B67/269

(6 Kundenrezensionen)

The Beesneez Pro Audio B67/269 is a large diaphragm U67 style tube condenser microphone. This is not just a faithful re-creation of the legendary Neumann U67, Beesneez have taken it to the next level by adding the later M269. This addition provides modern versatility through selectable voicing options. Designed for engineers, producers, and musicians seeking vintage character with modern versatility.

Wichtigste Merkmale

  • Dual U67 and M269 Tonal Modes
    Offering seamless switching between classic U67 (B67) and M269 voicings—each selectable via internal DIP switches—delivering authentic tonal flexibility.
  • Four Distinct “Old” and “New” Voices
    Each mode includes both “Old” (true to vintage voicing) and “New” (modernized with subtle boosts). In 67 mode, “New” adds air and high mids; in 269 mode, “New” enhances lower mids and air—great for sculpting contemporary warmth.
  • Full Multipattern Capability and Studio Controls
    Choose from nine polar patterns (omni, cardioid, figure-8, and variants), plus built-in pad, high-pass filter, and broadcast filter for maximum recording flexibility.

Was ist im Lieferumfang enthalten?

Why Choose the Beesneez Pro Audio B67/269?

With four voicing options across two vintage modes, multipattern flexibility, and tonal controls, it suits everything from vocals and acoustic instruments to drums, amps, and orchestral work. You get classic warmth or modern “smile-curve” presence in one versatile mic. Complete with plush case, PSU, and mount, it’s an inspiring recording tool built for excellence at a fraction of vintage cost.

Listen to the B67-269

Female Vocals

B67 New Mode

Abbie-B67-New-Mix

Recording artist: Abbie Cardwell

Abbie-B67-New-Solo

Recording artist: Abbie Cardwell

B67 Old Mode

Abbie-B67-269-Old-Solo

Recording artist: Abbie Cardwell

Abbie-B67-Old-Mix

Recording artist: Abbie Cardwell

269 Old Mode

Abbie-B67-269-Old-Solo

Recording artist: Abbie Cardwell

Abbie-B67-269-old-mix

Recording artist: Abbie Cardwell

269 New Mode

Abbie-B67-269-New-Solo

Recording artist: Abbie Cardwell

Abbie-B67-269-New-Mix

Recording artist: Abbie Cardwell

Male Vocals

269 Old Mode

Nino-269-old-Mix

Recording artist: Nino Haggith

269 New Mode

Nino-269-New-Mix

Recording artist: Nino Haggith

67 New Mode

Nino-67-New-Mix

Recording artist: Nino Haggith

67 Old Mode

Nino-67-Old-Mix

Recording artist: Nino Haggith

Specifications for the BeesNeez B67/269 Microphone
Technische Daten Details
Type Large-diaphragm tube condenser microphone — multi-pattern
Kapsel BeesNeez K67 capsule
Rohr NOS tube
Transformer BeesNeez toroidal BV12
Polar patterns Nine selectable patterns — omni to figure-eight
Voicings “Old” vintage and “New” airy/mid-forward voicings in both 67 and 269 modes
Internal switching Broadcast filter, high-pass filter and −10 dB pad — switchable internally
Frequency response Approximately 15 Hz–20 kHz
Empfindlichkeit 24 mV/Pa
Maximum SPL Approximately 117 dB; 127 dB with pad engaged
Self-noise Approximately 28 dB; 17 dB-A
Output impedance Approximately 200 Ω
Recommended load 1 kΩ or higher
Power requirement 115–230 V — suitable for mains supplies from 100 V to 240 V

AUD $2,720.00

Free Delivery

 

BeesNeez U67-style tube condenser microphone
Front view of the BeesNeez U67-style tube condenser microphone
Complete Package. BeesNeez U67-style tube microphone with power supply, shock mount and storage case
B67/269 - Image 4
Front view of the B67-269, U67 Microphone, standing on a studio console.
B67/269 - Image 6

Downloads

User Guide

Frequently Asked Questions

Both the Neumann U67 and the M269 were manufactured to adhere to European broadcasting standards, which meant there were radio transmission bandwidth limitations in place. Hence these microphones were delivered from the factory with a filter in place which effectively rolled off frequencies below 40 Hz and smoothed out the K67 capsule’s natural boost in the low end. This filter was referred to as the S2 bridge, but is also known as the broadcast filter.

