B67/269

(6 avis de clients)

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.

Caractéristiques principales

  • 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.
  • Quatre sonorités distinctes « Old » et « New »
    Chaque mode propose à la fois une option « Old » (fidèle à la sonorité vintage) et une option « New » (modernisée avec de subtiles accentuations). En mode 67, l’option « New » ajoute de la brillance et des médiums aigus ; en mode 269, elle met en valeur les médiums graves et la brillance, ce qui est idéal pour créer une chaleur sonore contemporaine.
  • Fonctionnalités multipolaires complètes et commandes de studio
    Choisissez parmi neuf directivités (omnidirectionnelle, cardioïde, en 8 et leurs variantes), ainsi qu'un atténuateur intégré, un filtre passe-haut et un filtre de diffusion pour une flexibilité d'enregistrement maximale.

Qu'est-ce qui est inclus ?

Pourquoi choisir le Beesneez Pro Audio B67/269 ?

Avec quatre options de prise de son réparties sur deux modes vintage, une grande flexibilité grâce à ses multiples configurations et des commandes de tonalité, il s'adapte à tout, du chant et des instruments acoustiques à la batterie, en passant par les amplis et les enregistrements orchestraux. Vous bénéficiez à la fois d'une chaleur classique et d'une présence moderne de type « smile-curve » dans un seul micro polyvalent. Livré avec un étui rembourré, un bloc d'alimentation et une fixation, c'est un outil d'enregistrement inspirant, conçu pour l'excellence, à un prix bien inférieur à celui d'un modèle vintage.

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
Specification Détails
Type Large-diaphragm tube condenser microphone — multi-pattern
Capsule BeesNeez K67 capsule
Tube 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
Sensibilité 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

Téléchargements

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 avis de clients)

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.

Caractéristiques principales

  • 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.
  • Quatre sonorités distinctes « Old » et « New »
    Chaque mode propose à la fois une option « Old » (fidèle à la sonorité vintage) et une option « New » (modernisée avec de subtiles accentuations). En mode 67, l’option « New » ajoute de la brillance et des médiums aigus ; en mode 269, elle met en valeur les médiums graves et la brillance, ce qui est idéal pour créer une chaleur sonore contemporaine.
  • Fonctionnalités multipolaires complètes et commandes de studio
    Choisissez parmi neuf directivités (omnidirectionnelle, cardioïde, en 8 et leurs variantes), ainsi qu'un atténuateur intégré, un filtre passe-haut et un filtre de diffusion pour une flexibilité d'enregistrement maximale.

Qu'est-ce qui est inclus ?

Pourquoi choisir le Beesneez Pro Audio B67/269 ?

Avec quatre options de prise de son réparties sur deux modes vintage, une grande flexibilité grâce à ses multiples configurations et des commandes de tonalité, il s'adapte à tout, du chant et des instruments acoustiques à la batterie, en passant par les amplis et les enregistrements orchestraux. Vous bénéficiez à la fois d'une chaleur classique et d'une présence moderne de type « smile-curve » dans un seul micro polyvalent. Livré avec un étui rembourré, un bloc d'alimentation et une fixation, c'est un outil d'enregistrement inspirant, conçu pour l'excellence, à un prix bien inférieur à celui d'un modèle vintage.

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
Specification Détails
Type Large-diaphragm tube condenser microphone — multi-pattern
Capsule BeesNeez K67 capsule
Tube 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
Sensibilité 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

Téléchargements

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 avis de clients)

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.

Caractéristiques principales

  • 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.
  • Quatre sonorités distinctes « Old » et « New »
    Chaque mode propose à la fois une option « Old » (fidèle à la sonorité vintage) et une option « New » (modernisée avec de subtiles accentuations). En mode 67, l’option « New » ajoute de la brillance et des médiums aigus ; en mode 269, elle met en valeur les médiums graves et la brillance, ce qui est idéal pour créer une chaleur sonore contemporaine.
  • Fonctionnalités multipolaires complètes et commandes de studio
    Choisissez parmi neuf directivités (omnidirectionnelle, cardioïde, en 8 et leurs variantes), ainsi qu'un atténuateur intégré, un filtre passe-haut et un filtre de diffusion pour une flexibilité d'enregistrement maximale.

Qu'est-ce qui est inclus ?

Pourquoi choisir le Beesneez Pro Audio B67/269 ?

Avec quatre options de prise de son réparties sur deux modes vintage, une grande flexibilité grâce à ses multiples configurations et des commandes de tonalité, il s'adapte à tout, du chant et des instruments acoustiques à la batterie, en passant par les amplis et les enregistrements orchestraux. Vous bénéficiez à la fois d'une chaleur classique et d'une présence moderne de type « smile-curve » dans un seul micro polyvalent. Livré avec un étui rembourré, un bloc d'alimentation et une fixation, c'est un outil d'enregistrement inspirant, conçu pour l'excellence, à un prix bien inférieur à celui d'un modèle vintage.

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
Specification Détails
Type Large-diaphragm tube condenser microphone — multi-pattern
Capsule BeesNeez K67 capsule
Tube 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
Sensibilité 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

Téléchargements

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.

 

Critiques vidéo

Exemples

Écoutez cet extrait de « Jolene », enregistré avec un 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 –

    Je viens de l'acheter et je suis vraiment ravi de l'avoir fait ! J'ai toujours rêvé d'avoir un U67 dans ma collection, mais les modèles originaux sont bien trop chers et les autres variantes que j'ai pu entendre ne m'ont pas vraiment impressionné. Ce micro est BIEN au-dessus de sa gamme de prix, sans parler du fait qu'il est bien plus polyvalent qu'un 67 classique. Ben et son équipe ont vraiment frappé fort avec celui-là. Cours, ne marche pas, vers le bouton « Ajouter au panier ».

