B67/269

( 고객 리뷰6개 )

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.

주요 기능

  • 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.

What is Included?

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
사양 상세 정보
Type Large-diaphragm tube condenser microphone — multi-pattern
캡슐 BeesNeez K67 capsule
튜브 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
감도 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

다운로드

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

( 고객 리뷰6개 )

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.

주요 기능

  • 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.

What is Included?

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
사양 상세 정보
Type Large-diaphragm tube condenser microphone — multi-pattern
캡슐 BeesNeez K67 capsule
튜브 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
감도 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

다운로드

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

( 고객 리뷰6개 )

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.

주요 기능

  • 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.

What is Included?

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
사양 상세 정보
Type Large-diaphragm tube condenser microphone — multi-pattern
캡슐 BeesNeez K67 capsule
튜브 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
감도 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

다운로드

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.

 

동영상 리뷰

샘플

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. 워드 파이크 –

    이 마이크는 1964년 이후 제작된 마이크 중 가장 노이만 특유의 사운드를 구현한 제품일 것입니다. 각 모드의 품질은 입이 떡 벌어질 정도입니다. 정확도는 상상을 초월합니다. 다용도성은 비교할 수 없을 만큼 뛰어납니다.
    BN67/269 마크 2는 아마도 여러분이 필요로 하는 유일한 마이크가 될 것입니다.

  5. Aaron –

    제 꿈이 이뤄진 것 같습니다. 저는 사운드를 원했거나 적어도 U67의 영역에서 원했습니다. 어떤 이유로든 아무도 그것을 할 수 없거나 시도하는 것을 귀찮아하는 것 같았습니다. 저는 u67과 비슷한 수준의 마이크를 몇 개 가지고 있었습니다. 하나는 2000달러 정도였고 괜찮았어요. 회로는 전혀 같지 않았고 캡슐은 아마도 평균 수준이었을 겁니다. 다른 마이크는 실제로는 훌륭했지만 u67 회로나 사운드는 아니었습니다. 비슷한 특성이 있긴 했지만 확실히 달랐어요. 조쉬 시웰의 BN b67-269 동영상을 보고 신뢰할 수 있는 사람들로부터 직접 설명을 들은 후, 연말 세일 기간에 주문하기로 결정했습니다. 전원을 꽂자마자 저는 충격을 받았습니다. 멋진 미드 레인지와 부드러운 고음, 그리고 그다지 붐비지 않는 저음이 있었기 때문이죠. 이 마이크는 팝이 진짜 문제가 되기 전에 꽤 가까이 다가갈 수 있습니다. 하이엔드 디지털 컨버터와 '마이크>프리앰프>컨버터'와 같은 최신 체인을 사용하면 매우 밝고 방해받지 않는 사운드를 얻을 수 있습니다. 때로는 훌륭하지만 그렇지 않은 경우도 많습니다. 이것이 바로 오늘날 우리가 보는 리본 마이크의 폭발적인 증가의 원인이라고 생각합니다. 탬버린, 셰이커, 드럼 등 이런 모든 종류의 소스는 콘덴서, 특히 현대의 밝은 콘덴서를 사용하면 실제로 고통스러울 수 있습니다. B67-269를 올려놓고 비브라슬랩, 탬버린, 셰이커 등을 사용해 보니 거칠음을 잡아먹고 아름답고 약간 포화된 사운드를 만들어 냅니다. 멋지네요! 제 목소리에는 사랑스럽고, 우쿨렐레, 어쿠스틱 기타에는 놀랍고, 기타 택시에는 매우 독특한 사운드를 들려줍니다. 그 가치와 소리에 너무 놀라워서 바로 두 번째 제품을 구입했어요. 외관도 멋져요. 전원 공급 장치는 탱크입니다. 마이크는 내부가 상당히 깔끔하고 심플하며 현대적인 PCB 구성과 멋진 대형 트로이달 변압기가 있습니다. 이 마이크는 지금까지 들어본 어떤 마이크보다 좋은 소리를 내기 때문에 캡슐이 완벽하게 만들어졌음에 틀림없습니다. 또한 내부에 DIP 스위치 세트가 있어 269가지의 다양한 모드를 사용할 수 있습니다. 이 클래식한 사운드를 '일반' 사용자들도 부담 없이 사용할 수 있게 해준 Beesneez에 감사드립니다.

  6. 브라이언 토칠린 –

    저는 이걸 한 쌍 샀어요. 지금은 드럼 오버헤드로 사용하고 있습니다. OH에서 비현실적으로 들립니다. 심벌즈가 나오지만 전혀 거칠지 않습니다. 킥과 스네어 역시 전면에 있으면서 배경에서 너무 멀리 떨어져 있지 않아서 아주 잘 들립니다. OH를 위한 완벽한 시작점입니다. 스팟 마이크(킥/스네어/톰 등)로 나머지 믹스를 쉽게 구축할 수 있습니다. 기타 택시에도 사용해 봤습니다. 제가 주로 사용하는 기타 택시 마이크는 57과 콘 중앙에 있는 Royer 121입니다. 이 마이크들을 운전석의 두 번째 스피커에 추가했습니다. 처음에는 12인치, 그다음에는 6인치로 시도했는데 그 소리가 정말 마음에 들었어요. 57/121 콤보에는 3k 부스트가 있었습니다. 67은 그 부분에서 더 둥글었습니다. 아마도 제가 익숙한 57/121 콤보보다 조금 더 뒤로 느껴졌지만 그것도 멋진 사운드를 가졌습니다. 세 가지를 모두 블렌딩했는데 톤이 훌륭했습니다. 67까지 모두 사용할 수도 있었지만 안전을 위해 모두 캡처하고 싶었습니다. 아직 다른 것에는 시도해 보지 않았습니다. 보컬, 어쿠스틱, 퍼커션에도 사용해보고 싶어요. 지금 세 번째를 사고 싶어요. 저는 이걸 제 드럼 오와 기타 택시에서 사용하고 싶어요. 가격 대비 전혀 잘못 될 수 없습니다. A++. 쇽마운트가 더 좋았으면 좋겠고 뉴트릭 / 마고미 케이블이 있었지만 사운드에 전혀 영향을 미치지 않습니다.

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