This broadcast filter could easily be disconnected by cutting or opening the S2 bridge on the microphone’s circuit. Many producers made this modification, enabling them to unlock the natural, unhindered bass response of the capsule.

On the BeesNeez B67-269, a switch allows you to turn this same broadcast filter on or off, depending on your preference and recording needs.

The U67 was introduced by Neumann in 1960 as a successor-era studio valve condenser designed for the changing needs of modern recording. It used the K67 capsule, an EF86 valve circuit, transformer output, selectable polar patterns, pad, and high-pass filtering. One of its important design ideas was the use of capsule and circuit equalisation to manage the brighter response of the K67-style capsule, producing a microphone that could remain detailed without becoming harsh. The U67 became widely respected for vocals, drums, acoustic instruments, and orchestral work because it combined valve character with a controlled, balanced frequency response. Historically, it represents a sophisticated bridge between early valve microphone design and the more standardised studio practices that followed.

What is the difference between the “Old” and “New” voicing settings?

The B67/269 gives you the choice of four different voicing options: 67 Old, 67 New, 269 Old, and 269 New. These settings allow you to fine-tune the microphone's frequency response and choose between a more vintage-inspired character and a more modern, open presentation.

The “Old” settings are designed to recreate the tonal character associated with earlier U67 and M269 microphones. They provide a smoother, warmer presentation with a more restrained high-frequency response and a strong, natural midrange. These settings can be particularly effective on vocals, acoustic instruments, and sources where a classic, slightly more rounded sound is desired.

The “New” settings retain the fundamental character of the 67 or 269 voicing while introducing additional presence and openness. Depending on the selected 67 or 269 setting, the “New” voicing provides increased high-frequency air, additional upper-mid presence, and changes to the lower-midrange response. This can give the microphone a more modern, detailed, and forward character.

In practical terms:

  • 67 Old — warmer, smoother, and more vintage in character.
  • 67 New — more open and present, with additional high-frequency detail.
  • 269 Old — a smooth, rich, vintage-inspired 269 character.
  • 269 New — a more open and contemporary version of the 269 voicing.

The four settings give you considerable flexibility without changing the microphone itself. A vocal that sounds slightly too bright in one setting may become smoother and more intimate in another, while an acoustic instrument that needs additional clarity and definition may benefit from one of the “New” settings.

We recommend experimenting with all four settings rather than assuming that one setting is universally better than another. The best choice will depend on the vocalist or instrument, the room, the microphone position, and the desired sound in the final recording.

The broadcast filter is a low-frequency filtering circuit designed to reduce unwanted low-frequency energy while retaining the microphone's natural vocal character. It is particularly useful for reducing proximity effect, handling noise, mechanical vibration, and low-frequency rumble that can otherwise make a recording sound unnecessarily thick or muddy.

The filter can be especially useful when the microphone is being used close to a vocalist. Large-diaphragm condenser microphones naturally produce an increase in low-frequency response as the sound source gets closer to the capsule. This proximity effect can be desirable when a warm, intimate vocal sound is wanted, but it can sometimes become excessive.

Engaging the broadcast filter allows you to control some of this additional low-frequency energy at the microphone itself. This can help produce a cleaner, more controlled signal before it reaches the microphone preamp and recording system.

The filter can be particularly useful for:

  • Close-miked vocals — reducing excessive proximity effect and low-frequency buildup.
  • Broadcast and spoken-word applications — helping maintain a clear, controlled voice.
  • Voice-over recording — reducing excessive low-end that can make speech sound boomy.
  • Acoustic instruments — controlling unwanted low-frequency resonance when appropriate.
  • Recordings in less-than-ideal rooms — reducing some low-frequency rumble and environmental noise.

The broadcast filter is not intended to make the microphone sound thin. Instead, it provides another useful tool for controlling the low-frequency response and tailoring the microphone to the source and recording environment.

