Been given a Neumann TLM 170 - is it really necessary?

  • Thread starter Thread starter Bubba Spear
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ecc83 said:
...

Just looked up the spec for the RE 20 sensitivity is 1.5mV/Pa. That's about 3dB hotter than a 57/58 and maybe 4-5dB hotter than an SM7b and I am sure I have heard of people using those mics with a cloudlifter and getting really low noise results.

Of course, mics are subject to tolerances and if it is an old one it might be down a bit on output? Add a c'lifter not quite up to snuff and you could get a bit of noise.
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If the RE-20 is 3dB hotter than an SM57 it could be plugged right into the F'rite and a decent signal captured w/o the C'lifter - not as loud, but at 24-bit easy enough to add the gain in post to compare with vs without, i.e., to decide where the noise is coming from.

If you boost the gain enough on the F'rite, of course, it's going to start hissing at some point.
 
Thanks Keith and again to ecc83

You people certainly know your stuff, but I don't know what half the technical terminology means. I will say, coming from a Rode mic made specifically for podcasting to the RE20, I did notice a slight improvement, but not as much as I was told I would. With the TLM 170, it's immediately noticeable to my ears, and I'm not an audiophile or really someone who takes note of such things.

I also use spot panels of acoustic foam, to supplement the 2 x six foot, free standing acoustic panels.

Bubba
 
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Bubba Spear said:
Thanks Keith and again to ecc83

You people certainly know your stuff, but I don't know what half the technical terminology means. I will say, coming from a Rode mic made specifically for podcasting to the RE20, I did notice a slight improvement, but as much as I was told I would. With the TLM 170, it's immediately noticeable to my ears, and I'm not an audiophile or really someone who takes note of such things.

I also use spot panels of acoustic foam, to supplement the 2 x six foot, free standing acoustic panels.

Bubba
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Odd that the dynamic was quieter than a Rode? They make one of the quietest capacitor mics on the market and the quality is evident throughout the range AFAIK. What specific model was it? Then the fact that the TLM 170 gives you an immediately noticeable drop in noise suggest to me that the interface might be a bit noisier than standard? The higher level of the 170 means you need less gain and thus get less pre amp noise.

Don't be too bothered about the technical guff, you don't need to know that much and if anything really puzzles you just ask.

Dave.
 
From memory, the Rode was also a dynamic. I can't remember what it was called, except that it was big, all white in colour and heavy. An end address affair that connected via USB. But anyway, I'm sorted now. This TLM is really nice to use.

Thanks again :thumbs up:

Bubba
 
Yes, that was it

Edit: the black box that I referred to earlier - and that is sitting a hundred miles away - is not a Black Origin... Oops!, but something called a Millennia STT-1 Origin. This thread has probably run its course, and guess I answered my own question regarding the Neumann by just plugging the damned thing in. This Origin thingy will present the same dilemma. I've been told it's mine if I want it, so obviously I'll just have to do the same...

:thumbs up:

Bubba
 
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Amongst the items in the product description is this:

"18-bit resolution, 8-48kHz sampling"

But the actual prodcut specifications say 24bit

podcasterspecs.webp
 
gecko zzed said:
Amongst the items in the product description is this:

"18-bit resolution, 8-48kHz sampling"

But the actual prodcut specifications say 24bit

View attachment 103925
Click to expand...

I stand corrected and should have checked spec before typing. All I can say is most usb mics are 16 bit converters. That of itself does not mean a noisy system but for some reason, cheap, 16 bit USB kit tends to be.

Dave.
 
rob aylestone said:
...Some of it is cultural. In the UK, we're used to our broadcasters using condenser mics, while in the US the popularity of Shure and EV dynamics has tailored the sound to the people. I've heard Americans listen to our BBC radio here and query the sound as being 'wrong'. It's a mix of what you like vs what the audience like.

I'd urge you to at least try it and see if it's better or worse to your ears.
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I recently read an article about NPR (National Public Radio in the US - our version of the BBC). Interestingly, their chief audio engineer said they principally use Neumann U87s in the studio for spoken word broadcasts, with the bass roll off switch engaged.

A top audio engineer explains NPR’s signature sound | Current
 
In an ad by Tony Maserati (know for his "mixes" and gear) he said "If it sounds right, it is right." If you are making a living with no complaints, you can play with it, but don't change much!

Jack Socha (non-musician, audiobook author, talk radio producer since 1980.).
 
Why is it when someone is given something like a Neumann microphone, they don't need it, want it, and would maybe use it to hold paper down? I know this one is old, but new, they are over $3,000. I was going to say send it to me and I'd even pay shipping but everybody has been so damn nice, that you might even keep it. Oh well, such is life.

I also have an RE20 with the shock mount and love it. It's a very versatile microphone. No hiss in mine. It's got that pop filter in it that allows you to pretty much space yourself at any distance from it and sound great. But, the Neumann is pretty nice, too. With the proper connection and input, that thing will make your voice sound like butter. I assume you do your voice work from home? It's a lot more sensitive than the Electovoice so you might have to quiet down the room some, because the RE20 is more forgiving with that.

EDITED TO ADD: I later noticed that you said you have acoustic panels both front and back, so that will help a lot with any room noise. I also see that you like the microphone. You say it doesn't lose any of "you" which is a good way to explain it. Neumanns are known for their excellent response. That's that butter I was talking about. So, with everybody being so nice and you at least willing to give the Neumann a go, I guess there's no need for me to include my mailing address in this post?

Below is the little monster, correct?



Neumann TLM 170R.webp
 
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witzendoz said:
Hi Bubba,

So you don't get stressed out about the Neumann I think that maybe you should send it to me, I don't mind paying the postage. I can then use it in my studio and do all the worrying for you.

