Neumann.Berlin M 50 User's Manual
Contents
1. NEUMANN BERLIN gt gt THE MICROPHONE COMPANY M 50 The Historic Omni Directional At the same time as Neumann launched the M 49 the first remotely controlled microphone Neumann also introduced a new omni directional microphone model M 50 This mi crophone distinguished itself by not merely using a pres sure transducer as its pickup but also by mounting this capsule in a spherical body with the diaphragm flush with the surface of the sphere Unlike a conventional cylinder shaped omni directional microphone the arrangement of the capsule and sphere provides a different behavior in the sound field As result the microphone has a very smooth frequency response to above 1000 Hz with a gradual rise reaching 6 dB from 8000 to 16000 Hz Simultaneously the directional characteristic shows an increasing directiv ity toward the higher fre quencies The unique fea ture of the microphone is its high frequency directiv ity similar to that of a pres sure gradient type com bined with the linear re sponse at low frequencies well known for pressure mi crophones Mechanically the M 50 is constructed like its sibling model M 49 The amplifier is elastically mounted on a solid rubber plate while the microphone capsule is mounted in its Plexiglas sphere on the plastic ampli fier cover via an elastic sus pension As the active ele ment a Telefunken triode of the type AC 701 k is used Originally the microphone capsule w2. as equipped with a highly stretched aluminum or ow 19 NN aN pe Pua HEER fy WE j A ara A T Sh i be OEI A T a diaphragm later versions employ gold sputtered polyester foil In order to achieve a high sensitivity and low equiva lent noise level the separation between diaphragm and elec trode is an extremely narrow 10 um By comparison this distance is typically more than twice as large with other condenser capsules The M 50 microphone was very quickly accepted as the high quality microphone for all classical recordings as spot microphone for woodwinds and brass but also for strings An interesting experience was reported from a recording studio in Berlin where two M 50s were placed as spot mi crophones in front of a violoncello at a distance of 2 5 m The optimum sound was achieved with both microphones turned off axis by approximately 15 Thus the directivity of the M 50 was used as a sound defining element O D O A l
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