For vocals, we recommend trying the microphone both with and without the filter engaged. If the voice sounds overly warm, boomy, or lacking definition, the broadcast filter may provide a cleaner and more balanced result. If the source already has a naturally balanced low end, leaving the filter disengaged may be preferable.

BeesNeez U67-style tube condenser microphone
Front view of the BeesNeez U67-style tube condenser microphone
Complete Package. BeesNeez U67-style tube microphone with power supply, shock mount and storage case
B67/269 - Image 4
Front view of the B67-269, U67 Microphone, standing on a studio console.
B67/269 - Image 6

B67/269

(6 Kundenrezensionen)

The Beesneez Pro Audio B67/269 is a large diaphragm U67 style tube condenser microphone. This is not just a faithful re-creation of the legendary Neumann U67, Beesneez have taken it to the next level by adding the later M269. This addition provides modern versatility through selectable voicing options. Designed for engineers, producers, and musicians seeking vintage character with modern versatility.

Wichtigste Merkmale

  • Dual U67 and M269 Tonal Modes
    Offering seamless switching between classic U67 (B67) and M269 voicings—each selectable via internal DIP switches—delivering authentic tonal flexibility.
  • Four Distinct “Old” and “New” Voices
    Each mode includes both “Old” (true to vintage voicing) and “New” (modernized with subtle boosts). In 67 mode, “New” adds air and high mids; in 269 mode, “New” enhances lower mids and air—great for sculpting contemporary warmth.
  • Full Multipattern Capability and Studio Controls
    Choose from nine polar patterns (omni, cardioid, figure-8, and variants), plus built-in pad, high-pass filter, and broadcast filter for maximum recording flexibility.

Was ist im Lieferumfang enthalten?

Why Choose the Beesneez Pro Audio B67/269?

With four voicing options across two vintage modes, multipattern flexibility, and tonal controls, it suits everything from vocals and acoustic instruments to drums, amps, and orchestral work. You get classic warmth or modern “smile-curve” presence in one versatile mic. Complete with plush case, PSU, and mount, it’s an inspiring recording tool built for excellence at a fraction of vintage cost.

Listen to the B67-269

Female Vocals

B67 New Mode

Abbie-B67-New-Mix

Recording artist: Abbie Cardwell

Abbie-B67-New-Solo

Recording artist: Abbie Cardwell

B67 Old Mode

Abbie-B67-269-Old-Solo

Recording artist: Abbie Cardwell

Abbie-B67-Old-Mix

Recording artist: Abbie Cardwell

269 Old Mode

Abbie-B67-269-Old-Solo

Recording artist: Abbie Cardwell

Abbie-B67-269-old-mix

Recording artist: Abbie Cardwell

269 New Mode

Abbie-B67-269-New-Solo

Recording artist: Abbie Cardwell

Abbie-B67-269-New-Mix

Recording artist: Abbie Cardwell

Male Vocals

269 Old Mode

Nino-269-old-Mix

Recording artist: Nino Haggith

269 New Mode

Nino-269-New-Mix

Recording artist: Nino Haggith

67 New Mode

Nino-67-New-Mix

Recording artist: Nino Haggith

67 Old Mode

Nino-67-Old-Mix

Recording artist: Nino Haggith

Specifications for the BeesNeez B67/269 Microphone
Technische Daten Details
Type Large-diaphragm tube condenser microphone — multi-pattern
Kapsel BeesNeez K67 capsule
Rohr NOS tube
Transformer BeesNeez toroidal BV12
Polar patterns Nine selectable patterns — omni to figure-eight
Voicings “Old” vintage and “New” airy/mid-forward voicings in both 67 and 269 modes
Internal switching Broadcast filter, high-pass filter and −10 dB pad — switchable internally
Frequency response Approximately 15 Hz–20 kHz
Empfindlichkeit 24 mV/Pa
Maximum SPL Approximately 117 dB; 127 dB with pad engaged
Self-noise Approximately 28 dB; 17 dB-A
Output impedance Approximately 200 Ω
Recommended load 1 kΩ or higher
Power requirement 115–230 V — suitable for mains supplies from 100 V to 240 V

AUD $2,720.00

Free Delivery

Downloads

User Guide

Frequently Asked Questions

Both the Neumann U67 and the M269 were manufactured to adhere to European broadcasting standards, which meant there were radio transmission bandwidth limitations in place. Hence these microphones were delivered from the factory with a filter in place which effectively rolled off frequencies below 40 Hz and smoothed out the K67 capsule’s natural boost in the low end. This filter was referred to as the S2 bridge, but is also known as the broadcast filter.

