A true Neumann for the project studio.

The Neumann TLM 102 is a small, elegant, and affordable condenser microphone with an open character, a silky high-end, low self-noise and distortion-free operation.

Inspection

The TLM 102 is a large-diaphragm, transformerless capacitor microphone with a fixed-cardioid polar pattern. The lack of pad and filters implies a bare-bones design, allowing Neumann to bring the costs down without compromising on the sound.

A relatively small and edge-terminated diaphragm puts it towards the more natural Neumann microphones, and with an SPL tolerance of 144 dB, the TLM 102 is a foolproof candidate for capturing gracefully almost everything.

Neumann badge indicates the front side of the microphone.

It has a classic Neumann design available in a black or nickel matte finish. I have the nickel mic and I find it very stylish, the black one looks just as beautiful. The microphone is engineered to perfection, the chrome ring below the basket and red Neumann badge, give it a classy retro-industrial look. With a tiny size and a weight of approximately 210g, placement is a child's play.

The TLM 102 ships in a foam-lined cardboard box (another cost-cutting move from Neumann), a departure from the usual luxurious wooden box, but it securely fits snug the microphone and stand-mount or shock-mount. The box is sufficient for storage, but I wouldn't use it for travelling.

The frequency range of the TLM102 is flat up to 6kHz, where a slight presence boost kicks in. This adds a touch of brilliance without ever sounding harsh or shrill. It has a relatively low input noise of 12dBA and a moderate sensitivity, allowing it to capture with blooming detail even nuanced delicate instruments.

A high-pass filter could have been useful, as the microphone is sensitive even to the very low frequencies. Engaging one on the preamp or DAW can be sufficient though.

Flat frequency response with a slight presence boost for silky highs.

Investigation

On a classical guitar with the mic opposite of the bridge, leaning slightly inwards towards the sound-hole, and at the distance of around 50 cm. The TLM 102 sounds glorious, with full-bodied lows and mids, and a pleasing high-end, with no sign of harshness. The slight high-end boost contributes to an added clarity, but unlike many budget condensers, it doesn't emphasize unwanted mechanical sounds of playing the guitar.

Newly designed shock-mount with a cut for closer positioning.

I tried the TLM 102 on a brilliant cellist, another instrument that is quite difficult to record convincingly. The tiny Neumann retained its well-behaved nature and clear capture.

On female voices, the proximity boost in the low-mids together with the relatively natural highs of the TLM 102, bring a smoky, almost old-fashioned character. When used on male voices, the microphone provides a thick and rich timbre that allows. The TLM 102 can complement a variety of voices, it always retains its rich and full personality.

Diagnosis

After owing a TLM 102 for a few years, one trait remains consistent, this microphone exhibits a strikingly clear-sounding capture but shows enough temper to complement most sources. A pretty desirable attribute, especially for the project studio, as many home recordists will probably use one microphone to record almost everything.

Alternative

At the same price, the Miktek C1 offers a similar natural character with a silky high-end. The Neumann TLM 107 is an excellent alternative if you don't mind spending more, as it offers a similarly natural and smooth capture, with even less self-noise, and added versatility with its 5 polar patterns.