M
menotti1
Guest
anyone compared these mics.voice of Jack FM uses the BCM 104.sure makes him sound great.heard great compliments on the TLM 103.
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L
lloydpalmer
Guest
Currently I have both at my recording studio. Not a fan of the BCM. The TLM 103 is a warmer mic but very sensitive... You've got to be careful because with the wrong processing it can clip and distort. For a deep warm voice the TLM is supreme. Maybe for laying down some vocal tracks it would be nice too. For a broadcasting situation the BCM would be better than the 103.
My name is Jeff..I am a mic-a-holic!
I have been really happy with our Sennheiser MKH416s in three studios..BUT I was lent a new Neumann TLM49 to review late in December, and I haven't sent it back yet..as a matter of fact in our chain with what we have been doing it sounds better than our vintage U47. (maybe it's 'cause Nat King Cole sang into it after smoking three packs of Camel nons?) So I am going to pay for this one and get a second one for Atlanta..It's great for long form narrations..It has a very clean and "buttery" low end, and with a slight bump at 6.5khz-8khz it shines without being harsh..also..like the 416 it's great for a noisy room..very selective.
I still really like the MKH416 though. It just has an attitude and an immediate quality to it, and doesn't "booger up" the low end to sound phony. "It sells well" as one client put it.
So each situation is different, but for the imaging work I do, and the retail for TV audio..I am very happy with our 416's and also now a big fan of this TLM49..About 1200 bucks for one..but you need a good preamp.
Oh, and this is really off the subject..and I don't see the thread anymore BUT..DO NOT..put any condenser mics in the freezer!! This will NOT make anyone "sound fatter"..the only thing fatter will be the bank account of the guy that sells you the new mic that you'll have to get.
I have been really happy with our Sennheiser MKH416s in three studios..BUT I was lent a new Neumann TLM49 to review late in December, and I haven't sent it back yet..as a matter of fact in our chain with what we have been doing it sounds better than our vintage U47. (maybe it's 'cause Nat King Cole sang into it after smoking three packs of Camel nons?) So I am going to pay for this one and get a second one for Atlanta..It's great for long form narrations..It has a very clean and "buttery" low end, and with a slight bump at 6.5khz-8khz it shines without being harsh..also..like the 416 it's great for a noisy room..very selective.
I still really like the MKH416 though. It just has an attitude and an immediate quality to it, and doesn't "booger up" the low end to sound phony. "It sells well" as one client put it.
So each situation is different, but for the imaging work I do, and the retail for TV audio..I am very happy with our 416's and also now a big fan of this TLM49..About 1200 bucks for one..but you need a good preamp.
Oh, and this is really off the subject..and I don't see the thread anymore BUT..DO NOT..put any condenser mics in the freezer!! This will NOT make anyone "sound fatter"..the only thing fatter will be the bank account of the guy that sells you the new mic that you'll have to get.
M
menotti1
Guest
yep, read great reviews on the tlm 49.which pre-amp would you run with it(stand alone)...are you still running that "secret sauce" mic chain?good stand alone pre-amp at a decent price point.i know the manley vox is awesome,but way out of my range.thanks
A
audioconnell Voice Talent
Guest
I've had my 103 for almost a year and its been terrific. Sensitive? Yes...but that's what a good mic should be...its up to the owner to create the "dead" environment.
Not to be too brand crazy but I've not yet come across a Neumann that wasn't very very good.
Not to be too brand crazy but I've not yet come across a Neumann that wasn't very very good.
Our "secret mic chain" is no longer. It was a neat mixture of vintage stuff..it went like this:
Mic into an OLD M610 preamp (UREI) then into one half of a Valley Audio DYNA-MITE set to expand..the output of that was sent to the input of the other side of the DYNA-MITE set to limit/compress..and output to a DBX EQ..with a VERY slight rise at 75hz...again at 1.25khz, and again at 4khz..and again at 8.5khz..
It was sweet..but the number of amps in that system became hard to live with..and with the higher quality and resolution of higher bit digital audio..the noise became more apparent, and we moved on.
Currently using the MKH416's we use the M610 preamp (1.5db rise at 100hz/3db rise at 7k) into an AirCorp model 500-TV (red faced unit/EQ flat), then into the board. The MKH has a neat edginess to it..that works so well with higher energy radio/tv retail and radio imaging.
With the TLM49..we have really liked the Chandler TGC MK2 preamps ( 0.5db rise at 70/2db rise at 6.5khz/2db rise at 9khz for "air")..feeding the AirCorp 500TV (EQ flat) This is the one we use for national TV spot work, and narrations etc. Sounds amazing on large format monitors
These AirCorp boxes have a variable release time and we like it a tad slower that the default (500-PH) and that seemd to be what the audio guys at the agencies like. It cuts through like crazy, but retains the warmth and timbre that I love about the Neumanns
Mic into an OLD M610 preamp (UREI) then into one half of a Valley Audio DYNA-MITE set to expand..the output of that was sent to the input of the other side of the DYNA-MITE set to limit/compress..and output to a DBX EQ..with a VERY slight rise at 75hz...again at 1.25khz, and again at 4khz..and again at 8.5khz..
