B67/269

(6件のカスタマーレビュー)

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.

主な機能

  • 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.

内容物

なぜBeesneez Pro Audio B67/269を選ぶべきなのか？

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
仕様 詳細
Type Large-diaphragm tube condenser microphone — multi-pattern
カプセル BeesNeez K67 capsule
チューブ 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
感度 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

ダウンロード

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件のカスタマーレビュー)

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.

主な機能

  • 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.

内容物

なぜBeesneez Pro Audio B67/269を選ぶべきなのか？

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
仕様 詳細
Type Large-diaphragm tube condenser microphone — multi-pattern
カプセル BeesNeez K67 capsule
チューブ 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
感度 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

ダウンロード

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件のカスタマーレビュー)

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.

主な機能

  • 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.

内容物

なぜBeesneez Pro Audio B67/269を選ぶべきなのか？

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
仕様 詳細
Type Large-diaphragm tube condenser microphone — multi-pattern
カプセル BeesNeez K67 capsule
チューブ 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
感度 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

ダウンロード

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.

 

動画レビュー

サンプル

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. ワード・パイク –

    これは1964年以来、最もノイマンらしいサウンドを実現したマイクと言えるだろう。 各モードの品質は息をのむほどだ。 その正確さは驚異的である。 実用性は比類がない。
    BN67/269 マーク2は、おそらくあなたが必要とする唯一のマイクとなるだろう。

  5. アーロン –

    私の夢が叶ったようだ。少なくともu67のようなサウンドが欲しかったんだ。なぜか誰もそれができなかったし、やろうともしなかった。u67の流れを汲むと思われるマイクをいくつか持っていた。1つは2000ドルくらいでしたが、まあまあでした。回路は全く同じではなかったし、カプセルも平均的なものだった。もう1つのマイクは実際に素晴らしかったのですが、u67の回路や音ではありませんでした。似ているところもあったけど、明らかに違っていた。 ジョシュ・シーウェルのBN b67-269のビデオを見て、信頼できる人たちから直接話を聞いて、年末のセールで注文することにしました。接続した途端、衝撃を受けた。素晴らしいミッドレンジ、スムーズなトップ、そしてそれほどブーミーではないローエンド。このマイクに近づけば、ポップスが気にならなくなる。 ハイエンドのデジタル・コンバーターや、"マイク＞プリアンプ＞コンバーター "のような最近のチェーンでは、非常にブライトで奔放なサウンドを得ることができる。それは素晴らしいこともありますが、そうでないこともよくあります。 これが、現在見られるリボンマイクの爆発的な普及につながったのだと思います。 タンバリン、シェーカー、ドラム、このようなあらゆる種類のソースは、コンデンサー、特に現代のブライトなものでは、実際に痛みを伴うことがあります。 b67-269を設置し、ビブラースラップ、タンバリン、シェーカーなどを試してみたところ、ハーシュネスを食いつぶして、美しく、わずかに飽和した音を出してくれた。素晴らしい！ウクレレやアコースティックギターでも素晴らしいサウンドが出ますし、ギターのキャビネットでもとてもユニークなサウンドが出ます。その価値と音に唖然として、すぐに2台目を購入しました。 見た目も素晴らしい。電源はタンクです。 マイクの内部はかなりクリーンでシンプルで、最新のPCBセットアップと大きなトロイダルトランスを搭載しています。カプセルは完璧に作られているに違いない。 内部にはDIPスイッチのセットもあり、269を含むいくつかのモードが用意されている。 Beesneez、このクラシックなサウンドを我々 "普通の "男女に手頃な価格にしてくれてありがとう。

  6. ブライアン・トチリン –

    これを2本買ったんだ。 今はドラムのオーバーヘッドとして使っている。 OHでは非現実的なサウンドだ。 シンバルの音はしっかり出るけど、全然キツくない。キックとスネアも前に出て、後ろに寄り過ぎず、とても良い形で抜けてくる。 OHの出発点としては完璧だ。 スポットマイク（キック／スネア／トムなど）を使って、ミックスの残りの部分を簡単に構築できる。 ギター・キャビネットでも試してみた。私がいつも使っているギター・キャビネットのマイクは57とRoyer 121で、コーンのセンターに取り付けている。これをキャビネットの2番目のスピーカーに追加してみた。 12インチ、6インチ、3インチと試したが、このサウンドがとても気に入った。 57/121のコンボには3kのブーストがかかっていた。 67はその辺がもっと丸かった。 僕が慣れている57/121コンボより少し後ろに感じたかもしれないけど、素晴らしいサウンドだったよ。 3つともブレンドしてみたけど、トーンは最高だったよ。 67を全部使ってもよかったと思うけど、念のため全部使ってみたかったんだ。 まだ他のものでは試していない。 ボーカル、アコースティック、パーカッションで試してみたい。 今すぐ3台目を買いたい。 ドラムのOHとギターのキャビネットで使いたいんだ。 この値段でこのクオリティは間違いない。 A++.ショックマウントがもっと良くできていて、ノイトリック/マゴミケーブルがあれば良かったのにと思うが、音には全く影響しない。

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