Addressing this microphone from an angle may take the edge off of some of the higher frequencies. The Audio Technica AT4033a is one possible contender, and offers similarly impressive results on guitar amps, but there are models worth consideration by manufacturers such as SE Electronics, Rode, Blue and many others at this price. While there are quieter mics of this type, this is still a reasonably low noise figure and should cause no problems in typical applications — most of which will involve either close or loud sound sources. At this price, the TLM102 isn't going to be fighting it out with the armies of budget mics that seem to have flooded the market in recent years — but then it isn't unduly expensive either, especially for a Neumann. This shows the real versatility of this mic, because I'm not generally a fan of capacitor mics for recording guitar amps. Based around a newly developed large‑diaphragm capsule capable of tolerating SPLs up to 144dB (0.5 percent distortion), the TLM102 is suitable for use with loud instruments such as drums, brass instruments and guitar amplifiers, but it was conceived primarily as a vocal microphone, so it's no surprise to see a slight presence lift above 6kHz. But also great for vocalists as well. All rights reserved. The capsule, with its edge‑terminated diaphragm, makes use of more cost‑effective manufacturing methods than Neumann's high‑end mics, but it has to be said that I couldn't detect any compromises in the microphone's performance. Why Are Some A-B Stereo Arrays Angled Outwards? PreSonus StudioLive 32SC Series III Mixing Console. One Synth Challenge V - The Filter Strikes Back! Its sensitivity is somewhat greater (-33 dB as opposed to 102’s -39 dB), and reduced self-noise (7 dBA as opposed to 102’s 12 dBA). I’ve seen and heard people say that the 102 is more natural sounding. With sung vocals, the TLM102 exuded the kind of sonic class normally associated with much higher‑priced studio mics, pushing the vocals to the front yet still allowing them to breathe. The TLM-103 has a self-noise level of a staggering 7dB (A). TLM 102 capsule uses some of the same parts as the U89 and BCM series. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. Some prefer the brighter top end quality of the 103 while others say the top end sounds harsh on the 103. I'd certainly be happy to make this my go‑to vocal mic — unless I specifically needed something with a more overt character to suit a particular voice — and for those project-studio owners who want just a single decent mic that can tackle a variety of sources as well as vocals, this should prove a very practical choice. Spoken-word tests reveal a lot about studio microphones, and the TLM102 immediately sounded well‑balanced in this application, without me having applied any EQ. Just like TLM 102, the TLM 103 is a cardioid microphone with a frequency response range of 20 Hz to 20 kHz. Expressed as a signal‑to‑noise ratio (A‑weighted relative to 94dB SPL), the figure is specified as 82dB. The often compared Neumann TLM 102 vs the TLM 103 broken down side by side. It's hard to pick a direct alternative as there are so many medium- and large-diaphragm side‑address mics to choose from, all with different sonic signatures. When comparing this to other microphones such as the TLM 103 (450g) and the Rode NT2A (860g), it just highlights that the TLM 102 is extremely light. A standard 48V phantom power source is required. I was very pleasantly surprised, however, when I put the mic up in front of my guitar amp, just off‑axis: it came extremely close to giving me the sound I was hearing in the room, with all the jangle and bite of the amp but no harsh edges. Unlike some other established microphone manufacturers, Neumann have resisted the urge to produce cheaper models by building them in the Far East, but their TLM range does at least contain some mics that fall into the category of 'affordable' — and these are clearly aimed at the wider project‑studio market as well as professional studio and broadcast applications. It is a large-diaphragm, transformerless capacitor microphone with a fixed-cardioid polar pattern. What is a "hybrid" audio interface anyway? All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. 102 sounds flatter with more of a focus on midrange frequencies. However, there are some notable differences between the two that should be reviewed. You may login with either your assigned username or your e-mail address. 103 weighs 450g vs the 102 weighing 210g. Q. 102 has a slight edge in portability for live shows and concert applications but really both models were made with this in mind and consideration. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. The 102 edges over the 103 slightly in total harmonic distortion. While not the quietest microphone in the world (RODE NT-1A still takes the cake for its 5dB (A) self-noise rating), 7dB (A) is still remarkable. The 102 uses a diaphragm similar to the TLM 170 compared to the 103 using a diaphragm design more similar to the U87. The foam layer in the head grille can be removed for more clarity and transparency if desired. 103 has a larger diaphragm. The value punch on the 102 has been the difference maker for a lot of buyers, but not all. A thread around the XLR housing locates into the stand adaptor to provide a secure support, and the Neumann logo denotes the 'hot' side of the capsule. On the other hand, the TLM-102 has a self-noise level of 12dB (A). Sounds thicker. This response should add air and intelligibility, and when used as a drum mic, should also help give definition to transients. Most people will use it as a vocal mic, but the excellent results I achieved using it on my guitar amp came as a pleasant surprise. This can be done by unscrewing the chrome-plated ring around the middle of the mic. I set up some relatively inexpensive (but nevertheless reputable) side‑address mics for comparison and found them to sound either slightly 'spongy' or a touch nasal by comparison. The capsule, which looks to be a little under one inch in diameter, sits in an elastic suspension mount to help isolate it from case vibrations, while the grille incorporates a dense pop screen, obscuring the view of the capsule. The effect of the presence lift is quite subtle, opening out the sound slightly, but at the same time the mids and lows seem perfectly integrated, creating a sense of clarity and closeness. Another cost‑cutting measure is the lack of pad and filter switches, which makes it very much a 'no‑frills' design — but again, this doesn't impinge on the sound quality.

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