NeumannBerlin Microphone M 50 User Manual

neumann.berlin  
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.  
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 µm. By comparison, this  
distance is typically more than twice as large with other  
condenser capsules.  
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  
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.  
of the type AC 701 (k) is used. Originally the microphone  
capsule was equipped with a highly stretched aluminum  
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