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Neumann M 50 V Omnidirectional Tube Microphone Set
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Your Price: $16,875.00 CDN
or from $780 CDN/mo
Description
Legendary Design
Developed in close cooperation with Nordwestdeutscher Rundfunk (Northwest German Broadcasting), the M 50 was the counterpart to the no less legendary M 49. While the latter was a high-quality all-purpose microphone for varying acoustic environments, the M 50 was designed as the ultimate pressure transducer microphone for use in concert halls and dedicated recording spaces.
In practice, this meant that the M 50 was mainly used for recording orchestras, e.g. as the main pickup in various spaced omni configurations. In the 1950s, when the record label Decca experimented with stereo miking techniques, various setups, microphones, and pickup patterns were tried. In the end, the Neumann M 50 was selected as the perfect fit for what is now known as the Decca Tree configuration, i.e. three microphones mounted in a triangle with the outer microphones facing outward. To this day, a Decca Tree setup, often extended with additional outriggers, using Neumann M 50 microphones remains the prime choice for experienced engineers in classical music and film scores. The vivid imaging of this setup in combination with the M 50's outstanding resolution produces unparalleled results. Today, extended versions of this technique are being used for surround and immersive recordings. Of course, the M 50 has also produced excellent results in other applications, e.g. piano recordings or as a spot mic for string sections and soloists. In pop contexts, the M 50 has been used for miking ensembles or brass sections and as a room microphone, e.g. on drums.
Unique Properties
Finally, the legend is available again! The much-anticipated M 50 V is a reissue of the last revision of the 1960s, the M 50 c. Over the years, the M 50 was continuously improved: the originally installed Hiller tube MSC2 was replaced by the Telefunken tube AC701 and then the AC701k. This and other circuit changes improved the signal-to-noise ratio, dynamic range, and immunity to interference. In parallel, a broadcast version, the M 250, was issued with an RF-proof connector.
The M 50 V is a faithful reissue of the historical M 50 microphones produced by Neumann from 1951 to 1971. It uses the same acoustical concept with a small diaphragm omni capsule, flush mounted in a 40 mm acrylic sphere. This design produces a unique polar pattern, which is omnidirectional at lower frequencies and becomes gradually more directional above 1000 Hz. At the same time, the frequency response shows a smooth rise towards higher frequencies, compensating treble loss in the diffuse field and giving the microphone more reach. Being a true pressure transducer, the M 50 has a powerful bass response down to subsonic frequencies, without proximity effect. At the same time, its increasing directivity at higher frequencies offers optimal imaging in stereo, surround, and immersive configurations.
Over the production period of the historical M 50, several capsule types were employed, using different membrane materials. The M 50 V uses an improved version of what is considered the most desirable capsule type, the K 53 with an ultra-thin metal diaphragm, famous for its extremely fast and accurate transient response. The K 33 Ti in the M 50 V uses the same capsule acoustics as the coveted K 53 but with a metal diaphragm made of titanium. Being a lightweight yet rigid material, titanium is an ideal material for metal diaphragms, contributing to the outstanding transient response of the M 50 V. Additionally, titanium offers excellent long-term stability. In fact, the entire K 33 Ti capsule including its backplate and housing is made of titanium, which yields ideal matching regarding mechanical and temperature stability.
The M 50 V uses the same circuit as the M 50 c, but with an even lower noise subminiature tube. This tube has already proven its exquisite sonic qualities in the M 49 V, where it is used in an almost identical circuit. As radio frequency interference has increased dramatically in recent years, due to mobile phone networks and Wi-Fi, the RF-proof connector has been adopted from the M 250.
The included NM V power supply is designed to automatically provide the optimal heater voltage for both the M 50 V and any historical M 50; it also automatically adapts to the local mains voltage. Since the same NM V power supply is used for the M 49 V, it includes a pattern control, which of course is of no consequence for the M 50 V with its fixed omni capsule. This power supply can also be used for all historical Neumann microphones using a Telefunken AC701 tube.
Additionally, the M 50 V Set includes the iconic yoke mount, whose flexible positioning has contributed to the M 50's popularity. As an improvement over the historic yoke mount, the new version has been supplemented with elements for mechanical decoupling of the microphone as well as a cable holder to suppress cable-related structure-borne noise. The M 50 V set is delivered in a high-quality case, which, like the entire microphone, is handmade in Germany.
• Prime choice for orchestral recordings, especially Decca Tree
• Made to original specifications using archived documentation
• New power supply automatically adapts to mains voltage
• Handmade and hand soldered in Germany
- Directional pattern: Omni
- Frequency range: 20 Hz - 16 kHz
- Sensitivity at 1 kHz into 1 kohm: 19 mV/Pa -34.5 dBV + 1 dB
- Rated impedance: 200 ohms
- Rated load impedance: 1000 ohms
- Signal-to-noise ratio, A-weighted (re. 94 dB SPL): 79 dB
- Equivalent noise level, A-weighted: 15 dB-A
- Maximum SPL for THD 0.5%: 118 dB SPL
- Signal-to-noise ratio, CCIR (re. 94 dB SPL): 67 dB
- Equivalent noise level, CCIR: 27 dB
- Maximum output voltage: -8 dBu
- Power supply: NM V
- Required connectors/Microphone: KC 5 cable (7-pin)
- Required connectors/Power supply unit - output: XLR 3 F
- Weight: 800 g
- Diameter: 80 mm
- Length: 163 mm
Developed in close cooperation with Nordwestdeutscher Rundfunk (Northwest German Broadcasting), the M 50 was the counterpart to the no less legendary M 49. While the latter was a high-quality all-purpose microphone for varying acoustic environments, the M 50 was designed as the ultimate pressure transducer microphone for use in concert halls and dedicated recording spaces.
