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Rode TFM-50 and NT-49 Condenser Microphones
Old 6 days ago
  #31
Here for the gear
 

Quote:
Originally Posted by Plush View Post
Just because the real Neumann M50 is out of the price range of casual recordists, I caution against saying anything like, "it's time seems to have past."

Many of the best recordings done today use the M50 at Teldex Studio in Berlin, at Ideé Und Klang Studio in Basel, Tony F.'s recordings, BIS, Harmonia Mundi, DG, etc. Anywhere where big league sound is required.

When one uses two or three M50's on orchestra (or piano) you hear a regal tone and one can use the main mics for 80% of the finished sound. It was never true that M50 mics were used without spot mics.

What, pray tell, would replace them today?

There are many great omni mics today but none have the "to the center of the earth" bass that the real ones have. You have to have the real thing to get THAT SOUND.

I sold my pair because I found that they were too expensive to not sell them. I never had a maintenance issue and they always worked. The place where I sold them has acquired even more M50's now.

By the way, Neumann KM133 (D or A) sound nothing like a M50 and the modern Neumann variants do a Don Rickles imitation of the M50 very nicely but without the huge (not bloated) bass.

TLM50 manufacture suffered so many rejects that the mic was discontinued. TLM 150 is a good mic but not the real thing. However, these will do in a pinch.

Others are:
Schoeps MK2--the world's best capsule
Sanken CO-100K--sparkle-y
Sennheiser MKH20--response to 60 KHz.
Sonodore--60 volt Rens special
Gefell super mics
Some secret weapon Russian omni mics--truly the best

of course others.
Talking of the Neumann KK133 capsule, I recently heard a piano recording made with an AB pair of these on a model D that I know, in an acoustic that I know. (These were the KM133A variant, i.e. the analogue bodies with the KK133 capsules.) They certainly had that 'gritty, heightened reality' that is associated with Neumann but also a hard metallic edge in transients and an overly bright top end. (This in spite of the engineer's having deliberately paired them with a 'mellifluous' mic preamp in order to tame these elements somewhat.) It does seem that Neumann themselves have been unable to recreate the majesty of the (prime examples of the) M50s. I guess in this context it's no surprise that Rode keep delaying their TFM-50....!

Plush, any chance you could divulge the identity of your Russian secret weapons (with risking a visit from novichok-wielding GRU operatives)?
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