Neumann TLM 127 Condenser Microphone
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There was a celebratory feeling that accompanied my receipt of the new multi-pattern, large-diaphragm Neumann TLM 127 studio condenser, the latest FET 100 series mic in the Transformerless Microphone line (TLM). Maybe it's that Neumann released this mic in conjunction with celebrating their 75th anniversary this past September in Berlin or the posh cherry wood 'cigar humidor-style' carrying case that holds the mic and EA 1 shock mount. Suffice it to say, it was fun testing out this multi-patterned 'big brother' to the TLM 103 studio microphone. Up Close In Proximity Available in either black matte or Neumann's trademark nickel finish, the side-address TLM 127 starts out with the K 127 large dual diaphragm capsule that's based on the K 103 used in the TLM 103 mic. Like all Neumann large diaphragm capsules, the membrane thickness is 6 microns. Built to Neumann's impeccable standards, the mic has flush-mounted Philips screws, recessed switches, gold-plated XLR connector pins, and a threaded mounting collar that
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mates to the EA 1 shock mount's captive, knurled locking nut. The EA 1 is the same elastic suspension mount used by the TLM 103, TLM 193 and M 147 mics and permits you to position the mic exactly by rotating and locking the mic's body within the spider suspension system. Remote Pattern Control-How Does It Work? There is a three-position pattern switch on the hot side of the mic for cardioid, omnidirectional and R for remote pattern control mode over a standard XLR mic cable up to 300 meters long. Remotely changing the polar pickup pattern back at the listening/mixing position has an immediate appeal; you can dial in the exact size of the "recorded event" to fit your production. Especially good for recording acoustic instruments like guitars, string sections and also choirs, this is done by using Neumann's special phantom power supply, the N48 R-2 which will power and control two TLM 127s. This is just like the patented, high-end TLM 170R microphone system where five different directional patterns are selectable with a detented rotary switch on the power supply. Although the N48 R-2 will be available soon (I didn't get one for this review), the principle is simple. The N48 R-2 switches the phantom power voltage over a range of 45 to 51 volts in five, unambiguous 1.5-volt steps. (The IEC 1938 spec allows phantom power supply voltages to fluctuate a maximum of +/- 4 volts.) If you were to switch the mic to R and could vary the phantom voltage yourself you'd get: at 48V, cardioid; 49.5V wide cardioid; 51V omni; 46.5V hypercardioid; and 45V gets you Figure of 8. The TLM 127 uses a four-bit comparator and a kind of simple A/D converter to 'read' the exact phantom voltage level (of each of those five steps) and 'hard' switches the appropriate bias voltage to the rear-facing capsule as supplied from the mic's internal + and - 60 volt DC-to-DC converter. Sorry, you cannot vary the pattern in between two positions. With +60 volts bias always on the front facing capsule, the mic's directional polar pattern is determined by the polarity and level of voltage on the rear-facing capsule. The patterns are: cardioid (zero voltage on rear capsule), hyper-cardioid (-23 volts), wide-angle cardioid (+23 volts), omni-directional (+60 volts), and figure of eight (-60 volts). On the back of the mic are two more switches: a -14dB attenuator pad and a high pass filter selector. The high pass filter has two positions. LIN (or Linear) is a 12dB/octave roll-off starting at 15Hz for wind noise, handling and mic stand vibrations. The other position moves the corner frequency up to 100Hz and is good for proximity effect reduction or just boomy sound sources.

