Neumann 008605 (008 605, 00-86-05, 008/605, 008 605) (TLM-67, TLM/67, TLM67) TLM 67 Multi-Pattern Switchable Studio Microphone
The pearl gray and nickel TLM 67 Multi-Pattern Switchable Studio Microphone from Neumann is an omnidirectional, cardioid, and figure-8 large diaphragm microphone. The TLM 67 is based on the Neumann U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the circuit design closely reproduces the sound characteristics of the U 67, without the use of tubes. It has three switchable directional characteristics, selectable 10 dB pre-attenuation, and high-pass filter that permits detailed adjustments to be made, depending upon the specific recording situation.
Due to its control features, the TLM 67 is suitable for a wide range of applications. In addition to its primary role as a vocal microphone for all types of music and spoken voice, in orchestral recordings the TLM 67 can be used as a main microphone and as a spot microphone for individual instruments.
The microphone is addressed from the side. A large wire mesh grille encloses the elastically mounted double diaphragm capsule. The directional characteristics can be selected via a switch below the grille. The selected setting is indicated by a symbol shown in a window above the switch.
In the TLM 67, an electronic circuit is used rather than a conventional output transformer. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The microphone can operate at sound pressure levels of up to 105 dB without distortion, and has a dynamic range of 94 dB (A-weighted), without the use of the pre-attenuation switch.
The pre-attenuation switch on the back of the microphone can be used to reduce transmission levels by approximately 10 dB. It should be used only when there is a risk of overloading following devices due to very high sound pressure levels. Use of the switch does not increase the dynamic range of the microphone, but rather shifts it by 10 dB, to higher sound pressure levels. The other switch on the back of the microphone can be used to change the cutoff frequency of the built-in high-pass filter, so as to suppress the effects of impact sound and wind noise, or to compensate for the proximity effect. Elastic mounting of the capsule supplies protection from the transmission of structure-borne noise.
In The Box