At $3,858 list (about $2,600 street and $2,300 without the EA 87 suspension mount), it’s expensive and very nice. There are too many variables involved to say “yes” as every U67 has its own personality. Update my browser now. Also Delvin Wolf is THE BEST, thanks for the amazing service and recommendations, as always…cheers from NJ! Equivalent noise levels, CCIR, are 29/24/30 dB. Visit our corporate site. Neumann’s most recent old-to-new release is the TLM 67, a transformerless version of the original U67 tube mic that was released in 1960 as a replacement for the über-famous U47. Published: 09/01/2009. If you have thin sounding sources that you’re trying to beef up a bit, then run without the filter. The mic excelled on tenor sax through a Neve VR’s mic preamp. I hope this review helps you make the right choice for you! His tone was balanced with a pleasant bottom end and a sense of tameness in regards to edgy transient peaks. It was fantastic on acoustic guitar and a winner on sax and male vocals. Both are good for different reasons, but neither is a perfect all-rounder. I didn’t need the high-pass filter but did need the 10 dB pad even though the Vibrolux was only cranked up to 2 and 3/4 out of 10. The TLM 67 is a three-pattern FET condenser microphone with two large Mylar diaphragms, a switchable 10 dB pad, and a high-pass filter. Normally I have to pull out some low end when I work a mic at about three inches for voiceover — not so much with the TLM 67. There is an electrical difference between the K67 and K870 on one side and the K87 on the other side: The ‘half’ electrodes in the K87 are isolated against each other, which requires four wires to connect the capsule to the circuit. I found that it wasn’t what the TLM 67 brought to the party I liked as much as what it didn’t: no nasty edges, no hyped bottom or top, just a clean and balanced sound. The TLM 67 uses an electronic circuit instead of an output transformer - the TLM bit stands for Transformer-Less Microphone - and it's the same shape and size as the well-known U87. In any of its three patterns, the TLM 67 doesn’t sound particularly thick or “tubey” to me. If you want a mic “with character,” I’m not sure what that means other than a mic that changes the way things really sound. The microphone has a frequency range of 20Hz to 20kHz, features cardioid, omni and figure-of-eight polar patterns, and offers a 10dB pad and a low-cut filter. Update your browser to view this website correctly. This mic sounded great no matter where I put it. The TLM 67 captured that classic slightly-overdriven Vibrolux tubey edge very accurately without adding any edge of its own. The patterns are the typical omni, cardioid and figure-of-eight. The TLM 67 microphone can support sounds pressure levels of up to 105 dB without any kind of distortion, it also has a dynamic range of 94 dB, without the use of the pre-attenuation After briefly auditioning the TLM 67 on my own voice, I felt comfortable using on “real work” — a recording of someone else’s voice for a narration and a workout with one of my voiceover students. Neumann remains on the technical forefront of microphone design, with its range of digital mics and reissues of legacy tube mics sporting new-age simulation circuits. The mic is an enigma wrapped in a conundrum and constrained within a riddle. © 2020 Pro Sound News is part of Future plc, an international media group and leading digital publisher. The low end is more balanced and there’s only a small presence lift, which means the source cuts through without getting edgy. The price is high, but if you’re looking for an able high-end mic for your locker, this could be the one.