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Neumann TLM 107 - a new Neumann mic. for people to hate
Old 16th June 2015
  #241
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I'm guessing it's darker?
Old 16th June 2015
  #242
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kennybro's Avatar
rejects reflections
Old 16th June 2015
  #243
Quote:
Originally Posted by rmaier View Post
I'm guessing it's darker?
A lot darker! lol
Old 16th June 2015
  #244
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John Willett's Avatar
 

Quote:
Originally Posted by CDW View Post
I love mine! The most interesting thing is that the black 107 actually sounds BETTER than the nickel 107!!
That's down to the second plastic diaphragm on the outside of the mic. in your picture.

Old 21st June 2015
  #245
Quote:
That's down to the second plastic diaphragm on the outside of the mic. in your picture.


__________________
Great point, man! I'll bet if I take the plastic off it would ROCK!! Why don't I ever think of these things?
Old 19th January 2016
  #246
nm

Last edited by musaee; 19th January 2016 at 12:53 PM..
Old 11th May 2017
  #247
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gainreduction's Avatar
 

The TLM 107 is a really nice microphone. But I gotta admit that it took some time to "get it".

It sounds different from the competition as it aspires (and succeeds) to be a mic without coloration. This means it is unusually free from weird resonances and various kinds of distortion. I am very sensitive (probably my ears are showing signs of wear after 30 hers in the studio) to complex, inharmonic, low level distortion and resonant frequencies and I now see that one of the reasons this mic feels so different is that it does not cause this subcontious discomfort for me.

It is very smooth and perhaps a little polite at first listen. But such a cohesive sound, highly tweakable without falling apart.

It sounds authoritive yet relaxed. No discomfort listening to it.

This mic really grows on me and I think I'm getting another to form a pair of really nice all rounders. Clean, low noise, very consistent multi-pattern.... what's not to like?

There's so much tube mic snobbism and nostalgia going on... folks, open your eyes for a really nice modern LDC.
Old 12th May 2017
  #248
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WunderBro Flo's Avatar
We recently did a quick comparison of the 107 next to t 87ai on voice. the 107 seems to be technically better, but of course that has nothing to do with how pleasing things sound. I had the impression that the 107 transients were more true to the source (faster/louder?), the midrange bumps of the 87 are not there and the highs and low bass areas do not roll off like with the 87. So I think the 107 is a great "raw material" kind of mic, but if I can choose I would use the 87 on most sources because I know how to make it sound great with just a few moves. Maybe the 107 needs to be "learned" like one needs to learn the 87 sound. I think it is a great sounding mic, however I am more familiar with the classics. Will experiment more with those recordings soon.
Old 12th May 2017
  #249
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ponzi's Avatar
I'm holding out for the USB version....
Old 12th May 2017
  #250
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Sharp11's Avatar
 

Quote:
Originally Posted by Brent Hahn View Post
I am front row center in the vanguard of TLM-103 detractors. But I'm there due to considerable experience with them, making voiceover changes in other people's work. Those people almost certainly and unanimously bought the TLM-103 because it not only says "Neumann" on it, it absolutely looks like one.
Which could simply mean a lot of people too inexperienced to use a mic properly bought one ...

I can only counter your anecdotal experiences with my own, but I've made many great recordings with many different Neumanns often chided around here - the 103 included, used as designed, it sounds terrific. The 102 as well (and that mic is built differently than the 103).
Old 12th May 2017
  #251
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Quote:
Originally Posted by Sharp11 View Post
... used as designed, it sounds terrific.
I'm glad the mic has worked out well for you.

On a few occasions, I've had to rent one to do revisions to a VO done somewhere else. Impossible to match with anything else. Maybe sticking the mic in a typical VO-like spot meant that neither I nor the previous engineers were using it "as designed."
Old 12th May 2017
  #252
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Quote:
Originally Posted by Brent Hahn View Post
I'm glad the mic has worked out well for you.

On a few occasions, I've had to rent one to do revisions to a VO done somewhere else. Impossible to match with anything else. Maybe sticking the mic in a typical VO-like spot meant that neither I nor the previous engineers were using it "as designed."
I suspect you know what you're doing, but if I read your earlier comment correctly, I assumed you were suggesting the VO talent bought these mic's simply because of the name on it - people who do that are often not experienced purchasers, which would lead me to believe they might've been recording at home under less than great acoustic conditions - I've worked with many VO tracks like this.

The 103 is one of many available to me at the university where I'm an adjunct. It sounds great on piano, acoustic guitars, as a drum OH in a Glyn Johns - type set up, and yes, even as VO for our students who are split video/audio majors.