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In the Studio Technical I found Specifications the same differences as the TLM 103 (reviewed Operation Principal: Pressure gradient here in Polar Patterns: Omnidirectional and Cardioid Feb, In remote control mode, a wide-angle cardioid, hypercardioid and Figure of Eight 1998) Frequency range: 20Hz to 20kHz when I Sensitivity: 12 mV/Pa +/- 1dB compared Rated Impedance: 50 ohms ohms Rated Load Impedance: 1000 S/N ratio: 74dB (CCIR 468-3) (both in Equivalent SPL: 20dB (CCIR 468-3) cardioid) Equivalent SPL: 8 dB-A (DIN/IEC 651) my totally Self-noise: 7dB-A Max SPL: 140dB for <0.5% THD stock 154dB w/ attenuator Max Output voltage: 10dBu U87 to Phantom Power: +48 VDC +/- 4 volts the TLM Phantom current: 3.2 mA 127. The Weight: 450 grams X 173 mm Dimensions: 58 mm 127 is a flatter sounding mic without the slight low mid-range buildup and harder sounding upper midrange of the U87. There is also a very smooth high frequency extension on the 127 where the U87 almost sounded rolled-off by comparison. I tested the mic in cardioid and omni modes but without the power supply I couldn't try my "two facing out-of-phase guitar cabs with figure of eight mic in between" trick. In a practical sense, the 127 behaved very much like the TLM 103 in the studio except the larger 127 does not fit quite as easily in tight places around a drum kit. The shock mount is a necessity in all cases since the 127 has terrific subsonic response. The EA 1 will take care of any external subsonics mechanically coupling and traveling up the mic stand. This extended low frequency response is great at capturing ALL of the sound from drums, bass instruments or the "thump" from loud Marshall guitar cabinets. The 100Hz roll-off position worked well for recording acoustic guitars where I put the 127 in cardioid very close (two inches) right over the sound hole--an 'old school' Pop recording method that minimizes fret noise pickup while delivering a consistent and loud sound--albeit boomy. Fingerboard noise permitting, I usually end up moving the mic up the neck a bit. Even though I would not normally use a large diaphragm mic for acoustics, the 127 sounded great on both gut and steel string guitars. To get a better overall 'sonic picture' of the acoustic guitar, I also tried the 127 in omni-directional mode about a foot away again with the roll off switched in. The sound of the guitar 'moved back' as compared to cardioid but gained an open brilliancy; I liked this better for transparent-sounding chord strumming than for flat-picking. With this mic's low noise floor (7dB-A), I could crank up the mic gain, squash as much as I wanted without pulling up any mic

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noise or hum. Both these methods produce a bright and clear sound with a minimum of EQ or fuss. I close mic'd my Fender Concert guitar amp with the TLM 127 and got plenty of sparkle and thick bass. I like using a Shure SM57, a Royer ribbon, and a condenser, usually an 87, on guitar amps. The 127 had more bass and less upper midrange crankiness than the U87 but more super top that can get a little twangy if you want. Mic placement helped here where I favored the outside of the speaker cone away from the center. I had to use the -14dB pad as the 127's hot output distorted my API pre-amp. There are even more options using the TLM127 for vocals. In cardioid, the proximity effect can be an issue with a mic this fat sounding so even backing my singer off a foot away still produced plenty of low frequency "chestiness." If your singer just loves to "kiss the mic" then the 100Hz roll off position will combat bass buildup but I found it a little high in frequency--I'd wish there was a second, lower position at 50Hz. The 127 is excellent for loud as well as soft singers. Loud singers, who get edgy when singing in their upper registers, will appreciate the 127's smooth top end that doesn't exacerbate this typical problem. Soft singers will notice a sensitivity and clarity that helps with the lyric articulation. The TLM127 also opens up the option of omnidirectional vocal recording. In omni, there is no more proximity effect so my singer could worked around the mic without too much tonality change. I also find less "beaming effect" in omni where (in cardioid) if the singer turns slightly off the direction of the mic, the high frequencies die. In omni position, the 127 had a more airy sound and pulled in more room tone around my singer's voice and, for the Blues Rock tune we were recording; it just worked with very little need of additional reverb or delay. Today's Workhorse The TLM 127 is an excellent sounding, cost-effective choice for an all-around utilitarian studio microphone. As a direct descendant of the all-time studio workhorse, the U87, when you add in remote pattern control ability, you have a microphone system that's hard NOT to have. The TLM 127 comes in two kits: TLM127/SET Z with EA 1 elastic suspension mount and cherry box at $2,149.99 MSRP and the lower cost TLM127/SET A with a SG 1 (same basic mount as TLM 103) and cardboard box at $1,799.99 MSRP. The N48 R-2 power supply/remote controller sells $1,015. Neumann is at 1 Enterprise Drive, Old Lyme, CT 06371. Telephone 860-434-5220 or visit www.neumannusa.com Barry Rudolph is an L.A.-based recording engineer. Visit his Web site at: WWW.BARRYRUDOLPH.COM

