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DescriptionThe TLM 49 brings back the vintage tone of Neumann’s post-war classics. The TLM 49 uses the same K 47 capsule and the iconic large headgrille design of Neumann’s legendary M 49, but instead of electron tubes the TLM 49 relies on trouble free FET circuitry with a special sound design for smooth vo... Read More
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The TLM 49 brings back the vintage tone of Neumann’s post-war classics. The TLM 49 uses the same K 47 capsule and the iconic large headgrille design of Neumann’s legendary M 49, but instead of electron tubes the TLM 49 relies on trouble free FET circuitry with a special sound design for smooth vocals and acoustic instruments with timeless elegance.
VINTAGE SOUND WITH NEW TECHNOLOGY
Many engineers, these days, long for the smooth sound of classic tube microphones of the 1950s. Unfortunately, vintage originals come at staggering prices and are often in need of maintenance. But for those who want a recording tool rather than a collector’s item, Neumann has developed an elegant solution: The TLM 49 combines the sonic excellence of Neumann’s legendary U 47 and M 49 microphones with the convenience and high reliability of a modern phantom powered microphone. Its looks are classic, too!
As the model number implies, the TLM 49 is inspired by its famous precursor, the legendary Neumann M 49, a microphone associated with countless jazz and pop recordings of the 1950s and 60s. The TLM 49 shares the same large, acoustically open headgrille and the same large diaphragm condenser capsule design. This classic K 47 capsule, renowned for its unsurpassed sonic elegance, was also used in the Neumann U 47, the vocal mic of choice for Frank Sinatra, the Beatles, and scores of famous artists up to the present day.
RE-ENGINEERING THE PAST
The main difference between the TLM 49 and its famous predecessors lies in its electronic circuit. Instead of electron tubes, the TLM 49’s head amplifier uses reliable transformerless solid state technology – yet with a special sound design that closely reproduces the sonics of tube circuits. For instance, the TLM 49 intentionally produces soft saturation at higher sound pressure levels, resulting in a seemingly low max SPL figure of 110 dB for 0.5% THD, rising slowly to 5% at 129 dB SPL. The TLM 49 thus captures the sound and dynamic behavior of its legendary precursors without the inconvenience of an external PSU or expensive tube replacements, yet with a substantially improved self-noise figure of only 12 dB-A.
The TLM 49 has a fixed cardioid pattern and is designed mainly as a microphone for vocalists, but its clear bass and superb midrange with a gentle presence boost above 2 kHz will produce excellent results with various instruments, too, such as acoustic guitar and upright bass.
|Acoustical operating principle||Pressure gradient transducer|
|Frequency Range||20 Hz ... 20 kHz|
|Sensitivity at 1 kHz into 1 kohm||13 mV/Pa = –38 dBV ± 1 dB|
|Rated Impedance||50 ohms|
|Rated load impedance||1 kohms|
|Equivalent noise level, CCIR 1||23 dB|
|Equivalent noise level, A-weighted 2||12 dB-A|
|Maximum SPL for THD 0.5% 3||110 dB|
|Maximum SPL for THD < 5 % 4||129 dB|
|Signal-to-noise ratio, CCIR (re. 94 dB SPL)||71 dB|
|Signal-to-noise ratio, A-weighted (re. 94 dB SPL)||82 dB|
|Maximum output voltage||-1 dBu|
|Supply voltage (P48, IEC 61938)||48 V ± 4 V|
|Current consumption (P48, IEC 61938)||3.2 mA|
|Matching connector||XLR 3 F|
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