This broadcast filter could easily be disconnected by cutting or opening the S2 bridge on the microphone’s circuit. Many producers made this modification, enabling them to unlock the natural, unhindered bass response of the capsule.

On the BeesNeez B67-269, a switch allows you to turn this same broadcast filter on or off, depending on your preference and recording needs.

The U67 was introduced by Neumann in 1960 as a successor-era studio valve condenser designed for the changing needs of modern recording. It used the K67 capsule, an EF86 valve circuit, transformer output, selectable polar patterns, pad, and high-pass filtering. One of its important design ideas was the use of capsule and circuit equalisation to manage the brighter response of the K67-style capsule, producing a microphone that could remain detailed without becoming harsh. The U67 became widely respected for vocals, drums, acoustic instruments, and orchestral work because it combined valve character with a controlled, balanced frequency response. Historically, it represents a sophisticated bridge between early valve microphone design and the more standardised studio practices that followed.

What is the difference between the “Old” and “New” voicing settings?

The B67/269 gives you the choice of four different voicing options: 67 Old, 67 New, 269 Old, and 269 New. These settings allow you to fine-tune the microphone's frequency response and choose between a more vintage-inspired character and a more modern, open presentation.

The “Old” settings are designed to recreate the tonal character associated with earlier U67 and M269 microphones. They provide a smoother, warmer presentation with a more restrained high-frequency response and a strong, natural midrange. These settings can be particularly effective on vocals, acoustic instruments, and sources where a classic, slightly more rounded sound is desired.

The “New” settings retain the fundamental character of the 67 or 269 voicing while introducing additional presence and openness. Depending on the selected 67 or 269 setting, the “New” voicing provides increased high-frequency air, additional upper-mid presence, and changes to the lower-midrange response. This can give the microphone a more modern, detailed, and forward character.

In practical terms:

  • 67 Old — warmer, smoother, and more vintage in character.
  • 67 New — more open and present, with additional high-frequency detail.
  • 269 Old — a smooth, rich, vintage-inspired 269 character.
  • 269 New — a more open and contemporary version of the 269 voicing.

The four settings give you considerable flexibility without changing the microphone itself. A vocal that sounds slightly too bright in one setting may become smoother and more intimate in another, while an acoustic instrument that needs additional clarity and definition may benefit from one of the “New” settings.

We recommend experimenting with all four settings rather than assuming that one setting is universally better than another. The best choice will depend on the vocalist or instrument, the room, the microphone position, and the desired sound in the final recording.

The broadcast filter is a low-frequency filtering circuit designed to reduce unwanted low-frequency energy while retaining the microphone's natural vocal character. It is particularly useful for reducing proximity effect, handling noise, mechanical vibration, and low-frequency rumble that can otherwise make a recording sound unnecessarily thick or muddy.

The filter can be especially useful when the microphone is being used close to a vocalist. Large-diaphragm condenser microphones naturally produce an increase in low-frequency response as the sound source gets closer to the capsule. This proximity effect can be desirable when a warm, intimate vocal sound is wanted, but it can sometimes become excessive.

Engaging the broadcast filter allows you to control some of this additional low-frequency energy at the microphone itself. This can help produce a cleaner, more controlled signal before it reaches the microphone preamp and recording system.

The filter can be particularly useful for:

  • Close-miked vocals — reducing excessive proximity effect and low-frequency buildup.
  • Broadcast and spoken-word applications — helping maintain a clear, controlled voice.
  • Voice-over recording — reducing excessive low-end that can make speech sound boomy.
  • Acoustic instruments — controlling unwanted low-frequency resonance when appropriate.
  • Recordings in less-than-ideal rooms — reducing some low-frequency rumble and environmental noise.

