don’t have any studio staple LDC’s in my limited mic collection. Even a u87 falls on its face on a bleed-heavy stage or ambient room, and don’t even get me started on the 414. Love those 2 in the right situation but “general purpose spot mic” is not their strength, in my experience.

Hence my question to those here who are using the TLM67.
Old 1st March 2021 | Show parent
  #7
Lives for gear
 
🎧 10 years
In the absence of a HyperCard pattern on the 67, how about fig 8 with a small sponge pad taped to the rear grille, to damp the (-) response ? It’s a bit of a kludge fix, but the 8’s side nulls might ‘kill spill’ more than the cardioid pattern? A U89’s hyper position might be a better choice, if it has to be a LD....but a MK4 or MKH8040 would be preferable
Old 1st March 2021
  #8
Lives for gear
 
🎧 10 years
I took a pair of TLM67, a pair of U67 with me to a gig, along with my usual Schoeps MK2H. During a break, I asked the violinist to play something to test the mics. All set to omni, 5-6 feet in front of the player. No processing. Have fun with the samples.


Da-Hong
Attached Files

TLM67.wav (6.31 MB, 1716 views)

U67.wav (6.31 MB, 1652 views)

Schoep MK2H.wav (6.31 MB, 1619 views)

Old 1st March 2021
  #9
Lives for gear
 
🎧 10 years
Based solely on my U89 experience, I'd suggest your intended uses for the 67 as a voice or cello/Bass/violin spot will be fine ....IF you're not expecting it to discriminate against spill from a dense orchestral accompaniment. In this sense, fred2bern has a different experience altogether....

In the context as a spot mic with, say voice with piano accompaniment, or a string quartet, it may be fine ?
Old 1st March 2021 | Show parent
  #10
Gear Guru
 
1 Review written
🎧 5 years
i find speculations about off-axis sound mostly useless: what we hear from any mic is the combination of on-axis and off-axis sound.
of course a mic with a large capsule and a large basket 'distorts' things to a much higher degree than a mic with a small capsule and a minimal basket - however: ldc's have a couple of ionsyncrasies which can get used to one's advantage!

also worth noting that many european broadcasters until the late 80's used mostly tube ldc's with great results...

Last edited by deedeeyeah; 2nd March 2021 at 01:32 AM.. Reason: typo
Old 1st March 2021
  #11
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Plush's Avatar
 
5 Reviews written
🎧 15 years
The TLM67 has a Schoeps like sound that is very attractive. Neumann has shaped the tonal response to be highly laudable and useful as a universal studio mic. Somewhat restrained in the treble.
Old 1st March 2021
  #12
67 capsules have so much built in top boost an EQ net is needed to "flatten the curve" as the CDC says. Once applied the 20k response is down pretty far. A standard 6 db/octave shelf cut is used to tame the tops when a bell cut would be more smooth in result.
Old 1st March 2021 | Show parent
  #13
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Progger's Avatar
 
🎧 10 years
Really lovely performance and capture from all three mics. They all sound great and I'm a bit surprised how close they are to each other. This thread has given me a new appreciation for the TLM67, that's for sure.

Quote:
Originally Posted by dseetoo ➡️
I took a pair of TLM67, a pair of U67 with me to a gig, along with my usual Schoeps MK2H. During a break, I asked the violinist to play something to test the mics. All set to omni, 5-6 feet in front of the player. No processing. Have fun with the samples.


Da-Hong
Old 1st March 2021
  #14
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emrr's Avatar
 
24 Reviews written
🎧 10 years
Great thread, nice to see some use examples in this arena.

Also a good place to drop this link to a dual output mod I did. Nice to have continuous pattern control in post, many times I favor a wide cardioid.

https://groupdiy.com/index.php?topic...5672#msg865672

Last edited by emrr; 1st March 2021 at 11:43 PM..
Old 1st March 2021 | Show parent
  #15
Gear Nut
Quote:
Originally Posted by Progger ➡️
Really lovely performance and capture from all three mics. They all sound great and I'm a bit surprised how close they are to each other. This thread has given me a new appreciation for the TLM67, that's for sure.

I think the Schoeps sounds different/mellower, I did prefer the slightly brighter Neumanns. ...But, yes, they all sound good..i'd pick a TLM no problem...
Wonderful playing and recording....

