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Back in 2018, the brand introduced a painstakingly accurate Neumann U 67 Reissue, faithfully recreating the version of the mic that was produced from 1960 to 1971. The reissue features the same iconic components as the original, including the BV 12 output transformer, EF86 tube, and K 67 capsule. The design is so true to the vintage U 67 that you can swap parts between original models and the new reissue, and they’ll fit perfectly.
Since the U 67 Reissue was released, the microphone has become not only one of Vintage King's best-selling condensers, but one of our best-selling mics period. It’s been a while since our original demo video (you’ll find it toward the end of the blog), so we decided to revisit the microphone and record a fresh set of sound samples to showcase what it can do across a range of sources.
The Neumann U 67 Reissue was used to capture every source featured below, with two different signal chains used throughout the session. Vocals were recorded through the UnderTone Audio MPDI-4 and BURL Audio BAD4, while all other sources were tracked through the API 3124V and BURL Audio BAD4. No EQ or compression was used on the way in.
Engineer Bryan Reilly used the U 67 to capture the drums in a few different ways. He started by tracking two overhead samples of the U 67, one in cardioid and one in omni, and for both the mic was positioned about 6' off the ground and centered over the kick and snare. For the room mic example, the U 67 was set to omni and placed about 10' back from the kit and 10' in the air. When miking the front of the kit, the mic was set to cardioid and positioned on the right side of the kit, about 3' away and 4' off the ground, pointing toward the snare.
For the electric guitar example, Bryan played a Gibson Les Paul Traditional Pro in the middle position with both single coils engaged through a 1974 Fender Twin Reverb. The U 67 was set to cardioid with the pad engaged and placed about 2' in front of the amp, aimed toward the upper cone of the right speaker.
To show how the U 67 handles bass, Bryan reached for two different instruments: a 1978 American P Bass and a 1995 Mexican Jazz Bass. Both were tracked through an Ampeg SVT, with the U 67 set to cardioid and placed about 3' in front of the amp, centered on the speaker.
Bryan picked up a Gibson Lore mandolin to showcase the U 67 on a smaller acoustic stringed instrument. Positioned about 2' from the body, the mic captured samples in both cardioid and figure-8 using the same placement.
For vocals, Mike Leslie stepped into the booth to demonstrate the U 67 across a few different settings. Samples were captured in cardioid and omni, with the UnderTone preamp gain increased one click for the omni example. A final cardioid sample was recorded with the U 67's pad engaged and the preamp gain increased two clicks from the original cardioid example.
Want more examples of the Neumann U 67 Reissue? Watch our classic shootout between the modern reissue and a vintage U 67.
