Neumann M149

I'm an amatuer recording enthusiast with scattered experience, off and on, since the 1960s when I was given a Sony stereo 1/4" tape deck, to the early 1970s when I acquired a TASCAM 4-track, through some commercial studio experience as an arranger in the late 1970s and 80s, until the late 1990s when I began my own project studio in conjunction with an academic institution where I have worked for over 12 years. At the time of this writing, my primary mediums are ProTools HD and a TASCAM MX2424 for remote recording. Mic preamps include a DW Fearn VT-2, Great River MP1-NV, Demeter H series, True Precision 8, tc electronic Gold Channel. Main monitors are Dynaudio BM15a with BM30 sub and a Grace Design m904 DAC/controller. I've recorded a variety of styles of music from classical and jazz to rock and hip-hop, and have no commercially-released recordings as yet.

The Neumann M149 is a multi-pattern large diaphragm tube condenser microphone suitable for general studio use in a wide variety of near and diffuse field applications. It has a very high output, and low output impedance, which may be problematic for some preamps when recording loud sources. Though the Fearn preamp, for instance, works exceptionally well with the M149 on most soft to medium sources, it tends to overdrive easily with louder ones, and so a different preamp--such as the Great River NV--is often preferable in such cases. The M149 produces a clean, clear, open response to all sources, and itself can handle high SPLs without overloading (I've used it outside a kick drum with good results, for example). Having varying degrees of high frequency boost (depending on the pattern), the microphone is on the bright side, though never cheap or metallic sounding. I've encountered sibilant problems with some vocalists and narrators due to the mic's lift at around 6kHz, and high sensitivity at close proximity, though this is rarely a problem, and is usually an advantage, at greater distances. Again, choice of preamp can make a huge difference in this regard. Conversely, the common bass lift that results at close proximity can often be used effectively, and without the muddiness typical of some other large diaphragm microphones. Its distinct and powerful low frequency response makes the mic particularly useful for recording bass instruments and low voices, and a variable internal high pass filter works well without contributing noticeable distortion.

I bought a pair of these microphones for use with the Fearn preamp in particular because of the large, detailed sound this combination often yields. I've since discovered other preamps that work as well, or better, with this microphone in certain circumstances, but this combination remains my favorite for an open, sweet (as opposed to aggressive) sound. Acoustic guitar, piano, orchestra, solo strings, string sections, drum overheads, voices, tam-tam--just about everything records with that "larger than life" illusion that good Neumanns are known for. The high frequency response ranges clearly out to the limits of audibility while remaining smooth, except on exceptionally bright sources, as mentioned. Bass reponse is huge and thunderous without losing definition. I have never heard better pickup of off-axis sound, especially room ambience, in a large diaphragm microphone, especially when used with the Fearn preamp.

It is not a "vintage" sounding microphone, and does not sound like "a tube microphone" to engineers who regularly use older Neumanns, such as the U47, have noted. Though its "smooth", (not harsh) it isn't particularly "warm" and fuzzy. It's clear and smooth, and even too bright for some sources, in my experience. Though it may not be the best bang for the buck, and is certainly not aimed at the average home studio budget, the M149 is a very versatile, high-quality mic certainly worth considering for general use in a professional studio or classical location recording.