The Legendary Neumann M 50 Returns
At long last, Neumann has resumed production of the classic M 50. Neumann first introduced the M 50 in 1951. Although outwardly identical to its M 49 stablemate — which housed a large diaphragm and was the first studio microphone with a continuously variable polar pattern — the M 50 was built around a small-diaphragm capsule flush-mounted in a small sphere and yielded a fixed omnidirectional pickup pattern. Today, vintage M 50s are legendary and highly sought-after recording tools. If you were to find one in working condition for sale today (a tall order), it would command an astronomical price. Fortunately, for a fraction of that, you can now own a genuine Neumann M 50 V reissue, handcrafted in Germany to original specifications using archived documentation.
State-of-the-art vintage-spec reissue
The tolerances and build quality that go into today’s high-end microphones have come a long way since the 1950s. Cutting-edge technology and advanced materials science enable high-precision design and manufacturing unimaginable even a few decades ago. Accordingly, this M 50 V reissue incorporates reliable, state-of-the-art vintage-spec components and technical improvements throughout, such as its newly designed K 33 Ti capsule, which features a lightweight, durable titanium diaphragm, and its RF-proof connector design that resists electromagnetic interference from today’s Wi-Fi and mobile phone signals.
True to the original — with improvements
The original, trailblazing M 50 concept remains the same — a small diaphragm sitting flush-mounted in a 40mm acrylic sphere — resulting in an even response in the diffuse field and gradually boosted directivity at higher frequencies, which particularly lends itself to the capture of live orchestra performances and attendant concert hall ambience. The newly developed K 33 Ti capsule used in the M 50 V leverages the acoustical design of the original K 53 capsule, but benefits from modern build quality, as evidenced by the titanium used to handcraft its delicate diaphragm, which replaces the nickel or aluminum used in the original. The electronics remain true to the original design as well.
Tube microphone perfection
The M 50 V employs the same circuitry as the last historical version, including the beefy BV11 output transformer. The subminiature tube used is the same type and has already proven its sonic excellence in the M 49 V. The M 50 V also includes the same NM V power supply, which automatically adapts to local mains voltage anywhere in the world. The polar pattern selector is, of course, absent, as the M 50 V has a fixed omnidirectional capsule. For quick, secure positioning, the M 50 V comes with its iconic yoke mount, which now includes elastic elements for rumble attenuation. A 33-foot power supply connecting cable and an attractive, durable travel case complete the M-50 V omnidirectional condenser tube microphone set.
Ideal for symphonic recordings
If you’re in the business of recording full orchestras, you already know about the legendary Neumann M 50 — in fact, you may already be using it. For the uninitiated, however, we’ll briefly examine the evolution of stereo recording using omnidirectional microphones as well as two time-honored mic techniques for capturing the full grandeur of large-scale symphonic performances in a natural and highly musical fashion: the deceptively simple (yet highly effective) spaced omni technique and the famous Decca Tree.
Stereo capture with omnidirectional mics
To understand the evolution of stereo mic techniques for classical music, it’s instructive to go back in time to the early 1950s — an era of rapid innovation in the recording industry. Stereo disc mastering was not yet ready for prime time, but the monaural 12-inch long-playing record (LP) and magnetic tape, a technology liberated from Germany at the end of WWII, were new. In 1951, American recording engineer Robert Fine initiated the Living Presence series of orchestral recordings for Mercury Records. For the first four years, the recordings were monaural and captured with one mic placed above the conductor’s head. With the introduction of the stereo cutting lathe in 1957, stereo became the hot new trend, although mono compatibility would remain critical for a decade or so, as most music consumers still owned mono playback equipment. For the first stereo Mercury Living Presence recordings, Bob used three spaced omnis, as he would for the series’ duration. Meanwhile, across the pond, engineer Roy Wallace had been performing his own experimentation with stereo capture at Decca Records, eventually arriving at the iconic Decca Tree configuration.