The broadcast filter is not intended to make the microphone sound thin. Instead, it provides another useful tool for controlling the low-frequency response and tailoring the microphone to the source and recording environment.

For vocals, we recommend trying the microphone both with and without the filter engaged. If the voice sounds overly warm, boomy, or lacking definition, the broadcast filter may provide a cleaner and more balanced result. If the source already has a naturally balanced low end, leaving the filter disengaged may be preferable.

 

BeesNeez U67-style tube condenser microphone
Front view of the BeesNeez U67-style tube condenser microphone
Complete Package. BeesNeez U67-style tube microphone with power supply, shock mount and storage case
B67/269 - Image 4
Front view of the B67-269, U67 Microphone, standing on a studio console.
B67/269 - Image 6

B67/269

(6 Kundenrezensionen)

The Beesneez Pro Audio B67/269 is a large diaphragm U67 style tube condenser microphone. This is not just a faithful re-creation of the legendary Neumann U67, Beesneez have taken it to the next level by adding the later M269. This addition provides modern versatility through selectable voicing options. Designed for engineers, producers, and musicians seeking vintage character with modern versatility.

Wichtigste Merkmale

  • Dual U67 and M269 Tonal Modes
    Offering seamless switching between classic U67 (B67) and M269 voicings—each selectable via internal DIP switches—delivering authentic tonal flexibility.
  • Four Distinct “Old” and “New” Voices
    Each mode includes both “Old” (true to vintage voicing) and “New” (modernized with subtle boosts). In 67 mode, “New” adds air and high mids; in 269 mode, “New” enhances lower mids and air—great for sculpting contemporary warmth.
  • Full Multipattern Capability and Studio Controls
    Choose from nine polar patterns (omni, cardioid, figure-8, and variants), plus built-in pad, high-pass filter, and broadcast filter for maximum recording flexibility.

Was ist im Lieferumfang enthalten?

Why Choose the Beesneez Pro Audio B67/269?

With four voicing options across two vintage modes, multipattern flexibility, and tonal controls, it suits everything from vocals and acoustic instruments to drums, amps, and orchestral work. You get classic warmth or modern “smile-curve” presence in one versatile mic. Complete with plush case, PSU, and mount, it’s an inspiring recording tool built for excellence at a fraction of vintage cost.

Listen to the B67-269

Female Vocals

B67 New Mode

Abbie-B67-New-Mix

Recording artist: Abbie Cardwell

Abbie-B67-New-Solo

Recording artist: Abbie Cardwell

B67 Old Mode

Abbie-B67-269-Old-Solo

Recording artist: Abbie Cardwell

Abbie-B67-Old-Mix

Recording artist: Abbie Cardwell

269 Old Mode

Abbie-B67-269-Old-Solo

Recording artist: Abbie Cardwell

Abbie-B67-269-old-mix

Recording artist: Abbie Cardwell

269 New Mode

Abbie-B67-269-New-Solo

Recording artist: Abbie Cardwell

Abbie-B67-269-New-Mix

Recording artist: Abbie Cardwell

Male Vocals

269 Old Mode

Nino-269-old-Mix

Recording artist: Nino Haggith

269 New Mode

Nino-269-New-Mix

Recording artist: Nino Haggith

67 New Mode

Nino-67-New-Mix

Recording artist: Nino Haggith

67 Old Mode

Nino-67-Old-Mix

Recording artist: Nino Haggith

Specifications for the BeesNeez B67/269 Microphone
Technische Daten Details
Type Large-diaphragm tube condenser microphone — multi-pattern
Kapsel BeesNeez K67 capsule
Rohr NOS tube
Transformer BeesNeez toroidal BV12
Polar patterns Nine selectable patterns — omni to figure-eight
Voicings “Old” vintage and “New” airy/mid-forward voicings in both 67 and 269 modes
Internal switching Broadcast filter, high-pass filter and −10 dB pad — switchable internally
Frequency response Approximately 15 Hz–20 kHz
Empfindlichkeit 24 mV/Pa
Maximum SPL Approximately 117 dB; 127 dB with pad engaged
Self-noise Approximately 28 dB; 17 dB-A
Output impedance Approximately 200 Ω
Recommended load 1 kΩ or higher
Power requirement 115–230 V — suitable for mains supplies from 100 V to 240 V

