- 40Hz - 18kHz frequency range
- 12mV/Pa (Sensitivity at 1kHz)
- 50/200 Ohm
- min 500/2000 Ohm (rated load impedance)
- 770g weight
FLEA 50 is our replica of famous M50 microphone. All mechanical parts are identical to original. FLEA 50 is fitted with our own capsule and transformer. As you know, this mic is great to use on AB stereo recording technique. Best for symphonic orchestra miking or as a spot microphone for acoustic instruments. This is not end of use of this microphone. Try and you will love it !!! Clear and pleasant sound. The full set includes microphone in wooden box, PSU, cable.
Neumann’s M 50 was an omnidirectional tube mic based on the chassis and amplifier of the multipattern M 49. The primary difference between the two was the innovative capsule used in the M 50.
The M50 used a small omnidirectional transducer mounted on a 4cm-diameter acrylic sphere, such that the diaphragm of the capsule lay flush with the face of the sphere. Because sound flows differently around a sphere than around other surfaces, the microphone’s frequency response is altered by this capsule construction. Specifically, the M50 had a smoothly rising frequency response that looks nearly like a high-shelf EQ set to +5dB above 2500Hz.
Neumann changed components in the M50 several times during its production run from 1951–1971, although not all of the changes were indicated by a model-number designation. The following details are taken from Martin Schneider’s AES presentation on spherical omni microphones (see sidebar link):
- M 50, 1951: The first commercial release used a Hiller MSC2 tube and a PVC-diaphragm KK50 capsule. According to Neumann’s Martin Schneider, the PVC material was not well suited to the “extreme mechanical tension” required.
- M 50a, 1952: the ‘a’ version indicated a capsule change, from KK50 PVC to an aluminum-diaphragm KK53.
- 1954: the MSC2 tube was replaced with a Telefunken AC701. (This tube/capsule combination was reproduced in the KM53, a tube omni pencil mic.)
- M 50b, 1963: “a negligible change, of resistor power ratings.”
- 1965: The KK53 capsule was replaced with the Mylar-diaphragm KK83.
- M 50c, 1965: the “filament topology” of the amplifier circuit was changed, lowering the self-noise by 4dB.
Litt info fra Mix-Magazine, også:
CORVETTES AND CADILLACS
The M49 used the same capsule as our old friend the 47, and yet, because of the completely different housing and the triode electronics, the sound of the mics bears few similarities. Both of them are superb vocal mics, though neither was designed for the purpose of close-miking. However, those crazy Americans, with their Corvettes and their Cadillacs, their loud ways and their rude rock ’n’ roll, discovered the magic of blasting a Neumann at close range, and thus began a love affair with proximity effect and large-diaphragm capsules that has endured to this day. One could even say that a love affair implies romance, and that level of what it is about these magic microphones that makes us music and engineering types so crazy. We recognize that sound. And we love it. All the more 'cause those days are gone. But the mics aren’t. Thank God.
As we have pointed out before, today’s offerings from the Mighty Manufacturers Over There are light years ahead of these crusty old dinosaurs in terms of specmanship and thinkology; but the fact is, for some reason these new starships just can’t seem to shake the oldies. It’s kind of like having the Red baron on your tail. Naturally, new classics like the TLM170 and the Sanken CU-44x are bound to prove themselves over time, and in some arenas they will doubtless prove superior not only in specifications, but in performance under certain conditions. However, the pure thrill of belting a ballad into a 47 tube will never die. The 49 is especially good on female vocals. Not having quite the “nasality” that the 47 is known for, it has a smoother high-frequency range, and the size of the grille forms a larger-volume enclosure giving the capsule more breathing room and contributing to its “openness.” Many female singers, including Barbra Streisand, use this microphone. It has a way of rendering the female vocal with an immediacy and presence not found in any other design. No, this is not a Neumann brochure. The damn thing works!
GREAT BALLS OF FIRE
Because there was also a demand for a microphone that would compensate for the loss in high-frequency response incurred by long distances, the M50 was born. High frequencies roll off as the square of the reciprocal of the distance from the sound source due to frictional effects. This means that the viscosity of the air is sufficient to dissipate sound energy in the form of heat, and as there is less power in the treble range, it suffers the most from this effect. Therefore, when a mic is hung high above an orchestra in the auditorium, a boost in the response above 5 kHz is desirable. Even today, these microphones still make some of the most wonderful orchestral recordings in the world. We have successfully modified this model with a one-micron diaphragm and they sound quite wonderful.
We will touch on them briefly, but as they were omnidirectional only and not often used on vocals, they are beyond the scope of this diatribe. Just for the archives, we have included a photograph of one without its grille, so the vastly different construction (and the meaning of this subhead) from the 49 can be seen easily. It confuses a lot of people that these two mics are almost identical on the exterior. You can tell a 50, as it always has a white jewel or dot on the front, and the 49 has a red one.