The Neumann TLM 102 is a cardioid condenser microphone that is big on performance yet sports a light and compact body. It is built around a cardoid condenser and no-transformer solid-state electronics. The smaller housing means in can be placed in tight spots in the recording studio so you can definitely place it between drum cymbals or inside your piano. The mic comes in the traditional Neumann matte-nickel or in a black finish.
How does it fare with instruments? On a baritone saxophone the character of the sound is leaning towards bass sometimes. The leakage from the microphone’s back was uncolored, which is actually a good thing in situations using mutiple microphones. The model seems to work better on higher reeds. When used with the piccolo, clarinet and soprano sax gave off a hint of brightness and the open cardoid pattern complemented the soprano saxophone well. When tested on floor tom, the mic gave off a good balance of transient attack and low-end punch. It was able to capture sharp and clear transient sounds when applied to a variety of percussions. The sound of the mic when used on an acoustic guitar produced a good balance of highs and lows about a foot away.
The Neumann probably excels most on electric quitar amps as it gives off an uncompromising in-your-face quality of sound. You will also appreciate its low-end response when applied to electric bass amps. Its sound on vocals is detailed and crisp, though it could use a little richness in the low-end. Although Neumann is forever finding ways to come up with affordable large-diaphragm condenser microphones, the TLM 102 is not one of them.
Author: Todd Johnson
Email: Todd@australianwebsitedevelopment.com.au
Mobile: 0449 041 815
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