AUD $2,720.00

Free Delivery

Downloads

User Guide

Frequently Asked Questions

Both the Neumann U67 and the M269 were manufactured to adhere to European broadcasting standards, which meant there were radio transmission bandwidth limitations in place. Hence these microphones were delivered from the factory with a filter in place which effectively rolled off frequencies below 40 Hz and smoothed out the K67 capsule’s natural boost in the low end. This filter was referred to as the S2 bridge, but is also known as the broadcast filter.

This broadcast filter could easily be disconnected by cutting or opening the S2 bridge on the microphone’s circuit. Many producers made this modification, enabling them to unlock the natural, unhindered bass response of the capsule.

On the BeesNeez B67-269, a switch allows you to turn this same broadcast filter on or off, depending on your preference and recording needs.

The U67 was introduced by Neumann in 1960 as a successor-era studio valve condenser designed for the changing needs of modern recording. It used the K67 capsule, an EF86 valve circuit, transformer output, selectable polar patterns, pad, and high-pass filtering. One of its important design ideas was the use of capsule and circuit equalisation to manage the brighter response of the K67-style capsule, producing a microphone that could remain detailed without becoming harsh. The U67 became widely respected for vocals, drums, acoustic instruments, and orchestral work because it combined valve character with a controlled, balanced frequency response. Historically, it represents a sophisticated bridge between early valve microphone design and the more standardised studio practices that followed.

What is the difference between the “Old” and “New” voicing settings?

The B67/269 gives you the choice of four different voicing options: 67 Old, 67 New, 269 Old, and 269 New. These settings allow you to fine-tune the microphone's frequency response and choose between a more vintage-inspired character and a more modern, open presentation.

The “Old” settings are designed to recreate the tonal character associated with earlier U67 and M269 microphones. They provide a smoother, warmer presentation with a more restrained high-frequency response and a strong, natural midrange. These settings can be particularly effective on vocals, acoustic instruments, and sources where a classic, slightly more rounded sound is desired.

The “New” settings retain the fundamental character of the 67 or 269 voicing while introducing additional presence and openness. Depending on the selected 67 or 269 setting, the “New” voicing provides increased high-frequency air, additional upper-mid presence, and changes to the lower-midrange response. This can give the microphone a more modern, detailed, and forward character.

In practical terms:

  • 67 Old — warmer, smoother, and more vintage in character.
  • 67 New — more open and present, with additional high-frequency detail.
  • 269 Old — a smooth, rich, vintage-inspired 269 character.
  • 269 New — a more open and contemporary version of the 269 voicing.

The four settings give you considerable flexibility without changing the microphone itself. A vocal that sounds slightly too bright in one setting may become smoother and more intimate in another, while an acoustic instrument that needs additional clarity and definition may benefit from one of the “New” settings.

We recommend experimenting with all four settings rather than assuming that one setting is universally better than another. The best choice will depend on the vocalist or instrument, the room, the microphone position, and the desired sound in the final recording.

The broadcast filter is a low-frequency filtering circuit designed to reduce unwanted low-frequency energy while retaining the microphone's natural vocal character. It is particularly useful for reducing proximity effect, handling noise, mechanical vibration, and low-frequency rumble that can otherwise make a recording sound unnecessarily thick or muddy.

The filter can be especially useful when the microphone is being used close to a vocalist. Large-diaphragm condenser microphones naturally produce an increase in low-frequency response as the sound source gets closer to the capsule. This proximity effect can be desirable when a warm, intimate vocal sound is wanted, but it can sometimes become excessive.

Engaging the broadcast filter allows you to control some of this additional low-frequency energy at the microphone itself. This can help produce a cleaner, more controlled signal before it reaches the microphone preamp and recording system.