It was sweet..but the number of amps in that system became hard to live with..and with the higher quality and resolution of higher bit digital audio..the noise became more apparent, and we moved on.
Currently using the MKH416's we use the M610 preamp (1.5db rise at 100hz/3db rise at 7k) into an AirCorp model 500-TV (red faced unit/EQ flat), then into the board. The MKH has a neat edginess to it..that works so well with higher energy radio/tv retail and radio imaging.
With the TLM49..we have really liked the Chandler TGC MK2 preamps ( 0.5db rise at 70/2db rise at 6.5khz/2db rise at 9khz for "air")..feeding the AirCorp 500TV (EQ flat) This is the one we use for national TV spot work, and narrations etc. Sounds amazing on large format monitors
These AirCorp boxes have a variable release time and we like it a tad slower that the default (500-PH) and that seemd to be what the audio guys at the agencies like. It cuts through like crazy, but retains the warmth and timbre that I love about the Neumanns
Jeff
Have you tried the ISA220 Pro Pak? I've heard it with the 416. Sounds really good.
Paired with the TLM 103 the ISA sounds great as well.
I've considering either an ISA220 or a Manley mono tube pre (to a Symetrix 528).
Thoughts?
Thanks!
Chucker
ps - I've also considered either a TLM103 or the TLM49...if one had to choose...which would you take?
Have you tried the ISA220 Pro Pak? I've heard it with the 416. Sounds really good.
Paired with the TLM 103 the ISA sounds great as well.
I've considering either an ISA220 or a Manley mono tube pre (to a Symetrix 528).
Thoughts?
Thanks!
Chucker
ps - I've also considered either a TLM103 or the TLM49...if one had to choose...which would you take?
Okay Chuck you convinced me...you're about the 4th person this year (2007) that suggested that ISA box..I'm gonna go find one and see the charm..I would certainly get a TLM49..It sounds a little more upscale than the 103's I have heard. Has anyone noticed some differences in each of those mics..(like the old days..no U47 ever sounded the same) but the TLM103 seems to be a bit of a dice roll..maybe it's just me. I like Neumann/Sennheiser products, and that model mic seems to be different with each one that they make.
Jeff - We had AirCorp mic processors at one of the radio stations I worked at. Model number escapes me. We absolutely hated them. I tried to get them to sound good with our RE-27's every way to Sunday and had no success. Finally, we replaced them with Symetrix 528E's which sound a lot better.
Joe
Joe
Mike Bratton uses the ISA 220, and so does George Robinson (with TLM103) www.georgerobinsonvoices.com
We use Geo on the jurassic rock here in Toledo. I image the station. His stuff sounds great. And he doesn't put hardly anything on it. I then eq and compress more.
Like you Jeff he does a lot of agency work and they like the audio "nekkid" so George (Aflac radio) doesn't put a lot on it.
He also uses the 416/Avalon 737 combo from time to time. But he admits that he keeps going to the TLM103/ISA combo more often than not.
ISA and either the TLM49 or TLM 103...or a Brauner phantom are on the list for this year. Just need more clients :0)
Jeff.. I miss producing you. I hope they do a good job at Y102/Raleigh.
We use Geo on the jurassic rock here in Toledo. I image the station. His stuff sounds great. And he doesn't put hardly anything on it. I then eq and compress more.
Like you Jeff he does a lot of agency work and they like the audio "nekkid" so George (Aflac radio) doesn't put a lot on it.
He also uses the 416/Avalon 737 combo from time to time. But he admits that he keeps going to the TLM103/ISA combo more often than not.
ISA and either the TLM49 or TLM 103...or a Brauner phantom are on the list for this year. Just need more clients :0)
Jeff.. I miss producing you. I hope they do a good job at Y102/Raleigh.
We use Air Corp 500 PH's here in Toledo at the cluster I'm with in every prod room and air studio. Paired with either a RE20 or RE27.
Depending on the voice, the combo sounds good with the on air processing.
In the prod studio though... sounds like crap! But magically when spots produced in house are run through the air chains, it sounds good. Wacky!
In my studio at work it's mostly my personal gear; dBX286a, Symetrix 528, UREI 1176LN and a Shure SM7b.
Everyone wants to use my room :0)
Depending on the voice, the combo sounds good with the on air processing.
In the prod studio though... sounds like crap! But magically when spots produced in house are run through the air chains, it sounds good. Wacky!
In my studio at work it's mostly my personal gear; dBX286a, Symetrix 528, UREI 1176LN and a Shure SM7b.
Everyone wants to use my room :0)
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