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Neumann TLM 107 Multi Pattern Condenser Microphone
Multi-faceted versatility no-compromise sound and innovative operation: With five directional characteristics and a novel operating concept this standard-setting large-diaphragm microphone provides sound without any coloration. Featuring equally impressive level stability and low self-noise it captures everything from the softest whisper to thundering drums. For studio broadcasting and demanding home recording applications.
The newly developed sound transducer which was designed especially for this microphone is impressive with its outstanding impulse fidelity. The great consistency of the five polar patterns omnidirectional cardioid and figure-8 with the intermediate patterns wide-angle cardioid and hypercardioid is also unusual for a large-diaphragm capsule. The TLM 107 provides optimal sound not only for the cardioid setting; it also ensures maximum precision over the entire frequency range for all of the other directional characteristics. The sound always remains balanced with an almost linear reproduction up to 8 kHz and a slight boost in the highest frequencies that lends presence and freshness to the voice. Here particular attention has been paid to the natural reproduction of speech sounds especially the critical “s” sound. The grille is acoustically optimized for low sensitivity to pop sounds. In addition the sound transducer is edge-terminated with both diaphragms at ground voltage. Specifically this ensures considerably reduced sensitivity to dust and humidity.
No-Compromise Sound Design
Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible while at the same time the TLM 107 features high level stability. The maximum sound pressure level of 141 dB SPL can be increased to 153 dB SPL via pre-attenuation (Pad). This enables the TLM 107 to transmit the sound of even the loudest instruments without distortion. The Low Cut settings of Linear 40 Hz and 100 Hz are precisely adapted to practical recording situations. Without side effects the 40 Hz setting cuts interference noise below the range of fundamental tones (where 41 Hz is the frequency of the double bass open E string) while the 100 Hz setting is optimized for speech and vocals (where 100 Hz corresponds to the lowest notes of a baritone).
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