Thx

Ray
Old 2nd March 2021 | Show parent
  #16
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GeneHall's Avatar
 
🎧 5 years
Quote:
Originally Posted by Plush ➡️
The TLM67 has a Schoeps like sound that is very attractive. Neumann has shaped the tonal response to be highly laudable and useful as a universal studio mic. Somewhat restrained in the treble.
This is a great assessment of the TLM67.
Restrained treble is a great way to put it.
I've been quite enamored by this microphone as late, initially I dismissed it years ago as something I didn't believe I wanted, only to find it a microphone I need around.

stay safe all

Old 2nd March 2021 | Show parent
  #17
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GeneHall's Avatar
 
🎧 5 years
Quote:
Originally Posted by studer58 ➡️
In the absence of a HyperCard pattern on the 67, how about fig 8 with a small sponge pad taped to the rear grille, to damp the (-) response ? It’s a bit of a kludge fix, but the 8’s side nulls might ‘kill spill’ more than the cardioid pattern?
I'm going to try this. Inventiveness doesn't seem a kludgey solution to me.

Old 2nd March 2021 | Show parent
  #18
Gear Guru
 
Brent Hahn's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by GeneHall ➡️
Restrained treble is a great way to put it.
It is indeed a great way to say it. The U89, the KM84 and 86, the teflon 414's all restrain in a way I like. An acquired taste worth acquiring.
Old 2nd March 2021 | Show parent
  #19
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by GeneHall ➡️
I'm going to try this. Inventiveness doesn't seem a kludgey solution to me.

Something like this popscreen, lined with a few layers of heavy fabric, would probably do the job: https://www.jbhifi.com.au/products/s...oaAp1kEALw_wcB
Old 2nd March 2021 | Show parent
  #20
Lives for gear
 
GeneHall's Avatar
 
🎧 5 years
I was driving out of Melbourne this afternoon and thinking that Aston pop shield would work for mounting a sponge to.
Amazing how similar the shape of this stadium brand model. For 25 bucks that's even better! Thank you!
Old 3rd March 2021
  #21
Lives for gear
 
Yannick's Avatar
 
🎧 15 years
Quote:
Originally Posted by apotheosis ➡️
Any experience in the classical music field with this microphone as a 'general' large diaphragm spot microphone, e.g. for solo voice (AB pair), or mono spot on a cello or violin etc.?
It surprises me that I find a lot of references in the pop-commercial-voiceover world, but none in the classical music world.

Any thoughts or experiences?
I do not know them, but looking at the specs/diagrams they would be thin and dark at the same time, in fig8.

My samar audio al95 are much flatter, and probably have a much better off axis response than what seem rather idealized plots for the tlm67.

That being said, if you are looking for new spots and have top notch preamps, try the al95. They are extremely cost effective, and better than our long out of production Royer SF1 mics. Vocal spots, cello spot, violin spot, you name it, they sound great. The bleed always sounds very neutral.

For a pair of tlm67 you will own about 8 al95 mics ...
Old 3rd March 2021 | Show parent
  #22
Lives for gear
 
king2070lplaya's Avatar
But then none of your 8 mics could function in omni or cardioid.... or function without a ton of gain....

Quote:
Originally Posted by Yannick ➡️
I do not know them, but looking at the specs/diagrams they would be thin and dark at the same time, in fig8.

My samar audio al95 are much flatter, and probably have a much better off axis response than what seem rather idealized plots for the tlm67.

That being said, if you are looking for new spots and have top notch preamps, try the al95. They are extremely cost effective, and better than our long out of production Royer SF1 mics. Vocal spots, cello spot, violin spot, you name it, they sound great. The bleed always sounds very neutral.

For a pair of tlm67 you will own about 8 al95 mics ...
Old 4th March 2021 | Show parent
  #23
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by king2070lplaya ➡️
But then none of your 8 mics could function in omni or cardioid.... or function without a ton of gain....
...and none in wide cardioid or hypercardioid which is the reason why i - although i like the sound i'm getting from both the tlm-67/u67 quite a bit - prefer using the tlm-170, tlm-107, c-414, oc-818 or mkh-twin on most occasions: 'function' beats 'sound'!
Old 4th March 2021 | Show parent
  #24
Gear Addict
Quote:
Originally Posted by deedeeyeah ➡️
...and none in wide cardioid or hypercardioid which is the reason why i - although i like the sound i'm getting from both the tlm-67/u67 quite a bit - prefer using the tlm-170, tlm-107, c-414, oc-818 or mkh-twin on most occasions: 'function' beats 'sound'!
The TLM170 in wide cardioid is just so lovely. Still curious about the oc-818.
Old 5th March 2021
  #25
Gear Addict
 
apotheosis's Avatar
Thank you all for the valuable input.
Based on some recommendations here and a hands-on experience long time ago I've just bought a pair second-hand. Very excited to be using them very soon!
Old 2 weeks ago | Show parent
  #26
Here for the gear
Quote:
Originally Posted by Plush ➡️
The TLM67 has a Schoeps like sound that is very attractive. Neumann has shaped the tonal response to be highly laudable and useful as a universal studio mic. Somewhat restrained in the treble.
Hey Plush. I agree, the treble is nicely restrained and the sound is very full overall. Even a little warm. I love mine.
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