In practice, this meant that the M 50 was mainly used for recording orchestras, e.g. as the main pickup in various spaced omni configurations. In the 1950s, when the record label Decca experimented with stereo miking techniques, various setups, microphones, and pickup patterns were tried. In the end, the Neumann M 50 was selected as the perfect fit for what is now known as the Decca Tree configuration, i.e. three microphones mounted in a triangle with the outer microphones facing outward. To this day, a Decca Tree setup, often extended with additional outriggers, using Neumann M 50 microphones remains the prime choice for experienced engineers in classical music and film scores. The vivid imaging of this setup in combination with the M 50's outstanding resolution produces unparalleled results. Today, extended versions of this technique are being used for surround and immersive recordings. Of course, the M 50 has also produced excellent results in other applications, e.g. piano recordings or as a spot mic for string sections and soloists. In pop contexts, the M 50 has been used for miking ensembles or brass sections and as a room microphone, e.g. on drums.
Unique Properties
Finally, the legend is available again! The much-anticipated M 50 V is a reissue of the last revision of the 1960s, the M 50 c. Over the years, the M 50 was continuously improved: the originally installed Hiller tube MSC2 was replaced by the Telefunken tube AC701 and then the AC701k. This and other circuit changes improved the signal-to-noise ratio, dynamic range, and immunity to interference. In parallel, a broadcast version, the M 250, was issued with an RF-proof connector.
The M 50 V is a faithful reissue of the historical M 50 microphones produced by Neumann from 1951 to 1971. It uses the same acoustical concept with a small diaphragm omni capsule, flush mounted in a 40 mm acrylic sphere. This design produces a unique polar pattern, which is omnidirectional at lower frequencies and becomes gradually more directional above 1000 Hz. At the same time, the frequency response shows a smooth rise towards higher frequencies, compensating treble loss in the diffuse field and giving the microphone more reach. Being a true pressure transducer, the M 50 has a powerful bass response down to subsonic frequencies, without proximity effect. At the same time, its increasing directivity at higher frequencies offers optimal imaging in stereo, surround, and immersive configurations.
Over the production period of the historical M 50, several capsule types were employed, using different membrane materials. The M 50 V uses an improved version of what is considered the most desirable capsule type, the K 53 with an ultra-thin metal diaphragm, famous for its extremely fast and accurate transient response. The K 33 Ti in the M 50 V uses the same capsule acoustics as the coveted K 53 but with a metal diaphragm made of titanium. Being a lightweight yet rigid material, titanium is an ideal material for metal diaphragms, contributing to the outstanding transient response of the M 50 V. Additionally, titanium offers excellent long-term stability. In fact, the entire K 33 Ti capsule including its backplate and housing is made of titanium, which yields ideal matching regarding mechanical and temperature stability.
The M 50 V uses the same circuit as the M 50 c, but with an even lower noise subminiature tube. This tube has already proven its exquisite sonic qualities in the M 49 V, where it is used in an almost identical circuit. As radio frequency interference has increased dramatically in recent years, due to mobile phone networks and Wi-Fi, the RF-proof connector has been adopted from the M 250.
The included NM V power supply is designed to automatically provide the optimal heater voltage for both the M 50 V and any historical M 50; it also automatically adapts to the local mains voltage. Since the same NM V power supply is used for the M 49 V, it includes a pattern control, which of course is of no consequence for the M 50 V with its fixed omni capsule. This power supply can also be used for all historical Neumann microphones using a Telefunken AC701 tube.
Additionally, the M 50 V Set includes the iconic yoke mount, whose flexible positioning has contributed to the M 50's popularity. As an improvement over the historic yoke mount, the new version has been supplemented with elements for mechanical decoupling of the microphone as well as a cable holder to suppress cable-related structure-borne noise. The M 50 V set is delivered in a high-quality case, which, like the entire microphone, is handmade in Germany.
Features
• Reissue of the legendary M 50 with detail improvements• Prime choice for orchestral recordings, especially Decca Tree
• Made to original specifications using archived documentation
• New power supply automatically adapts to mains voltage
• Handmade and hand soldered in Germany
Specifications
- Acoustical operating principle: Pressure transducer- Directional pattern: Omni
- Frequency range: 20 Hz - 16 kHz
- Sensitivity at 1 kHz into 1 kohm: 19 mV/Pa -34.5 dBV + 1 dB
- Rated impedance: 200 ohms
- Rated load impedance: 1000 ohms
- Signal-to-noise ratio, A-weighted (re. 94 dB SPL): 79 dB
- Equivalent noise level, A-weighted: 15 dB-A
- Maximum SPL for THD 0.5%: 118 dB SPL
- Signal-to-noise ratio, CCIR (re. 94 dB SPL): 67 dB
- Equivalent noise level, CCIR: 27 dB
- Maximum output voltage: -8 dBu
- Power supply: NM V
- Required connectors/Microphone: KC 5 cable (7-pin)
- Required connectors/Power supply unit - output: XLR 3 F
- Weight: 800 g
- Diameter: 80 mm
- Length: 163 mm
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| Product | SKU | Qty |
|---|---|---|
| M 50 V Omnidirectional Tube Microphone Set | 836412 |