Not tying to argue with you, I'm just genuine baffled by criticisms of these mic's; I don't own one of my own, but I use them freely as well as anything else in the school's impressive collection of mic's, and for someone wanting a cardioid only condensor, I'd have no problem recommending one.
Old 12th May 2017
  #253
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Brent Hahn's Avatar
 

Quote:
Originally Posted by Sharp11 View Post
I suspect you know what you're doing, but if I read your earlier comment correctly, I assumed you were suggesting the VO talent bought these mic's simply because of the name on it - people who do that are often not experienced purchasers, which would lead me to believe they might've been recording at home under less than great acoustic conditions - I've worked with many VO tracks like this.
Thanks for suspecting that. :-)

Actually, it's always been pro, by-the-hour VO studios. Mostly one specific place with very attractive rates where their ad-agency client was also my client. They'd record the initial VO's which would come to me where, along with the music, sound design and mix, I'd record any VO revisions.

I called this other studio out of curiosity and asked them what the deal was. The engineer I talked to said that, given her druthers, she would have used a Sennheiser 416. But the folks at this ad agency had been instructed to always ask for "a Neumann," so "a Neumann" is what they got.

Quote:
The 103 is one of many available to me at the university where I'm an adjunct. It sounds great on piano, acoustic guitars, as a drum OH in a Glyn Johns - type set up, and yes, even as VO for our students who are split video/audio majors.

Not trying to argue with you, I'm just genuinely baffled by criticisms of these mics; I don't own one of my own, but I use them freely as well as anything else in the school's impressive collection of mics, and for someone wanting a cardioid only condenser, I'd have no problem recommending one.
I appreciate you sharing a little more about your situation. In your shoes, good chance I'd feel the same way. Thanks.
Old 12th May 2017
  #254
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Quote:
Originally Posted by Brent Hahn View Post
Thanks for suspecting that. :-)

Actually, it's always been pro, by-the-hour VO studios. Mostly one specific place with very attractive rates where their ad-agency client was also my client. They'd record the initial VO's which would come to me where, along with the music, sound design and mix, I'd record any VO revisions.

I called this other studio out of curiosity and asked them what the deal was. The engineer I talked to said that, given her druthers, she would have used a Sennheiser 416. But the folks at this ad agency had been instructed to always ask for "a Neumann," so "a Neumann" is what they got.



I appreciate you sharing a little more about your situation. In your shoes, good chance I'd feel the same way. Thanks.
Years ago, I worked on a film where the singer's contract required a Neumann U47 tube mic - it was what she used on all her albums. I actually found one to rent, it was an early 60's model.

When I brought it home and put it up next to my Charter Oak 538b, I couldn't hear much of a difference, but my wife felt the U47 sounded "better".

After dealing with the talent's management company and going nuts trying to find this mic, when the singer came to do the session, she fell in love with the Charter Oak - I think we used the Neumann once just to give it a try. :0

So yeah, the name connotes some magic for many.
Old 12th May 2017
  #255
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Quote:
Originally Posted by Sharp11 View Post
Years ago, I worked on a film where the singer's contract required a Neumann U47 tube mic - it was what she used on all her albums. I actually found one to rent, it was an early 60's model.
When I was a tyke, I worked at a place where they had 8 of them. They all sounded different, and that's with being in the same place all the time and getting regular pro maintenance. I can imagine that your hard-to-find rental might not have been as tip-top as the 47's your celebrity was accustomed to.
Old 17th May 2017
  #256
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Well, I own a tlm-103, and confess it in a defiant manner! I bought it back in the days of my youth for both the wrong and the right reasons as listed above. I got a lauten atlantic which sounds better on my voice, and the 103 is one mic too many, so selling it. But not on gearslutz...

Last edited by ponzi; 17th May 2017 at 11:07 PM..
Old 17th May 2017
  #257
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ponzi's Avatar
Quote:
Originally Posted by Brent Hahn View Post
When I was a tyke, I worked at a place where they had 8 of them. They all sounded different, and that's with being in the same place all the time and getting regular pro maintenance. I can imagine that your hard-to-find rental might not have been as tip-top as the 47's your celebrity was accustomed to.
These are electro-mechanical devices many decades old with all sorts of differing usage temp/humidity histories, even assuming they sounded the same on day one. Were the diaphrams stretched by humans back in the day when they were applied to the capsule and screwed down? Was the plastic uniform from one batch to the other as well as the gold sputtering? I imagine newer mics will be more uniform than old ones due to improved mfg tolerances.

I note under magnification that those lovely one inch gold plated diaphragms get an accumulation of dried spittle, which an expert in these matters assured me its part of the mic's 'character'. Well, nobody's going to take a garden hose to that diaphragm to clean it off, so I guess depending on which singers used it and whether they were suffering from a cold a the time... No, I don't even want to think about that anymore...