Spaced omni
The spaced omni technique employs three carefully positioned omnidirectional microphones deployed in a straight line across the orchestral soundstage, centered above the conductor’s podium. Of course, positioning is critical, and experimentation will be necessary to achieve the best results in a given venue. For smaller ensembles, two microphones may suffice, but as Bob Fine discovered in his initial experimentations with stereo pickup, two microphones proved inadequate for large orchestras, capturing a lackluster stereo image with either a hole in the middle, insufficient depth, or weak sides, depending on placement. Nevertheless, the use of a closely matched pair of omnidirectional microphones is often ideal for other applications, such as capturing the ambience generated by a drum kit in a good-sounding tracking room. And indeed, a single, judiciously positioned omni is pretty much standard issue for semi-permanent monaural live echo chamber duties. As the granddaddy of fixed-pattern omnidirectional microphones, the Neumann M 50 is perhaps the ultimate choice for these scenarios.
The Decca Tree
Developed by Decca Records in the 1950s, the Decca Tree is one of the most common techniques used to capture stereo and spatial ambience in orchestral settings. Consisting of three omnidirectional microphones — the M 50 is a perennial favorite — arranged in a distinctive “T” pattern, the Decca Tree formation is often achieved by mounting the mics on a specialized bracket that enforces the strict distances between them, as set forth in the original Decca specification. Essentially a stereo A-B configuration with a center fill (as is 3-mic spaced omni), Decca Tree mics are suspended about 10 feet over the conductor’s head, with the rear pair of microphones two meters apart, and the center mic one and a half meters in front of the others in a triangular arrangement. The Decca Tree, which remains in use to this day for film scoring and in classical music recording writ large, has spawned quite a few variations that owe their inspiration to this timeless microphone technique. Some of them, such as the Fukada Tree, may employ additional mics, but all of them use a strikingly similar triangular mic array as a core.
Why a reissue?
Why not seek out a vintage M 50? Let us enumerate the reasons. When you purchase a piece of vintage gear, you are not only paying a premium — you’re buying all the problems it has accumulated over the course of, say, a half century of (ab)use. That’s because electronics age, like everything else. From oxidized switches to past-their-prime resistors, capacitors, diodes, transistors, tubes, and transformers, old components eventually need to be replaced, not to mention the headache of finding a reliable and knowledgeable technician to perform the work. And then there’s the time and effort that goes into locating a reasonably well-maintained piece of equipment in nominal working condition. Once you find what you’re looking for and fork over the cash, your saga is just beginning. Even if it is “certified” to work now, there’s no real way of knowing until after the sale how many of the original components still lurk under the hood. Expect them to fail — and in accordance with Murphy’s Law, this will be during a particularly important project! The Neumann M 50 V reissue is precision engineered to deliver the authentic sound of a classic, session after session, year after year. And it comes with a warranty. This one’s a no-brainer.
The authentic sound of a classic
Presumably, the reason to seek out vintage gear is to obtain the “authentic sound” of that equipment back when it was new. But due to the aging of original parts, their replacement with new parts, and any modifications made during its service life, a decades-old microphone will not sound exactly the same as it did when it was new. You actually stand a better chance of nailing the “original” sound with a modern reissue. Enter the Neumann M 50 V reissue, which addresses ongoing demand for this iconic Neumann classic while delivering the authentic sound — along with modern reliability — at a more down-to-earth price. With it, you can capture any live acoustical event with the coveted sonic qualities that have made Neumann microphones “The Reference since 1928.” Order your Neumann M-50 V omnidirectional condenser tube microphone set from Sweetwater and make your own recording history.
What’s in your studio?
We’d like to leave you with a Sweetwater tip that, interestingly, has nothing to do with sound. If you have clients coming into your studio, appearances matter — and having no-name microphones set up in your tracking room is probably not the best way to impress them. If your clients see a Neumann, then they’ll know they’re dealing with a professional studio. The famous Neumann diamond badge commands instant respect. The company’s condenser microphones have set the industry standard for nigh unto a century. And you can be assured — that will remain so for decades to come.
Neumann M 50 V Set Features:
- Reissue of the legendary M 50 omnidirectional condenser tube microphone
- State-of-the-art vintage-spec components and technical improvements throughout
- Unique small-diaphragm omnidirectional capsule mounted in a 40mm sphere
- Ideal for spaced omni and Decca Tree techniques
- A perennial favorite for orchestral recordings
- Classic tube circuit with output transformer
- Built to original specifications using archived documentation
- New power supply automatically adapts to mains voltage
- Handcrafted and hand soldered in Germany
- Factory matching included for orders of 2 or more M 50 V microphones
- Includes NM V power supply, KC 5 cable, MZ 49 A shockmount, and M 50 V case
