Neumann U67

[Mbroady]

Originally Posted by Bob Womack

The U-47 has a presence peak at around 7k specifically designed to make a voice stick out from an orchestra when they are mic'd with that single mic. It works. The U-67 is designed for a different task and has a different curve.

Bob

Where does the modern M149 fall compared to the 67 and 47

[Bob Womack]

Originally Posted by Mbroady

Where does the modern M149 fall compared to the 67 and 47

I haven't worked with the new version, only the M-49. If the M149 is anything like its predecessor I'd think it would be a little brighter than the U-47 which makes it brighter still than the U-67. The bottom end on the U-47 and M49 is a little better defined than the U-67 as well. For voice we IMO. I've heard that the M149 is brighter than the M-49. I got the very best recordings of orchestras I ever made with a pair of gorgeous M-49s.

Bob

[Brent Hahn]

Originally Posted by Mbroady

Where does the modern M149 fall compared to the 67 and 47

Based on my limited experience -- rented a pair for a fancy-church orchestra/choir recording -- they're their own thing. Very airy. Not much of the lo-mid "meatball" you expect from a big tube Neumann (or a 47 clone). No transformer, so none of that texture. In the context of an all-transformerless classical recording, they were great. Recording an up-close studio vocal you might not think so, although I didn't have the opportunity to try that.

[KevWind]

Originally Posted by Mbroady

Where does the modern M149 fall compared to the 67 and 47

Good question . I have never used one but it was on my short list when I was looking for a tube mic .

With the 9 polar patterns it seems Neumann is targeting it as a "jack of all trades" multi use studio workhorse.

And while not definitive the "Data and Diagrams" page does show the Freq. response curves do vary a fair amount, depending on pattern selected .
But it does seem to exhibit (again depending on pattern selected ) a general rise in either the mid, upper mid, or high range .

here is the page
https://en-de.neumann.com/m-149-tube#technical-data

[rick-slo]

Seems like often the reissues of old classic mikes, including this one apparently, are said to be brighter. Couldn't that be
described instead as more detailed. You can equalize out the added brightness post recording if you wish. You can't really
add back in detail that was never recording by the mike.

[Brent Hahn]

Originally Posted by rick-slo

Seems like often the reissues of old classic mikes, including this one apparently, are said to be brighter.

I can only think of two that are being sold as "the exact same thing." The Neumann U67 and the U47-FET. With the 67 there's no baseline because the originals are all over the place tonewise, and I'm sure some people have dirty capsules and like how they sound. With the 47 FET, to me those are, indeed, exactly the same.

Telefunken, with their connect-the-dots website copy, seem to be saying their reissues are the real deal. But they're not really saying that, and it wouldn't be true if they were.

[rockabilly69]

Originally Posted by Brent Hahn

Based on my limited experience -- rented a pair for a fancy-church orchestra/choir recording -- they're their own thing. Very airy. Not much of the lo-mid "meatball" you expect from a big tube Neumann (or a 47 clone). No transformer, so none of that texture. In the context of an all-transformerless classical recording, they were great. Recording an up-close studio vocal you might not think so, although I didn't have the opportunity to try that.

Like any mic they favor certain singers, I love Stevie Winwood on this one...

https://www.youtube.com/watch?v=t8878chOvfI

[Brent Hahn]

Originally Posted by rockabilly69

Like any mic they favor certain singers, I love Stevie Winwood on this one...

https://www.youtube.com/watch?v=t8878chOvfI

That's really strong all around.