Moral of the story, hard to imagine any two old mics would sound the same.

There is kind of a philosophical inquiry I pursue from time to time. Were the beatles given the choice between their multi-ton redd 4 track desks and a 'digital' sounding (name your daw) rig with 100 channels and TLM-103s, what do you think they would have chosen, and would their music have sounded 'worse'? I wonder to what degree older equipment is considered legendary simply because it was what was in the mic closet when the artists showed up. I don't have the ears or experience of most of you, but I do wonder these things...

One of my thoughts on this is that if they had 100 channels, they may have spent two years working on sgt pepper.
Old 12th June 2017
  #258
TJP
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Anyone used this for field recording? I have a MKH-418s and I was thinking that this could be a nice flexible option... Is it weather-resistant enough if I put it in a blimp? Figure 8 could be cool for ambient recordings that would sound more open that the ones made with the 418s. What do you guys think?
Old 13th June 2017
  #259
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John Willett's Avatar
 

Quote:
Originally Posted by TJP View Post
Anyone used this for field recording? I have a MKH-418s and I was thinking that this could be a nice flexible option... Is it weather-resistant enough if I put it in a blimp? Figure 8 could be cool for ambient recordings that would sound more open that the ones made with the 418s. What do you guys think?
The 418S was an MS gun mic. designed for the Lillehammer Olympics.

The Fig-8 capsule is actually a dual-diapgragm one made from back-to-back cardioids and is a bit noisy.

The S level in the 418S should really be about -6dB compared to the mid mic.

Ideally use an MKH 30 as the side mic. as this is a single-diaphragm fig-8.

An AF condenser, like the Neumann, would not be weather-resistant enough, really, IMHO.
Old 2nd March 2019
  #260
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iamkimosabi's Avatar
Quote:
Originally Posted by ponzi View Post
These are electro-mechanical devices many decades old with all sorts of differing usage temp/humidity histories, even assuming they sounded the same on day one. Were the diaphrams stretched by humans back in the day when they were applied to the capsule and screwed down? Was the plastic uniform from one batch to the other as well as the gold sputtering? I imagine newer mics will be more uniform than old ones due to improved mfg tolerances.

I note under magnification that those lovely one inch gold plated diaphragms get an accumulation of dried spittle, which an expert in these matters assured me its part of the mic's 'character'. Well, nobody's going to take a garden hose to that diaphragm to clean it off, so I guess depending on which singers used it and whether they were suffering from a cold a the time... No, I don't even want to think about that anymore...

Moral of the story, hard to imagine any two old mics would sound the same.

There is kind of a philosophical inquiry I pursue from time to time. Were the beatles given the choice between their multi-ton redd 4 track desks and a 'digital' sounding (name your daw) rig with 100 channels and TLM-103s, what do you think they would have chosen, and would their music have sounded 'worse'? I wonder to what degree older equipment is considered legendary simply because it was what was in the mic closet when the artists showed up. I don't have the ears or experience of most of you, but I do wonder these things...

One of my thoughts on this is that if they had 100 channels, they may have spent two years working on sgt pepper.
ponzi scheme detected.

how much do you want for it? i have an extra kidney i can sell.
Old 2nd March 2019
  #261
I think this thread belongs in new gear forum, no?
Old 2nd March 2019
  #262
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iamkimosabi's Avatar
im super sorry...i jus noticed this was from nov 5th 1955....
Old 1 day ago
  #263
Here for the gear
The Figure 8 and Hypercardioid on the TLM 107 are perfect for Mid/Side miking due to the similar flat frequency response curve. If one mic has a flat response and the other is hyped, the image is automatically off. Example, if you use a Dangerous BAX Eq from UAD in M/S mode, you will hear the image go out simply by changing the Side Treble .5 decibels while many mics vary as much as 8 dB's from low to high end without roll off, making a true image virtually impossible...4 TLM 107's in phase with the snare and a nice Manley Force is a hell of a combination. The TLM 102 and 103 bump the upper range too much, both have funky response curves starting at 5K, which for bass/baritone/alto vocals, OK, for anything else, unnatural and shrill...I hope that helps.
Old 1 day ago
  #264
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WunderBro Flo's Avatar
well, never heard the 102 but I know the 103 is pretty similar to the u87. That 87/103 type of sound is not the most natural but one of the most useful sounds in studio history imho. I have also heard the 107 against a 87...the 87/103 sound is not what I would call shrill, it is mid forward. The 107 however is so fast and trebly (especially in it´s transients) that it had the tendency to hurt my ears when comparing it to the 87. just my 2 cents.
Old 18 hours ago
  #265
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Used TLM67 would be my fave Neumann (on me), in this price range.
Chris
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