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Post by Vincent R. on Sept 24, 2021 13:44:47 GMT -6
Wow. Amazing voice! I'm surprised how the 1073 Dpx was able to handle such powerful vocals without distortion, especially considering the hot output of the TLM microphones. Don't really prefer transformerless microphones, but in my opinion the K47 capsule in the tlm49 suits your voice very well. I have complained a bit about the 1073 DPX distorting easily. I've got the trim all the way up and the gain at 30 I think. My voice doesn't distort too bad with it, but my wife's does. Her soprano is a touch more dynamic than mine. lol. Still hoping Audio-scape does a 1084 or 31102 down the road. Yeah, I sometimes wonder about tracking down Neumann K47 and putting it in my FleA. Neumann still makes great capsules. They are hard to match, let alone beat. |
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Post by Vincent R. on Sept 27, 2021 8:09:32 GMT -6
Started tracking some background vocals with the TLM49, which was the use I really wanted it for. FleA 49 on lead and TLM 49 on BG Vox. So far, so good. I wanted it to be to my FleA 49 what my U87ai is to my MK U67. It's proving to be just that.
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Post by Vincent R. on Nov 27, 2021 7:23:53 GMT -6
What does everyone think about the TLM 193? I had the TLM 170 and had to sell it. Not sure I want to spend the money on another, especially when I predominantly record in cardioid in my space. Been debating grabbing a used TLM 193 and calling it a day. Maybe making it a pair down the road,
Also, what do you guys think of the U89 vs the TLM 170? Obviously, transformer vs transformerless, but how do they compare?
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Post by marlem on Nov 27, 2021 12:06:44 GMT -6
When I first saw this shoot out the TLM 102 really surprised me. I also think the TLM67 in this video is surprisingly good on both vocals featured here and even works well next to it’s more expensive tube siblings. I owned the TLM67 circuit for a while before grabbing the MK67 and modding it with the BV12. The TLM67 was really nice. A little less low end than the MkU67, but solid. I did a few classical studio vocals where it was requested over the U87ai and FleA 49. I’d actually like to just get one to have around at some point. I owned the TLM 170 for a while. It wasn’t my thing on my vocals, though I wish I had kept it for Emily’s sometimes, particularly the classical pieces. Playing around with it for the 6 months or so I owned it gave me the impression it would sound great on woodwinds and reeds and anything on the brighter side. Never had a chance to try it though. The TLM103 is really the Voice Over microphone. It excels at that. I know a few VO artists I work with that use them as their main mic. I’ve also heard it sound really good for a bright female vocal, ala Billie Eilish. I’ve heard a pair used as room mics in a classical setting capturing a choir and organ. That sounded decent enough. I wasn’t a fan of it on a few different vocals I used it on. We had it up next to the U87ai and BLUE Kiwi. Kiwi won on a male rock vocal and female jazz vocal. It was a toss up between the Kiwi and U87ai on my vocal. I’ve been kind of curious about the TLM49 myself, but it’s a little more than I’d want to spend on a cardioid only mic. |
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Post by marlem on Nov 27, 2021 12:07:54 GMT -6
agree on the TLM67, have it and have had much success in it's use, rather flexible in usage.
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Post by enlav on Nov 27, 2021 12:08:42 GMT -6
What I've experienced with them vs other Neumanns (I haven't used the TLM170 and U89 though); they're far more neutral/darker than the other TLM microphones or the U87AI. In the studio that has a pair of these, I would occasionally reach for them rather than the newer C414 XLS/XLII's (or whatever iteration they had), if I knew I was going to stay in cardiod and wanted something a little less hyped. When auditioning mics for vocalists at this facility, I'd usually have one up to start with, but I don't think it was ever chosen over the other mics. Usually a Peluso, U87AI, or some darkhorse would end up being picked.
Seemed all right on horns for a few live-tracking sessions that used up the mics I'd rather put on them for other sources.
If the sound of the TLM 170 in particular is what you desire, then I'd wait to hear from others as to whether this gets you in the ball park.
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Post by octalsocket on Nov 27, 2021 16:05:11 GMT -6
I'm always a little perplexed at the nearly-violent reactions these mics provoke in people, particularly the 103. I get it, it's bright, it's not for everything. I think they very much have their uses.
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Post by thehightenor on Nov 27, 2021 16:54:54 GMT -6
I had a TLM103 for a while and after some test recordings I finally found a use for it - I thought it sounded very good recording a Mark tree.
There was something about it's curve and character that worked really well with this particular percussion instrument.