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Product Information

TLM 127
Large Diaphragm Microphone

www.neumann.com

Georg Neumann GmbH, Berlin Ollenhauerstr. Berlin Germany Tel.: +49 (30) 417724-0 Fax: +49 (30) 417724-50 E-Mail: headoffice@neumann.com, engineering@neumann.com, catalog-info@neumann.com Web: www.neumann.com
he TLM 127 is a large-diaphragm studio microphone with omnidirectional and cardioid directional characteristics. In addition, via a special power supply it is possible to use remote control to switch between the five directional characteristics: omnidirectional, wide-angle cardioid, cardioid, hypercardioid and figure-8. The TLM 127 is addressed from the front, marked with the Neumann logo. On the front of the microphone is also the switch for selecting the directional characteristic. There are 3 settings: omnidirectional, cardioid, and remote control (R). On the back of the microphone is a 14 dB attenuation switch, as well as a high-pass filter switch with 2 settings: 3 dB cut-off frequency 15 Hz (LIN), and 100 Hz.

Applications

The comprehensive control features, which permit optimal adjustment to particular requirements, make the TLM 127 well-suited to a wide range of applications. It is an extremely flexible tool, appropriate for advanced operators of home recording studios as well as for experienced audio professionals who place the highest demands on the sound and technical capabilities of a microphone.

Acoustic Features

When the cardioid setting is used the capsule has a flat frequency response up to 3 kHz and an increased presence of 3 dB at higher frequencies. The wire mesh headgrille houses the large-diaphragm K 127 capsule. This capsule is derived from the K 103 (of the TLM 103), which accounts for its outstanding impulse response. The TLM 127 is thus capable of reproducing all transient phenomena of music and speech without any coloration. The sound character of the microphone is determined exclusively by the capsule; no electronic equalization is used.

Polar Patterns

Via a special power supply, the five directional characteristics omnidirectional, cardioid, figure-8, hypercardioid and wide-angle cardioid can be selected by remote control. The directional characteristic switch on the front of the microphone must be set to R (remote control). The hypercardioid directional characteristic is superior to the cardioid in suppressing sounds to the left and right of the source, while the wide-angle cardioid is especially suitable for recording large sound sources.
Electrical Features Application Hints
The TLM 127 is a fet 100 series studio microphone. The letters TLM stand for Transformerless Microphone. By means of modern circuit technology, the self-noise level of the TLM 127 has been reduced significantly relative to that of comparable conventional microphones. The TLM 127 transmits a sound pressure level of 140 dB without distortion, and provides a dynamic range of 132 dB with no switchover (in accordance with DIN/ IEC 651).
For universal use Announcers mic for broadcasting/voice over Ideal mic for close miking of instruments with high sound pressure levels Spot mic for wind instruments, especially trumpet and saxophone, strings, piano, kick drum, guitar amps During recordings when the mic is in a location where it is difficult to change polar patterns, for example, suspended from a ceiling. A special remote control is available. These are just some of the most common applications. We recommend additional experimentation to gain maximum use from this microphone.
Filter and Preattenuation
Two switches are located on the back of the TLM 127 microphone. The left switch reduces the sensitivity of the microphone by 14 dB, and should be used only when there is a risk that very high sound pressure levels could overload following devices. The switch does not expand the dynamic range of the microphone, but rather shifts it upward by 14 dB to higher sound pressure levels. The slide switch on the right sets the cut-off frequency of a high-pass filter built into the microphone. When the LIN setting is used, a high-pass filter suppresses frequencies below 15 Hz by 12 dB/octave. Alternatively, the cut-off frequency can be set to 100 Hz. This setting may be used, among other things, to suppress the proximity effect.