I know I know, it's very kind of me to offer, but it's what I do to help people out.

Cheers
Alan.
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I didn't see your offer, before I offered to take it off his hands. It's funny that both of us were willing to pay shipping charges. Me to USA and you to Australia, neither of which would be terribly cheap. I think that alone would give him the hint that the microphone is worth keeping.
 
I up the shipping charges to shipping charges AND British fish and chips - the staple food of British Music for generations.
 
rob aylestone said:
I up the shipping charges to shipping charges AND British fish and chips - the staple food of British Music for generations.
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Ah, but he's not a musician. He's a voice actor. I hear they require more elite sustenance than what musicians do.:)
 
Steenamaroo said:
Hi there,
Congratulations on your new toy. :)
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it seems to me that you don't give a shit about the technical side of what your working with. If I were you. I'd get in touch with someone who works with vocal sound on a daily basis. Like a studio engineer or radio engineer or really anyone who can record your voice best possible with both mic's. Then this person should play around with the recordings and decide for you which mic is right for you. Both mic's are really great. So if it turns out that the RE-20 suits your voice best, then stick with that. Main thing really, is that your voice sound best as can, but then you also need to be comfortable with it.
Well being you, you should propably just stick with the RE-20! And give the TLM-170 to someone in this forum, anyone would love to have it (pick me!pick me!PICK ME!!!)

All best! - and give me that TLM170, PLEASE!
 
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Any advance on cod,chips, peas and...Two newky browns?

Dave.
 
Hello audio people. Forgive me for not multi-quoting everyone. Seems there's a limit to the number you can, so I've left out the comical ones. All in keeping with the seriousness of audio discussion. It wasn't my intention to drag this thread out. Really, the question has been self-answered. Just feel it impolite not to answer.

FingerzAndKeyz said:
Why is it when someone is given something like a Neumann microphone, they don't need it, want it, and would maybe use it to hold paper down? I know this one is old, but new, they are over $3,000. I was going to say send it to me and I'd even pay shipping but everybody has been so damn nice, that you might even keep it. Oh well, such is life.

I also have an RE20 with the shock mount and love it. It's a very versatile microphone. No hiss in mine. It's got that pop filter in it that allows you to pretty much space yourself at any distance from it and sound great. But, the Neumann is pretty nice, too. With the proper connection and input, that thing will make your voice sound like butter. I assume you do your voice work from home? It's a lot more sensitive than the Electovoice so you might have to quiet down the room some, because the RE20 is more forgiving with that.

EDITED TO ADD: I later noticed that you said you have acoustic panels both front and back, so that will help a lot with any room noise. I also see that you like the microphone. You say it doesn't lose any of "you" which is a good way to explain it. Neumanns are known for their excellent response. That's that butter I was talking about. So, with everybody being so nice and you at least willing to give the Neumann a go, I guess there's no need for me to include my mailing address in this post?

Below is the little monster, correct?



View attachment 103932
Click to expand...

I think the one I have is older. I'm told it has (had) a purple badge, which is no longer there. It also has an attachment for a pop filter. Does anyone know where I can find this specific piece? I was also offered an AKG microphone in the same box, but turned that down. I think it was a shotgun type (don't know the model number), similar to the one the bloke with the long arms uses.

To be honest, I didn't want to believe the TLM could sound better. Looking at the RE20, it's big, a lovely olive green colour, and looks as if no nonsense is getting past the thing - although I must say, it's still a little intimidating. Compare that to what looks like a gnarled lump of misshapen coal. However, once plugged in it was a case of, "That's really good". I thought it would take many days of fiddling with and that I'd be thinking, "If I just turn that like so, I can just about hear an improvement in...". No, it was instantaneous for me, and I don't even claim to have good ears or even know why. So, the ugly mike takes its place. What's the world coming to?


radi0j0hn said:
In an ad by Tony Maserati (know for his "mixes" and gear) he said "If it sounds right, it is right." If you are making a living with no complaints, you can play with it, but don't change much!

Jack Socha (non-musician, audiobook author, talk radio producer since 1980.).
Click to expand...

Yes, I make a point of not reading anything technical. If you knew my family, you'd know it was in the DNA. First thing: whenever receiving/buying anything, throw out the instruction manual. Try it and see. Saves all that stress :p But seriously, point taken, and I'd have to agree with that statement. I don't consider myself a voiceover person, but recently, one thing has led to another.

grydeklar said:
it seems to me that you don't give a shit about the technical side of what your working with. If I were you. I'd get in touch with someone who works with vocal sound on a daily basis. Like a studio engineer or radio engineer or really anyone who can record your voice best possible with both mic's. Then this person should play around with the recordings and decide for you which mic is right for you. Both mic's are really great. So if it turns out that the RE-20 suits your voice best, then stick with that. Main thing really, is that your voice sound best as can, but then you also need to be comfortable with it.
Well being you, you should propably just stick with the RE-20! And give the TLM-170 to someone in this forum, anyone would love to have it (pick me!pick me!PICK ME!!!)

All best! - and give me that TLM170, PLEASE!
Click to expand...

Ha, ha... I'll hang onto it, just in case this ancient looking TLM disintegrates. I do know some serious audio people. problem is, they are just that; too serious. Conversations have ended like this:

Audio person: So, that's it. Alright?

Me: You lost me after the third word

Audio person: But how can you not understand? It not that difficult. Okay, just carry on with what you're doing, I'll fix it at my end

Me: Okay. What about the big fluffy thing on the end?

Audio person: I told you, you don't need the big fluffy thing on the end

Me: But it looks cool

Audio person: [Silence]
 
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