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Post by Ward on Nov 27, 2021 17:06:05 GMT -6
I had a TLM103 for a while and after some test recordings I finally found a use for it - I thought it sounded very good recording a Mark tree. There was something about it's curve and character that worked really well with this particular percussion instrument. I'm probably the only guy here in the dark, but WTH is a "Mark Tree"? |
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Post by sean on Nov 27, 2021 17:12:15 GMT -6
TL193's are a good value. I had a TLM170 with a transformer and owned a pair of U89's. They are all "fine". Not exciting. Like 414 ULS and EB microphones. They are very sterile but never get in the way. If they were a color, they'd be gray. That being said, still useful on anything you don’t particularly want to emphasis the top end. They remind me of ribbons in that sense
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Post by enlav on Nov 27, 2021 17:16:41 GMT -6
I'm probably the only guy here in the dark, but WTH is a "Mark Tree"? Some good ol' wind chimes. Which makes sense, since that sort of percussion would normally make my ears bleed on many other condensers.
If they were a color, they'd be gray. This is the perfect descriptor. It's a GOOD grey, but it's still grey. |
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Post by Ward on Nov 27, 2021 18:01:51 GMT -6
I'm probably the only guy here in the dark, but WTH is a "Mark Tree"? Some good ol' wind chimes.
Ah. got it. I just call them wind chimes - being the normal average everyday mensa redneck I can be at times. |
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Post by enlav on Nov 27, 2021 19:04:21 GMT -6
Ah. got it. I just call them wind chimes - being the normal average everyday mensa redneck I can be at times. I had to google it to make sure, too; but otherwise I only knew it because I was friends with orchestra and marching band kids. --- I just realized that the comment was made about the TLM103 being used on chimes and -not- the TLM193. Color me surprised! I've yet to use my 103 on anything other than VO on the regular, but I may have to try out some random things for when nothing else grabs me. |
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Post by Ward on Nov 28, 2021 10:37:02 GMT -6
I just realized that the comment was made about the TLM103 being used on chimes and -not- the TLM193. Color me surprised! I've yet to use my 103 on anything other than VO on the regular, but I may have to try out some random things for when nothing else grabs me. That would be curious. I have a pair of TLM102s. They are the bomb on hand percussion and cymbals. |
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Post by thehightenor on Nov 28, 2021 14:07:30 GMT -6
Some good ol' wind chimes.
Ah. got it. I just call them wind chimes - being the normal average everyday mensa redneck I can be at times. LOL .... no worries. I think the distinction is - Wind chimes kinda go in the garden or a door way and are hollow and so rattle musically with the wind and are sometimes made of bamboo or other wood. The tines of a Mark Tree are solid and usually of quite expensive metal (like cymbals) and make a higher pitched sound than their hollow Wind Chime brothers. At least that's my understanding. |
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Post by jmoose on Nov 28, 2021 21:18:10 GMT -6
What does everyone think about the TLM 193? I had the TLM 170 and had to sell it. Not sure I want to spend the money on another, especially when I predominantly record in cardioid in my space. Been debating grabbing a used TLM 193 and calling it a day. Maybe making it a pair down the road, Also, what do you guys think of the U89 vs the TLM 170? Obviously, transformer vs transformerless, but how do they compare? I dig the 193 and U89 too. Don't think I've ever even seen a 170 in person let alone used one. Hard to make any comparisons because our uses for these things are worlds apart. Seems like your looking for a mic for personal vocal use? And live mostly in the classical/Broadway realm? I get rock bands and hang these things in front of drum kits & mesa boogies... Even vocals I'm tracking other singers not myself. And most of the Neumann stuff regardless of model just tends to work. If I have time on a session to experiment with mics I'll try a few things. But usually there isn't time so I hang something that should work and unless it sounds offensive? Keep the process moving. |
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Post by Vincent R. on Nov 28, 2021 22:25:10 GMT -6
What does everyone think about the TLM 193? I had the TLM 170 and had to sell it. Not sure I want to spend the money on another, especially when I predominantly record in cardioid in my space. Been debating grabbing a used TLM 193 and calling it a day. Maybe making it a pair down the road, Also, what do you guys think of the U89 vs the TLM 170? Obviously, transformer vs transformerless, but how do they compare? I dig the 193 and U89 too. Don't think I've ever even seen a 170 in person let alone used one. Hard to make any comparisons because our uses for these things are worlds apart. Seems like your looking for a mic for personal vocal use? And live mostly in the classical/Broadway realm? I get rock bands and hang these things in front of drum kits & mesa boogies... Even vocals I'm tracking other singers not myself. And most of the Neumann stuff regardless of model just tends to work. If I have time on a session to experiment with mics I'll try a few things. But usually there isn't time so I hang something that should work and unless it sounds offensive? Keep the process moving. At this point I'm looking for some different flavors in the studio and most likely would only use this on super bright singers. Mostly I'd be looking to have it around for various instruments; brass, reeds, maybe acoustic guitar. I'm usually working on classical crossover, Broadway, and American song book styles. For myself I'm using primarily the FleA 49 and TLM 49. I'll use the U67 if I need something a little different, particularly if I'm recording rock or pop vocals. My wife is on the U67 and U87ai. |
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Post by chessparov on Nov 29, 2021 1:50:03 GMT -6
IMHO on the cheap...
