B67/269

(6 customer reviews)

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.

Key Features

  • 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
Specification Details
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
Sensitivity 24 mV/Pa
Maximum SPL Approximately 117 dB; 127 dB with pad engaged
Self-noise Approximately 28 dB; 17 dB-A
Output impedance Approximately 200 Ω
Recommended load 1 kΩ or higher
Power requirement 115–230 V — suitable for mains supplies from 100 V to 240 V

AUD $2,720.00

Free Delivery

 

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

Downloads

User Guide

Frequently Asked Questions

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

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

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

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

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

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

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

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

In practical terms:

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

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

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

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

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

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

The filter can be particularly useful for:

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

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

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

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

B67/269

(6 customer reviews)

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.

Key Features

  • 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
Specification Details
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
Sensitivity 24 mV/Pa
Maximum SPL Approximately 117 dB; 127 dB with pad engaged
Self-noise Approximately 28 dB; 17 dB-A
Output impedance Approximately 200 Ω
Recommended load 1 kΩ or higher
Power requirement 115–230 V — suitable for mains supplies from 100 V to 240 V

AUD $2,720.00

Free Delivery

Downloads

User Guide

Frequently Asked Questions

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

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

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

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

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

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

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

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

In practical terms:

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

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

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

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

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

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

The filter can be particularly useful for:

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

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

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

 

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

B67/269

(6 customer reviews)

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.

Key Features

  • 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
Specification Details
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
Sensitivity 24 mV/Pa
Maximum SPL Approximately 117 dB; 127 dB with pad engaged
Self-noise Approximately 28 dB; 17 dB-A
Output impedance Approximately 200 Ω
Recommended load 1 kΩ or higher
Power requirement 115–230 V — suitable for mains supplies from 100 V to 240 V

AUD $2,720.00

Free Delivery

Downloads

User Guide

Frequently Asked Questions

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

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

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

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

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

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

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

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

In practical terms:

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

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

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

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

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

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

The filter can be particularly useful for:

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

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

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

 

Video Reviews

Samples

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

6 reviews for B67/269

  1. james fillmore –

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

  2. Joe B –

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

  3. Joel Goodman –

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

  4. Ward Pike –

    This might very well be the most Neumann sounding microphone made since 1964. The quality of each mode is gobstopping. The accuracy is mind-bending. The utility is beyond compare.
    The BN67/269 mark 2 might very well be the only microphone you need.

  5. Aaron –

    Well, my dreams seem to have come true. I wanted the sound, or at least in that realm of a u67. No one seemed to be able to do it or be bothered to try for whatever reason. I had a couple of mics that were supposed to be in the vein of the u67. One was around $2000 USD and just ok. The circuit was not at all the same and the capsule was probably average. The other mic was actually great, but not a u67 circuit or sound really. It had certain qualities that were similar, but it was decidedly different. After I saw Josh Seawell’s video of the BN b67-269 and heard first hand accounts from people I trusted, I decided to order one during the end of year sale. As soon as I plugged it in, I was shocked. There was that wonderful mid range, smooth top and not so boomy low end. You can get quite close to this mic before pops are a real issue. With hi end digital converters and modern chains that are often something like “microphone>preamp>converters” you can get some very bright and uninhibited sounds. That is sometimes wonderful, but often it is not. I think this is what has given way to much of the modern explosion of ribbon mics we see now. Tambourines, shakers, drums, all sorts of sources like this can actually be painful with a condenser, especially modern bright ones. I put the b67-269 up and tried vibraslap, tambourine, shaker etc and it just eats up the harshness and puts out a beautiful, slightly saturated sound. Magnificent! It sounds lovely on my voice, incredible on my Ukulele, acoustic guitars and has a very unique sound on guitar cabs. I was so stunned at the value and sound that I bought a second one immediately. It looks great as well. The power supply is a tank. The mic is fairly clean and simple on the inside with a modern PCB setup and a nice big toroidal transformer. The capsule must be perfectly made because this mic sounds as good as anything I’ve heard to date. It also has a set of DIP switches inside so you get several modes, 269 included. Thank you, Beesneez, for making this classic sound affordable to us “regular” guys and gals.

  6. Brian Tochilin –

    I bought a pair of these. I am using them as drum overheads right now. They sound unreal on OHs. The cymbals come though but are not harsh at all. The kick and snare also comes through in a very good way being upfront and not too far in the background. Perfect starting point for OHs. You can easily build the rest of your mix around them with the spot mics (kick/snare/toms etc). I also tried one on a guitar cab. My usual guitar cab mics are a 57 and a Royer 121 on the center of the cone. I added these to a 2nd speaker on the cab. Tried about 12 inches back then 6 and got to 3 inches and really liked that sound. The 57/121 combo had a 3k boost in it. The 67 was more rounded in that area. Maybe felt a little more back that the 57/121 combo I am used to but it had a wonderful sound too it. I blended all three and the tone was great. I am sure I could have gone all 67 and would have been fine but wanted to capture all of it to be safe. I have not tried them yet on anything else. Want to try them on vocals, acoustic and percussion. I want to buy a 3rd one now. I just want these things to live on my drum OHs and guitar cab. For the price you cannot at all go wrong. A++. Wish the shockmount was made better and they had Neutrik/Magomi cable but whatever does not effect the sound at all.

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