Remote Control

In principle, any P48 power supply is suitable for powering the TLM 127. When a standard P48 power supply is used, the switch on the microphone can be used to select the omnidirectional or cardioid directional characteristic. Using the special power supply unit N 248 the directional characteristics of the TLM 127 can be controlled remotely and the additional directional characteristics (wide angle cardioid, hypercardioid and figure 8) can be used. The absolute level of the phantom voltage indicates to the microphone which directional characteristic is to be used. As in conventional operation, cable lengths of up to 300 m are permissible. Since the voltage variation is within the normed tolerance range of phantom powering, the power supply unit can also be used with any conventional microphone designed for P48 operation.

Features

Studio microphone, controlled locally or remotely Pressure-gradient transducer with double-diaphragm capsule (based on the K 103) Switchable to omni and cardioid + remotely controllable polar pattern (subcardioid, hypercardioid and figure-8) Extremely low-noise: 8 dB-A High SPL capability: 140 dB Transformerless circuit technology Switchable 14 dB preattenuation and low-frequency roll-off Complete set including elastic suspension
Mixed operation is also possible. Thus a TLM 127 can be controlled remotely at one output, while a conventional microphone is powered by the second output.

Operational Reliability

The entire internal assembly is elastically mounted to reduce interference from structureborne noise. In addition, the capsule is set on an elastic mount. The frequency range of the TLM 127 extends well below 20 Hz. Thus even extremely lowfrequency signals can be reproduced without coloration. This naturally also makes the microphone more sensitive to low-frequency interference signals, such as structure-borne and wind noise. To counteract this, the EA 1 elastic suspension (included) and the WS 87 windscreen may be used. For close vocal use, the PS 15 or PS 20 a pop screen is recommended.

Delivery Range

TLM 127 (mt) Microphone EA 1 (mt) Elastic suspension Wooden box Stereo-set: 2x TLM 127 (mt) Microphone 2x EA 1 (mt) Elastic suspension Aluminium case

Catalog No.

TLM 127... ni. 08475 TLM 127 mt... blk. 08486 TLM 127 Stereo-set... ni. 08512 TLM 127 mt Stereo-set.. blk. 08513

Selection of Accessories

Battery supply, BS 48 i.. blk. 06494 Battery supply, BS 48 i-2... blk. 06496 Power supply, N 248 (Euro).. blk. 08537 Power supply, N 248 (US).. blk. 08538 Power supply, N 248 (UK).. blk. 08539 Double mount, DS 120... blk. 07343 Auditorium hanger, MNV 87.. ni. 06804 Auditorium hanger, MNV 87 mt. blk. 06806 Popscreen, PS 15.. blk. 08472 Popscreen, PS 20 a.. blk. 08488 Windscreen, WS 87.. blk. 06753 Microphone cable, IC 3 mt.. blk. 06543
A complete survey and detailed descriptions of all accessories are contained in the accessories catalog Meaning of color codes: blk = black ni = nickel

Technical Data

Acoustical operating principle.. Pressure gradient transducer Directional pattern... Omnidirectional, cardioid, (wide angle cardioid, hypercardioid and figure-8 also available, via remote control) Frequency range... 20 Hz.20 kHz Sensitivity at 1 kHz into 1 kohm.. 12 mV/Pa Rated impedance.... 50 ohms Rated load impedance.... 1000 ohms Equivalent SPL CCIR 468-3.... 20 dB Equivalent SPL DIN/IEC 651... 8 dB-A S/N ratio CCIR 468-3... 74 dB S/N ratio DIN/IEC 651.... 86 dB Maximum SPL for THD 0.5%... 140 dB Maximum SPL for THD 0.5% with preattanuation.. 154 dB Maximum output voltage... 10 dBu Dynamic range of the microphone amplifier DIN/IEC 651. 132 dB Supply voltage.... 48 V 4 V Current consumption.... 3.2 mA Matching connector.... XLR 3 F Weight.... 450 g Diameter.... 57 mm Length..... 173 mm

measured in free-field conditions (IEC 60268-4)
* only when used with remote control power supply
Errors excepted, subject to changes Printed in Germany Publ. 09/04 92497/A02