I'd expect the Warm WA-14, to be a nice all rounder for that.
Based on the tone, when I heard it directly and on a couple of clips.
Chris
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Post by Ward on Nov 29, 2021 6:35:55 GMT -6
I dig the 193 and U89 too. Don't think I've ever even seen a 170 in person let alone used one. THe slight age gap between us shows here! I remember in about 1991, the TLM170 was becoming the rage and I was told by everyone, I had to have one. So I have one. And to be honest, out of all my Neumanns, it gets the least amount of use. But it is a great mic. |
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Post by Vincent R. on Nov 29, 2021 8:12:33 GMT -6
IMHO on the cheap... I'd expect the Warm WA-14, to be a nice all rounder for that. Based on the tone, when I heard it directly and on a couple of clips. Chris That's not really the sound I'm looking for. If I wanted a 414 I'd just grab a used EB. That would be closer to what I'm looking for. |
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Post by chessparov on Nov 29, 2021 11:46:36 GMT -6
Maybe Heiserman Type 19 then?
Certainly tamed my brightness, when I've tried it. As you know, A-1 K47 style capsule
Chris
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Post by jmoose on Nov 29, 2021 14:14:37 GMT -6
At this point I'm looking for some different flavors in the studio and most likely would only use this on super bright singers. Mostly I'd be looking to have it around for various instruments; brass, reeds, maybe acoustic guitar. I'm usually working on classical crossover, Broadway, and American song book styles. For myself I'm using primarily the FleA 49 and TLM 49. I'll use the U67 if I need something a little different, particularly if I'm recording rock or pop vocals. My wife is on the U67 and U87ai. Probably going in the opposite direction but have you ever tried a Manley Reference cardiod? Its certainly got a different voice then anything in the Neumann camp. Another different prospect, and have to admit I haven't tried it on vocals yet... the SE Neve active ribbon. Shop I use upstate has one lovely mic. Doesn't sound much like a ribbon... very extended top end but still smoother/darker then any condenser. Excellent for overheads. Very natural. |
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Post by jmoose on Nov 29, 2021 14:27:32 GMT -6
I dig the 193 and U89 too. Don't think I've ever even seen a 170 in person let alone used one. THe slight age gap between us shows here! I remember in about 1991, the TLM170 was becoming the rage and I was told by everyone, I had to have one. So I have one. And to be honest, out of all my Neumanns, it gets the least amount of use. But it is a great mic. Well... 1991? High school freshman..? Something like that. IMO there are some Neumann's that have become standards... obvious old guard ones like the 87 & tube/FET 47... KM54... SM69 etc. But even in the new camp there are some like the 193's and yes... the TLM103 that everyone knows and uses. Yet even after 20 odd years there are still mics I've only seen in the movies. Like the 170 and yeah... the infamous KM84. I really don't think I've ever come across one while the KM184 is something I've put up a hundred times. There's no accounting for taste with this stuff. Like I said pages ago I've never had anyone really complain about the 103's. There have been maybe 2 or 3 people who were bummed that I didn't have an 87. I also happen to like my M147! Sometimes we hang a mic and it doesn't sound right vs the source. Or the artist doesn't like it. Totally cool. That's why there are other things in the mic locker. There really aren't too many "bad" microphones. Only bad choices for a given application. |
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Post by Ward on Nov 29, 2021 14:34:14 GMT -6
Freshman year for you, 25 for me! LOL
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Post by Vincent R. on Nov 29, 2021 15:06:00 GMT -6
At this point I'm looking for some different flavors in the studio and most likely would only use this on super bright singers. Mostly I'd be looking to have it around for various instruments; brass, reeds, maybe acoustic guitar. I'm usually working on classical crossover, Broadway, and American song book styles. For myself I'm using primarily the FleA 49 and TLM 49. I'll use the U67 if I need something a little different, particularly if I'm recording rock or pop vocals. My wife is on the U67 and U87ai. Probably going in the opposite direction but have you ever tried a Manley Reference cardiod? Its certainly got a different voice then anything in the Neumann camp. Another different prospect, and have to admit I haven't tried it on vocals yet... the SE Neve active ribbon. Shop I use upstate has one lovely mic. Doesn't sound much like a ribbon... very extended top end but still smoother/darker then any condenser. Excellent for overheads. Very natural. I haven't tried the Manley. It was never really on my radar. I have a Blue Woodpecker that is a bit like that. Extended high end, but ribbon smoothness. Sounded fantastic on Sax. but the U67 ended up winning that fight. lol. |
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