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Few microphones have shaped the sound of recorded music quite like the Neumann M 49. Used by icons like Frank Sinatra, Miles Davis, and Bob Dylan, the M 49 helped define the sound of countless recordings throughout the 1950s and ’60s, and still remains one of the most sought-after tube mics ever made.
In 2022, Neumann reissued this classic microphone as the M 49 V, painstakingly recreating the original using archived documentation and period-correct components. But how does it sound in a modern studio setting? We asked Vintage King's Bryan Reilly to put the M 49 V to the test, tracking vocals, drums, bass, and guitars at his Scramble Shack Studios.
Keep scrolling to hear the M 49 V in action across a variety of sources. But first, let's dive into the history of this groundbreaking microphone and what makes the new reissue so special.
Developed in the late 1940s and released in the early 1950s, the Neumann M 49 represented a major leap forward in microphone design. It was the first studio microphone to feature a continuously variable polar pattern, allowing engineers to seamlessly switch between omni, cardioid, and figure-eight.
At its core, the M 49 shared the same large-diaphragm capsule as the U 47, contributing to its rich tonal balance, detailed midrange, and smooth, extended top end. Over the years, the microphone went through several revisions as Neumann refined its circuitry to improve noise performance, dynamic range, and reliability.
Original M 49 microphones are now extremely rare and fetch high prices on the vintage market. For decades, engineers and collectors have searched for that distinctive M 49 sound, but nothing could quite capture the magic of the original, until Neumann released the M 49 V reissue in 2022.
Recreating a microphone as revered as the M 49 is no small task, and Neumann approached the M 49 V with the kind of attention to detail that only the original manufacturer could provide. Built in Germany and made to original specifications using archived documentation, the M 49 V is designed to deliver the same sonic character engineers expect from a vintage original.
The microphone is based on the final revision of the original circuit (M 49 c), with thoughtful updates to meet the demands of modern studios. A new subminiature tube provides even lower noise performance, while improved RF protection ensures clean operation in any setting.
Like the original, the M 49 V connects to an external Pattern Control Unit via a seven-pin cable, allowing for continuously variable control over the polar pattern, making it ideal for capturing vocals, acoustic instruments, or even as room mics.
For this Hear The Gear session, Bryan Reilly recorded a variety of instruments using the Neumann M 49 V through an UnderTone Audio MPDI-4 preamp and BURL Audio BDA4M converters, with no EQ or compression. Below, you’ll hear a full mix of the finished song, followed by the raw tracks to help showcase the mic’s natural tone.
Mike Leslie recorded lead vocals in the vocal booth at Scramble Shack Studios, adjusting his distance to the mic throughout the performance. The mic was placed about 1 foot away, and the preamp gain was set at -35 dB. We’ve also included a processed version of the vocal track to isolate the time-based effects used in the final mix.
Mike Leslie delivered a phenomenal performance on this record, and the M 49 V complemented his voice perfectly, bringing out the clarity and detail of his voice without ever sounding harsh or brittle.
For the drums, Bryan was going for a fairly dead drum sound, and placed the mic about 1 foot above the drum kit, between the kick and the snare with the capsule angled away from the high-hat to help with rejection. The preamp gain was turned up to about - 35 dB to introduce a bit of saturation to the drum sound.
The high-hat, shaker, and tambourine were recorded individually, with the mic positioned about 3 feet away from each source and the gain set at -45 dB. When combined, the whole thing sounds surprisingly full and balanced.
Finally, to add some ambiance, Bryan re-amped the mono drum recording with an Acme Audio Wolf Box through a PA speaker in the hallway of Scramble Shack Studios. The mic was positioned about 10 feet away from the speaker in the hallway, with the preamp gain set to -50 dB.
For the bass track, Bryan recorded his trusty 1978 Fender American P Bass through an Ampeg SVT bass amp, with the mic placed about 1 foot in front of the cabinet and the preamp set at -25 dB. The M 49 V did a great job capturing the powerful low-end of the bass. Overall, the bass sounds thick and round without getting muddy, but still maintains plenty of clarity to help it cut through a dense mix.
Bryan tracked both electric and acoustic guitars for this song to showcase the versatility of the M 49 V.
For the electric guitar, Bryan played a Les Paul Traditional Pro through a 1974 Fender Twin amp with the mic placed about 3 feet from the amp (pointing between the two speakers), with the preamp set at -35 dB. To add even more depth to this track, Bryan added Vibrato and Reverb effects with the amp.
And for the acoustic, Bryan played his vintage Martin 00-28c nylon-string guitar in the live room of Scramble Shack Studios, with baffles on two sides of the mic to help reduce room noise. The mic was placed about 3 feet away from the guitar, about 6” above the body, with the capsule angled down, pointing between the sound hole and neck joint.
On both tracks, the M 49 V helped pull out the crucial midrange frequencies that define guitar recordings, highlighting the chime of the electric and the smooth, round tones of the acoustic.
With its unmistakable warmth, depth, and smooth top end, the M 49 V delivers the classic sound engineers have chased for decades, now with the reliability and consistency modern studios demand. Be sure to check out our sound samples to hear the M 49 V in action and discover why this microphone has remained the benchmark for studio excellence for over 70 years.
Want to hear how the Neumann M 49 V compares to a vintage M 49? Watch our shootout video below!
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