NEUMANN USA TLM 49

Apr 1, 2007 12:00 PM, By Myles Boisen

Click here for a PDF of the specifications for the Neumann TLM 49

While its competitors try to duplicate its most famous creations, Neumann is maintaining a steady balancing act of affordability, quality, and innovation as it mines new designs from its substantial historical legacy. With a nod to the past, the TLM 49 is Neumann's latest entry.

Although its chunky vintage look is quite similar to that of the original multipattern tube M 49, the TLM 49 is a solid-state cardioid microphone. There are no highpass or attenuation switches, and as with all TLM-series mics, the TLM 49 is transformerless. Its large triple-mesh grille encloses a K 47 capsule, as used in Neumann's original M 49 and U 47 as well as its newer M 147 and M 149 mics.

A sturdy metal-and-elastic suspension shockmount comes with the mic, increasing the value of this package (see Fig. 1). The TLM 49 is secured to the swiveling mount by a threaded metal ring and can be rotated from side to side within the shockmount basket. The shockmount can also be inverted, making it easy to position the mic at almost any angle. The microphone's diaphragm is internally shockmounted as well.

Highly Directional

The 8-page manual that comes with the TLM 49 is basic and doesn't highlight any special qualities or suggested applications. But in a conversation with Neumann product manager Dan Radin, I learned a few things about the mic that haven't yet been mentioned on the company Web site or in ads.

Radin explained that Neumann's goal was to “come as close to a tube sound as possible, but with semiconductors and phantom power instead of a tube” in order to avoid the cost of the tube power supply. According to Radin, the TLM 49's electronics provide an increase in even-order harmonics and will also break up like a tube mic would when faced with high sound-pressure level.

It is also worth noting that the TLM 49's polar response is very directional with respect to high frequencies. This gives the mic a more focused and tight sound, which tends toward supercardioid pickup, making it a good candidate for close-miking in ensemble situations.

In one respect, Neumann has broken with tradition by not including a wooden case. The TLM 49 arrives in a heavy-duty cardboard box. The mic slips inside this box easily with the shockmount attached, and a protective inner box with a thick foam lining fits securely over the head grille.

With Voices and Winds

A pair of TLM 49 mics (serial numbers 208 and 222) were provided for this review, and over a period of a month, I used them in sessions at my Guerrilla Recording studio in Oakland, California. My first test was with vocalist Aurora Josephson, a classically trained singer. I set up the TLM 49 alongside a Blue Bottle mic with a B6 capsule — one of my first-call tube vocal mics — and recorded into a Digidesign Pro Tools workstation.

Comparing the results of this session, I was surprised to find that the two mics conveyed a similar overall timbre and flattering balance of warmth and presence. The Blue mic was a bit crisper and bigger sounding, sometimes adding lush airiness but also exaggerating sibilance in this case. The TLM 49 rendered sibilant consonants much more smoothly and realistically, which became a distinct advantage once digital reverb was added to the program.

The TLM 49 pair also scored points as a stereo room configuration up against a pair of vintage Schoeps 221b small-diaphragm tube mics. On a session with the Rova Saxophone Quartet, I picked the Neumann pair for its superior low-midrange tone, natural highs, and minimal coloration when the room pair was blended in with close mics.

The TLM 49's smooth tone was evident on an assortment of female singers, including one vocalist whose strong midrange doesn't usually fare well on presence-boosting tube microphones. On a variety of vocal sessions, the Neumann impressed me by consistently delivering a winning combination of warm tone and unhyped clarity. Fellow engineer Bart Thurber achieved good results on male rock singers as well, and characterized the mic as “neutral and on the warm side.”

The TLM 49 does need to be used with a windscreen, however. Despite its multiple-layer grille, the mic was prone to popping when used in close proximity with one singer-songwriter.

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