Recording - September 2014 - 45

Like all Pearlman mics, the TM-47 ships
as part of a kit that includes a Mogami
cable, a custom power supply, and vintage style shockmount, all in an aluminum
briefcase.
Sound and use
Upon arrival I put the TM-47 straight to
use in a session with a female singer/songwriter who needed to play her guitar and
sing at the same time. I chose the TM-47 as
the vocal mic and ran it through a Sonic
Farm Silkworm preamp (reviewed elsewhere in this issue) and a Teletronix LA-2A
(the real hardware from Universal Audio).
The combination of her voice with this signal
chain was instant magic... it was one of
those days in the studio we all live for. The
TM-47 was full and forward with a sweet
top end that was best described as nice and
diffuse rather than hard-edged; all in all, it
was a perfect fit for her voice.
After that impressive first session, I used
the TM-47 in a number of sessions over a
few months on male vocals, a few different
Martin acoustic guitars, a beautiful late-'70s
Gibson acoustic guitar, as a mono front-ofkit mic on a vintage 4-piece Slingerland
drum kit, on cajon and hand percussion,
and up close on a Peavey Classic 30 guitar
amp. In each case it performed wonderfully
and without sonic prejudice; this is one of
those mics that I would not hesitate to try out
on any source, which is how a U 47 was
treated back in the day.
My biggest surprise came on electric
guitar, where I am not typically a fan of
large diaphragm condensers right up on
the grille. But here the TM-47 had a great
mid punch and a touch of wooly weight
that suited the overdriven amp tone wonderfully-and this was on its own, not in
conjunction with a Shure SM57 or Audix
i5 dynamic as most of us would do.

The big question
"Does it sound like a real U 47?" The
answer here is an honest "I don't know."
Does it have the mid-forward push and
sound that most of us ascribe in our memory to the sound of a U 47? Absolutely.
Overall, just like the TM-250, it does have
an intangible classic feel to it that is hard
to pinpoint and-I will admit it-even
slightly romanticized as to how my memory tells me a vintage mic should sound.
Beyond that, I have used a number of U
47-inspired mics over the years; the one
that I own and use on almost every session
in my studio is a BeesNeez T-1 Tribute
microphone, an all-Australian-made U 47style mic that features multiple polar patterns and costs over twice the price of the
TM-47. I put the T-1 up next to the TM-47 in
side-by-side tests on all of the abovementioned sources, and I can confirm that both
mics exhibited an almost uncanny perfectly
matched weight and midrange forwardness. Where the microphones differed was
RECORDING September 2014

45

in their presence on the top end. The T-1 was rounder and more solid, while the TM-47
was a tad more grainy and airy-in modern lingo it "had a bit more hair on it."
Being really nitpicky, the TM-47 was just a bit less imposing and as such both
stacked better and was a tad easier to place in a mix, while the T-1 was bolder and
filled up more space. Which one was "better"? I know it seems like a copout, but I
could easily work with both in different applications for different reasons.

Conclusion
I consider the TM-47 is hands-down another winner from the workbench of Dave Pearlman.
In my opinion, it was a wise move to make it cardioid-only; 90% of the time, that is what most
every engineer I know uses, myself included. Compared to the Pearlman TM-250, the TM-47
is probably the better workhorse of the two, with a much more identifiable sound that we are
used to... and it's around two thirds the price of the TM-250, which of course remains a magical mic in its own right. Doggone it-now I want them both! Nice job, Dave!
Price: $2070
More from: Pearlman Microphones, www.pearlmanmicrophones.com


http://www.pearlmanmicrophones.com http://www.gracedesign.com http://www.gracedesign.com

Recording - September 2014

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

Contents
Recording - September 2014 - Cover1
Recording - September 2014 - Cover2
Recording - September 2014 - 1
Recording - September 2014 - 2
Recording - September 2014 - 3
Recording - September 2014 - 4
Recording - September 2014 - 5
Recording - September 2014 - Contents
Recording - September 2014 - 7
Recording - September 2014 - 8
Recording - September 2014 - 9
Recording - September 2014 - 10
Recording - September 2014 - 11
Recording - September 2014 - 12
Recording - September 2014 - 13
Recording - September 2014 - 14
Recording - September 2014 - 15
Recording - September 2014 - 16
Recording - September 2014 - 17
Recording - September 2014 - 18
Recording - September 2014 - 19
Recording - September 2014 - 20
Recording - September 2014 - 21
Recording - September 2014 - 22
Recording - September 2014 - 23
Recording - September 2014 - 24
Recording - September 2014 - 25
Recording - September 2014 - 26
Recording - September 2014 - 27
Recording - September 2014 - 28
Recording - September 2014 - 29
Recording - September 2014 - 30
Recording - September 2014 - 31
Recording - September 2014 - 32
Recording - September 2014 - 33
Recording - September 2014 - 34
Recording - September 2014 - 35
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Recording - September 2014 - Cover3
Recording - September 2014 - Cover4
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