Recording - May 2014 - 25

female) in a Celtic/folk band. When all was said and done, the Z-67 was
chosen for use on the female singer, and was used for the entire album.
Overall on her voice it offered a very real, you-are-here sound that had
a natural weight along with a nice sparkly high end-sparkly as in exciting and not harsh or bright. Interestingly, I always think of 67ish mics as
"dark" in my memory, and while the Z-67 was indeed a touch less toppy
than my U47 clone (a BeesNeez T-1), it was not anywhere close to sounding pillowy or rolled-off. Larry Villella explained that the Z-67 is actually
modeled on the less well-known broadcast version of the U67, the
Neumann M269, which was slightly brighter than the U67.
Throughout the sessions I also fell in love with the Z-67 on a number of
acoustic guitars, especially on 12-string where it was full and detailed,
scooping out a touch of the boxy mids. It also did well as a general percussion mic on everything from cajon to congas, tambourine, and shakers. On drums I liked it as a mono front-of-kit mic, where it blended naturally in with the rest of the mics and added a focused coherence, especially when gently compressed.
Z-Conclusion
The Z-67 offers a very classy rich sound that is very 3D with the perfect hint
of vintage vibe. Quality like this comes with a substantial price tag, about
$3000 street. That's a considerable investment, but one that is well worth it-
this is unquestionably one of the nicest microphones ADK has ever made!

T-FET Hamburg 67-T
The Hamburg 67-T is largely the same mic as ADK's well-known
Hamburg 67 Au (part of the same series and build as the two Au mics
reviewed back in September of 2010), which was itself an upgrade of the
entry-level Hamburg Mk 8. New, however, is the upgraded blue powdercoat look, and more importantly increased flexibility in polar pattern
choice. While the early Au mics were cardioid-only, the 67-T offers omni,
cardioid, and figure-8 patterns.

This mic measures 81/2" long by 11/2" round. Its parts
build and specs are the same as the older Au line. It uses
the Australia-designed Au capsule, British Oxford transformers, and a high-end Phillips Norelco Uber-FET circuit.
Its polar patterns are chosen by a switch on the front, and
around back it includes a pair of 3-way switches for low
frequency cuts of 100 or 160 Hz (-3 dB) and an -8 dB or
-16 dB pad. It has a 20 Hz to 20 kHz frequency response,
<15 dBA equivalent noise level, a <0.5% (1 kHz): 134 dB
w/16 dB Pad max SPL, and a -34.5 dbV = 18.84 mV/Pa
sensitivity.
In use
Despite also being U67-inspired like its tube-based big
brother, the Hamburg 67-T has a much tighter and thicker
sound with a smooth rolled-off top end. I am not meaning to
imply that the 67-T is an overly dark mic, as it is not. It's just
that its top end is nice and rounded rather than sparkly.
As such I found it to be a better choice on shrill vocals
needing a touch of softening. It's a great choice for sibilant
singers and voice talent, as this mic could not be sibilant if it
tried! It was also nice on bright and brittle acoustic guitars
and even banjo, which can be very thin and twangy instruments. This is not a mic I would pick for drum overhead duties
unless you want the cymbals very pulled back, and on tambourine and shakers it was too thick and chuffy for my tastes.
Conclusion
The 67-T streets for $1299, making it the bargain of the
two, and it is right in line with what the Au series used to
sell for. Bottom line: if you want beautifully smooth tones,
this is a mic to hear and try for yourself.

Prices: Z-MOD Z-67, $2999 street; T-FET Hamburg 67-T, $1299 street * More from: ADK Microphones, www.adkmic.com


http://www.adkmic.com http://fullcompass.com http://fullcompass.com

Recording - May 2014

Table of Contents for the Digital Edition of Recording - May 2014

Contents
Recording - May 2014 - Cover1
Recording - May 2014 - Cover2
Recording - May 2014 - 1
Recording - May 2014 - 2
Recording - May 2014 - 3
Recording - May 2014 - 4
Recording - May 2014 - 5
Recording - May 2014 - Contents
Recording - May 2014 - 7
Recording - May 2014 - 8
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Recording - May 2014 - Cover3
Recording - May 2014 - Cover4
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