The filter can be particularly useful for:

  • Close-miked vocals — reducing excessive proximity effect and low-frequency buildup.
  • Broadcast and spoken-word applications — helping maintain a clear, controlled voice.
  • Voice-over recording — reducing excessive low-end that can make speech sound boomy.
  • Acoustic instruments — controlling unwanted low-frequency resonance when appropriate.
  • Recordings in less-than-ideal rooms — reducing some low-frequency rumble and environmental noise.

The broadcast filter is not intended to make the microphone sound thin. Instead, it provides another useful tool for controlling the low-frequency response and tailoring the microphone to the source and recording environment.

For vocals, we recommend trying the microphone both with and without the filter engaged. If the voice sounds overly warm, boomy, or lacking definition, the broadcast filter may provide a cleaner and more balanced result. If the source already has a naturally balanced low end, leaving the filter disengaged may be preferable.

 

Videorezensionen

Beispiele

Listen to this sample of “Jolene” recorded with a BeesNeez B67-269.

6 reviews for B67/269

  1. james fillmore –

    This mic has exceeded my expectations, It has instantly become my go to mic for acoustic guitar, piano and drum overhead. I have a moderate size mic locker, with quite a few high end ribbon mics and a few other tube condensers. This mic blew them all out of the water for what i have been searching for. Paired with my BAE 1073 style pre, it gave me the sound i want for acoustic guitar and drum overhead. The sound is instantly familiar to so many of my favorite recordings, detailed but not harsh, and possessing a bit of magic that no other mic i’ve tried has. For the price this represents an outstanding value as it will be used constantly, and is a true workhorse mic. As a vocal mic, it will depend on the singer and your taste, if its a go to or not. The only negative i have found is that you will likely want a second one very shortly after purchasing your first one. If you are considering a U67 type mic don’t hesitate, this one delivers the goods at a very reasonable price. I plan on purchasing more from BeesNeez in the near future for sure!

  2. Joe B –

    Recently picked this one up and I am ever so glad I did! I have always wanted to have a U67 in my stable but the originals are way out of reach and the other variations on the theme that I have heard were not very impressive to me. This mic punches WAY above its price point, not to mention it’s much more versatile than a classic 67. Ben and crew nailed it out of the park with this one. Run don’t walk to the Add to Cart button.

  3. Joel Goodman –

    I bought a pair of B67’s just before NAMM 2026. LOVE these mics!! I bought them mainly to record my grand piano. So far I’ve also used it on acoustic bass and foresee using these mics on many other acoustic instruments & vocals. Great to meet you at NAMM and thanks for telling me about the internal dip switches. More fun to come :)

  4. Ward Pike –

    Dies könnte durchaus das Mikrofon mit dem typischsten Neumann-Sound seit 1964 sein. Die Qualität jedes Modus ist atemberaubend. Die Genauigkeit ist umwerfend. Die Vielseitigkeit ist unvergleichlich.
    Das BN67/269 Mark 2 könnte durchaus das einzige Mikrofon sein, das Sie jemals brauchen werden.