  3. Joel Goodman –

    J'ai acheté une paire de B67 juste avant le NAMM 2026. J'ADORE ces micros !! Je les ai achetés principalement pour enregistrer mon piano à queue. Jusqu'à présent, je les ai aussi utilisés sur une basse acoustique et je prévois de les utiliser sur de nombreux autres instruments acoustiques et pour le chant. C'était un plaisir de vous rencontrer au NAMM et merci de m'avoir parlé des commutateurs DIP internes. Encore plus de plaisir en perspective :)

  4. Ward Pike –

    Il s'agit sans doute du microphone le plus fidèle au son Neumann depuis 1964. La qualité de chaque mode est époustouflante. Sa précision est stupéfiante. Son utilité est incomparable.
    Le BN67/269 mark 2 pourrait bien être le seul microphone dont vous aurez besoin.

  5. Aaron –

    Eh bien, mes rêves semblent s'être réalisés. Je voulais le son, ou au moins dans ce domaine, d'un u67. Personne ne semblait pouvoir le faire ou se donner la peine d'essayer pour une raison ou une autre. J'avais quelques micros qui étaient supposés être dans la veine du u67. L'un d'entre eux coûtait environ 2 000 dollars et était tout à fait correct. Le circuit n'était pas du tout le même et la capsule était probablement moyenne. L'autre micro était en fait excellent, mais n'avait pas vraiment le même circuit ni le même son que le u67. Il avait certaines qualités similaires, mais il était résolument différent. Après avoir vu la vidéo de Josh Seawell sur le BN b67-269 et entendu des témoignages de personnes de confiance, j'ai décidé d'en commander un pendant les soldes de fin d'année. Dès que je l'ai branché, j'ai été choqué. Il y avait ce merveilleux médium, un haut de gamme doux et un bas de gamme pas trop boomy. On peut s'approcher assez près de ce micro avant que les pops ne deviennent un vrai problème. Avec les convertisseurs numériques haut de gamme et les chaînes modernes qui sont souvent du type "microphone>préampli>convertisseurs", vous pouvez obtenir des sons très brillants et sans inhibition. C'est parfois merveilleux, mais souvent ce n'est pas le cas. Je pense que c'est ce qui a donné lieu à une grande partie de l'explosion moderne des micros à ruban que nous voyons aujourd'hui. Les tambourins, les shakers, les tambours, toutes sortes de sources de ce type peuvent en fait être douloureuses avec un condensateur, en particulier les condensateurs modernes brillants. J'ai installé le b67-269 et j'ai essayé le vibraslap, le tambourin, le shaker, etc. et il dévore la dureté et produit un son magnifique, légèrement saturé. Magnifique ! Il sonne très bien sur ma voix, il est incroyable sur mon Ukulele, sur les guitares acoustiques et il a un son très unique sur les cabines de guitares. J'ai été tellement stupéfait par la valeur et le son que j'en ai acheté un deuxième immédiatement. Il est également très beau. L'alimentation est un véritable réservoir. Le micro est assez propre et simple à l'intérieur avec un circuit imprimé moderne et un bon gros transformateur toroïdal. La capsule doit être parfaitement fabriquée car ce micro sonne aussi bien que tout ce que j'ai entendu jusqu'à présent. Il a également un ensemble de commutateurs DIP à l'intérieur, ce qui vous permet d'avoir plusieurs modes, 269 inclus. Merci, Beesneez, d'avoir rendu ce son classique abordable pour nous, les gars et les filles "normaux".

  6. Brian Tochilin –

    J'en ai acheté une paire. Je les utilise en ce moment comme overheads de batterie. Elles ont un son irréel sur les OH. Les cymbales sont bien visibles mais ne sont pas du tout dures. Le kick et la caisse claire sont également très bien restitués, en étant en avant et pas trop en arrière-plan. Un point de départ parfait pour les OH. Vous pouvez facilement construire le reste de votre mix autour d'eux avec les micros d'appoint (kick/snare/toms, etc.). J'en ai également essayé un sur une cabine de guitare. Mes micros habituels sont un 57 et un Royer 121 au centre du cône. J'ai ajouté ces micros à un deuxième haut-parleur sur le baffle. J'ai essayé environ 12 pouces, puis 6 et je suis arrivé à 3 pouces et j'ai vraiment aimé ce son. Le combo 57/121 avait un boost de 3k. Le 67 était plus rond dans cette zone. Je me sentais peut-être un peu plus en arrière que le combo 57/121 auquel je suis habitué, mais il avait un son merveilleux. J'ai mélangé les trois et le son était excellent. Je suis sûr que j'aurais pu utiliser le 67 et que le son aurait été parfait, mais je voulais tout capturer pour être sûr. Je ne les ai pas encore essayées sur autre chose. Je veux les essayer sur les voix, l'acoustique et les percussions. Je veux en acheter un troisième maintenant. Je veux juste que ces choses vivent sur mes OH de batterie et mon cab de guitare. Pour le prix, vous ne pouvez pas vous tromper. A++. J'aurais aimé que le shockmount soit mieux fait et qu'il y ait un câble Neutrik/Magomi, mais cela n'affecte pas du tout le son.

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