ProAudio Review - March 2009 - (Page 35)

Product Points 24-bit/192 kHz digital mic Quiet Channel strip software and built-in DSP Fast Facts Applications Commercial studio, project studio Key Features 24-bit/192 kHz digital cardioid condenser mic with DSP channel strip. Price $2,650 list (TLM 103D microphone only); $3,298 list (with Neumann EA1 suspension mount and basic connection kit); $4,100 list (complete package with DMI-2 interface box and RCS software) Contact Neumann USA | 860-434-9190 | www.neumannusa.com Potential latency issues It’s pricey (unless you add up and consider all included components —you don’t need an analog preamp or converters for the TLM 103D) The TLM 103D is designed and inclined to make analog preamps insecure and jealous. Score into the compressor; it turns the comp/limiter into an EQ dependent limiter with selectable 1, 2, or 4 kHz corner frequencies. Most of my deessing needs are above 4 kHz; shelving takes too much off the top. I first used a standard four-foot XLR cable between the TLM 103D and the DMI-2 and an AES to S/PDIF balun (transformer for converting balanced to unbalanced signal) from the output of the DMI-2 to the S/PDIF input on a Digidesign Digi 002R Pro Tools LE system. That worked without problems, and when I switched to a Mogami AES/EBU cable between the mic and DMI-2, I heard no difference. [According to Neumann, “This is in accordance with the AES42 standard, as the bi-directional communication between the microphone and interface requires the use of a standard XLR. This is necessary to prevent studios and theaters from having to rewire their facilities.” — Ed.] I put up one of my analog TLM 103 mics using an Aphex 1100 preamp and compared the analog TLM 103 to the digital TLM 103D. With both mics up together, I noticed that the TLM 103D was not as bright as the TLM 103; I discovered that the analog mic’s brightness was added by the Aphex 1100 preamp. I summed the mics together and heard some high-frequency loss. After recording separate tracks into PT|LE V. 7.4, I zoomed in and found the TLM 103D was 21 samples later on the timeline than the analog TLM 103. [The difference in time is attributable to the latency of the 103D A-D compared to the PTLE A-D converters, something that is crucial to know if you are mixing and matching analog and digital mics and converters. Combining them without adjusting for timing differences could result in a time-smeared, comb-filtered mess. — Ed.] I switched to a Digi 003R using a GML mic pre and RME ADI-8 DS A/D converter Opposite page: The author’s evaluation setup featuring two standard TLM 103 microphones (via GML mic amps and Digi 002R, 003R, and RME ADI-8 A/Ds) and the TLM 103D, each recorded to Pro Tools|LE. Right: The Neumann TLM 103D in matte black together, both with and without word clock. By themselves, the analog and digital mics sounded more similar than on the Digi 002R rig. When I summed them to mono, I could hear the phase cancellation. Relative to the Digi 003R A/D converters, the RME ADI-8DS was 31 samples later and the TLM 103D was 46 samples later. Neumann reported that they too had experienced similar timeline shifts. If you know your rig, this is a minor inconvenience, similar to the one faced when trying to resolve the timing differences due to a source’s differing distances from two or more mics. The rest of the evaluation was uneventful, and the TLM 103D performed very well. I have heard the TLM 103 sound “spitty” when mated with a few unflattering preamps. Well, not this time. Spoken word and singing vocals were crisp and clean with the TLM 103D. Using the RCS software’s high-pass filter I was able to get the TLM 103D within five inches of the sound hole of my D28S Martin to record some exceptionally nice tracks. I also found I could alter the thickness of the sound with its compressor/limiter by choosing the three different de-esser frequencies and adjusting the ratio and threshold settings. Summary Having owned two analog TLM 103 microphones for a number of years, I can’t help but like the TLM 103D. Maybe you don’t already have a rack full of external preamps, and/or you’re generally only recording one or two tracks at a time. Maybe you’re just starting out and want something better than the preamps and A/D conversion in a stock DAW. If you just need a stereo pair of mics and don’t have or want to invest in a separate preamps and ADC and word clock, this may be a more appealing option. Either way, the TLM 103D may be just the ticket. With it, Neumann has set a firm digital path. Others will follow. www.proaudioreview.com March 2009 | ProAudioReview 35 http://www.neumannusa.com http://www.proaudioreview.com

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ProAudio Review - March 2009 Contents Technically Speaking New Studio Products Opinion: Studio Sense Gear Trends In Nashville Focusrite Liquid Mix HD TDM Plug-in Daking Mic-Pre One sE Electronics RNR1 Active Ribbon Microphone WAVES Tony Maserati Plug-in Collection KRK Systems Rokit 8 G2 Monitors and 10s Subwoofer JBL Control 2P Powered Desktop Monitors Neumann TLM 103D Digital Microphone System Violet Design “The Wedge” Condenser Microphone New Live Products Opinion: Worship Audio Fender Passport Deluxe PD-500 Portable PA PAR Contributor Of The Month Behringer 2442FX 10x4x2 Analog Mixer Single Slice

ProAudio Review - March 2009

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