Neumann is a very well-known brand in the audio equipment industry, especially mic, offering a wide range of quality products that stand out from competing brands.
TLM 102 is an example; this mic is armored with large compartments with outstanding sound for the studio. The mic has always received a lot of positive feedback from users as well as music experts.
So what makes this mic different? Let’s Fidlar explore this particular Neumann mic with Fidlar at the Neumann TLM 102 Review.
Neumann TLM 102 Microphone Review
- Type: Condenser microphone
- Polar Pattern: Cardioid
- Frequency Response: 20 to 20,000 Hz
- Impedance: 50 ohms
- Maximum SPL: 144 dB
- Power Requirements: 48V phantom power
- Full and rich character
- Silky highs
- Size and weight
- No High-pass filter
- Cardboard box
- Large-diaphragm microphone with cardioid directional characteristic (pressure gradient transducer)
The latest addition to this lineup and the cheapest Neumann studio vocal microphone is that the condenser mics TLM102 examined here. It’s a large-diaphragm, transformerless capacitor mic with a fixed-cardioid polar pattern design.
Though it seems superficially like additional Neumann side‑address mics, it’s significantly smaller compared to the likes of this U87. It weighs about 260g, has a diameter of 52mm, and a span of just 116mm.
Using its edge‑terminated diaphragm, the capsule uses more cost‑effective production methods than Neumann’s high‑end mics. Still, it must be stated I could not detect any compromises from the mic’s functionality.
Another cost‑cutting step is the shortage of filter and pad buttons, making it very much a no‑frills’ layout, but this does not impinge on the audio quality.
According to a recently developed large‑diaphragm cartridge capable of tolerating SPLs up to 144dB (0.5 percent distortion), the Neumann tlm 102 condenser microphone is appropriate for loud instruments like drums, brass instruments, and guitar amplifiers.
Still, it had been conceived primarily as a vocal mic, so it is no real surprise to see that a slight presence lift over 6kHz. This reaction should include atmosphere and intelligibility, and if used as a drum microphone, it should also define transients.
The capsule, which appears to be a bit under one inch in diameter, sits within an elastic suspension bracket to help isolate it in the vibrations. In contrast, the grille includes a compact pop display, obscuring the view of this capsule.
Even though the integral pop display reduces popping out of plosives, many singers will still need an outside pop shield.
Neumann is creating the Neuman TLM 102 available in both nickel and black finishes. The microphone comes in an easy foam‑lined cardboard box combined with a swivel stand mount. I had the black version in for review and believed it rather trendy and beautifully made.
A silver ring beneath the basket and the red Neumann logo add fantastic visual support to the dark basket along with the satin-black body.
A thread round the XLR housing finds into the rack adaptor to provide safe support, along with the Neumann logo denotes the sexy’ aspect of this capsule. But, the ribbon will match other Neumann‑compatible shock mounts.
The frequency range of the mic 102 extends from 20Hz to 20kHz (‑3dB) and can be nominally level around 6kHz before that gentle existence increase kicks in. It’s a very commendable sensitivity of 11mV/Pa in 1kHz to a 1kΩ load, using an equivalent input noise level (A‑weighted) of 12dBA.
Expressed as a signal‑to‑noise ratio (A‑weighted comparative to 94dB SPL), the figure is defined as 82dB. When there are more silent mics of the sort, this remains a reasonably low sound figure and should cause no problems in regular programs, many of which will entail both near or loud sound quality resources. A standard 48V phantom power supply is necessary.
Spoken-word tests show a great deal about studio presses, along with also the Neumann TLM-102 instantly sounded well‑balanced within this program, without me having implemented any EQ.
The impact of the existing lift is rather subtle, starting the noise slightly. Still, the mids and lows seem incorporated at precisely the same time, developing a feeling of closeness and clarity.
I put up some comparatively cheap (but reputable) side‑address mics for comparison and found them to seem slightly spongy’ or a bit nasal by comparison.
With sung vocals, the Neumann TLM102 exuded the type of sonic course generally associated with considerably higher‑priced studio mics, forcing the vocals into the front however still letting them breathe.
The TLM102 also did a professional job once I used it on acoustic guitar. While it may not have carried quite as much human body thickness as some of these mics I generally use for this use, it was able to provide a bright and playful noise that was also eloquent (a few mics tend to earn the series attack sound quality overly gritty).
You are recording an acoustic guitar to sit with a soda mixture; this works well and quickly. For solo work, you might need to experiment with the place somewhat longer to balance both the highs and lows, but this is not a problem.
Further evaluations with hand percussion produced entirely usable benefits, though there was not any difference between the Neumann TLM102 microphone and a number of my funding standbys within this program.
I was quite pleasantly surprised, but when I put up the mic facing my guitar amp just off‑axis: it came close to giving me the noise I heard at the space, together with the jangle and snack of this amp with no harsh edges. This reveals the actual flexibility since I am not usually a fan of capacitor mics for recording guitar amps.
In our view, the Neumann TLM 102 is a mic best suited to musicians/recording engineers that are searching for an ultra-high excellent mic, so which you won’t have to substitute! We expect that our Neumann TLM 102 MT Review can help you know more about this mic.
Last update on 2021-04-13 / Affiliate links / Images from Amazon Product Advertising API