  5. Aaron –

    Nun, meine Träume scheinen wahr geworden zu sein. Ich wollte den Klang, oder zumindest in diesem Bereich eines u67. Niemand schien in der Lage zu sein, es zu tun oder sich die Mühe zu machen, es zu versuchen, aus welchem Grund auch immer. Ich hatte ein paar Mikrofone, die dem u67 ähnlich sein sollten. Eines kostete um die $2000 USD und war nur ok. Der Schaltkreis war überhaupt nicht derselbe und die Kapsel war wahrscheinlich nur durchschnittlich. Das andere Mikrofon war tatsächlich großartig, aber weder die Schaltung noch der Klang des u67 waren wirklich gleich. Es hatte gewisse ähnliche Qualitäten, aber es war entschieden anders. Nachdem ich das Video von Josh Seawell über das BN b67-269 gesehen und Berichte von Leuten, denen ich vertraute, aus erster Hand gehört hatte, beschloss ich, während des Jahresendverkaufs eines zu bestellen. Sobald ich ihn anschloss, war ich schockiert. Da war dieser wunderbare Mittenbereich, glatte Höhen und nicht so dröhnende Bässe. Man kann ziemlich nah an dieses Mikrofon herankommen, bevor Knackgeräusche zu einem echten Problem werden. Mit High-End-Digitalwandlern und modernen Ketten, die oft so etwas wie "Mikrofon>Vorverstärker>Wandler" sind, kann man sehr helle und ungehemmte Sounds erzielen. Das ist manchmal wunderbar, aber oft auch nicht. Ich denke, das ist der Grund für die moderne Explosion von Bändchenmikrofonen, die wir heute erleben. Tamburine, Shaker, Trommeln, alle Arten von Quellen wie diese können mit einem Kondensator tatsächlich schmerzhaft sein, besonders die modernen hellen. Ich habe das b67-269 aufgestellt und Vibraslap, Tamburin, Shaker usw. ausprobiert, und es frisst die Härte einfach auf und liefert einen schönen, leicht gesättigten Klang. Großartig! Es klingt wunderbar auf meiner Stimme, unglaublich auf meiner Ukulele, akustischen Gitarren und hat einen sehr einzigartigen Sound auf Gitarrenboxen. Ich war so verblüfft über den Wert und den Klang, dass ich sofort ein zweites Exemplar gekauft habe. Er sieht auch noch toll aus. Das Netzteil ist ein Panzer. Das Mikrofon ist ziemlich sauber und einfach im Inneren mit einem modernen PCB-Setup und einem schönen großen Ringkerntransformator. Die Kapsel muss perfekt verarbeitet sein, denn dieses Mikrofon klingt so gut wie kein anderes, das ich bisher gehört habe. Es hat auch eine Reihe von DIP-Schaltern im Inneren, so dass Sie mehrere Modi, 269 eingeschlossen, erhalten. Vielen Dank, Beesneez, dass du diesen klassischen Sound für uns "normale" Jungs und Mädels erschwinglich gemacht hast.

  6. Brian Tochilin –

    Ich habe ein Paar davon gekauft. Ich verwende sie im Moment als Schlagzeug-Overheads. Sie klingen unwirklich auf OHs. Die Becken kommen durch, sind aber überhaupt nicht harsch. Die Kick und die Snare kommen auch sehr gut durch, da sie im Vordergrund stehen und nicht zu weit im Hintergrund. Perfekte Ausgangsbasis für OHs. Man kann den Rest des Mixes mit den Spotmikros (Kick/Snare/Toms usw.) leicht um sie herum aufbauen. Ich habe auch eines an einer Gitarrenbox ausprobiert. Meine üblichen Mikrofone für Gitarrenboxen sind ein 57er und ein Royer 121 in der Mitte des Konus. Ich habe sie an einem 2. Lautsprecher der Box angebracht. Ich versuchte es mit 12 Zoll, dann mit 6 Zoll und kam auf 3 Zoll und mochte diesen Sound wirklich. Die 57/121-Kombination hatte einen 3k-Boost drin. Der 67er war in diesem Bereich runder. Vielleicht fühlte er sich ein wenig weiter hinten an als der 57/121 Combo, den ich gewohnt bin, aber er hatte einen wunderbaren Sound. Ich habe alle drei gemischt und der Ton war großartig. Ich bin sicher, ich hätte auch alle 67 nehmen können und es wäre gut gewesen, aber ich wollte alles einfangen, um sicher zu sein. Ich habe sie noch nicht mit etwas anderem ausprobiert. Ich möchte sie mit Gesang, Akustik und Schlagzeug ausprobieren. Ich möchte jetzt einen 3. kaufen. Ich möchte nur, dass diese Dinger auf meinen Drum-OHs und Gitarrenkabine leben. Für den Preis kann man gar nichts falsch machen. A++. Wünschte, die Shockmount wurde besser gemacht, und sie hatten Neutrik/Magomi Kabel, aber was auch immer nicht Auswirkungen auf den Klang überhaupt.

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