AudioMedia - November 2008 - (Page 29)

Neumann | TLM67 the TLM makes things sound in its own right The TLM is smoother than the TLM I reviewed a few years ago. There’s less proximity effect than I expected in either the cardioid or figure of eight pattern. 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 . The low end is more balanced and there’s only a small presence lift, which means the source cuts though without getting edgy. After briefly auditioning the TLM on my own voice, I felt comfortable using it on ‘real work’; a recording of someone else’s voice for a narration, and a workout with one of my voiceover students. I found that it wasn’t what the TLM 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. 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) – sure, there’s a case to be made for that kind of creativity, but I find it’s frequently a ploy to cover up design inadequacies. The TLM is not inadequate. On my D S Martin and Taylor, I liked the high-pass filter on because these instruments have plenty of LF energy. If you have thin sounding sources that you’re trying to beef up a bit, then run without the filter. I found recordings of both guitars were accurate and with nice attention to mid range detail. From this relatively light workout, I went further, miking my vintage pre-CBS Fender Vibrolux and strapping on my ’ thinline Tele to record some nasty rhythm tracks. Using the TLM ’s figure-of-eight pattern, I found a good spot about six inches from the cabinet that gave me a nice chunk, good mids, and a nice clean top. I didn’t need the high-pass filter, but did need the dB pad, even though the Vibrolux was only cranked up to / out of . The TLM captured that classic slightly overdriven Vibrolux tubey edge very accurately, without adding any edge of its own. Later I had the Vobrolux volume up to ‘ ’, and the TLM took it very easily with no breakup. more linear – and more neutral – than the U with more attention to mid range. At , . it’s expensive, and very nice. ∫ , , I N F O R MAT I O N £ TLM 67 €1,899.00 (inc.VAT), TLM 67 inc. elastic suspension €2,149.00 (inc. VAT) A Georg Neumann GmbH, Ollenhauerstr.98, 13403 Berlin, Germany T +49 (30) 41 77 240 F +49 (30) 41 77 24 50 W www.neumann.com E sales@neumann.com For about six years, I’ve been suggesting that mic design needed to change because, with good digital recording, the extra HF boost needed to overcome analogue tape HF loss is no longer needed. The TLM does exactly that. It’s audibly Summar y AUDIO MEDIA NOVEMBER 2008 29 http://www.neumann.com http://www.zaxcom.com http://www.zaxcom.com

Table of Contents Feed for the Digital Edition of AudioMedia - November 2008

AudioMedia - November 2008 Contents Recording News Post News Broadcast News Geofocus: Italy What's Up UK AES Review For the Record Studio Snapshot: Aquarium Abbey Road Plug-ins Brilliance Pack Neumann TLM67 Mercenary Audio KM-69 IZ Technology ADA Final Cut Special: Bond TC Powercore 6000 EP Productions Nagra VI Product Sampler: Location Tools Video Guide AMSR News Shure KSM9 Big Beach Boutique 4

AudioMedia - November 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.