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Neumann U 47

The Neumann U 47 is a large-diaphragm tube condenser microphone introduced in 1949 by Georg Neumann GmbH in Berlin, Germany, featuring switchable polar patterns of cardioid and omnidirectional via electrical switching, which marked it as the first condenser microphone with this capability.^[1] It employs a dual-diaphragm M 7 capsule (initially from the 1930s CMV 3 design) and a VF 14 vacuum tube amplifier developed by Telefunken, delivering a balanced frequency response with exceptional low-noise performance for its era, and an output impedance of 200 Ω.^[1]^[2] Developed in the post-World War II period as Neumann's first major product, the U 47 rapidly became a studio standard due to its versatile sound capture, suitable for vocals, instruments, and orchestral recordings, with production continuing until 1965 when component shortages, particularly the VF 14 tube, halted manufacture.^[1]^[3] In the late 1950s, updates included a shortened body (by 23 mm) and replacement of the M 7 capsule with the K 47, which used polyester diaphragms instead of PVC for improved stability.^[1] A sibling model, the U 48, debuted in 1957, offering cardioid and figure-of-eight patterns while retaining the core design.^[1] The U 47's enduring legacy stems from its role in countless landmark recordings across genres, establishing it as a benchmark for microphone quality, though original units are now rare collector's items with reissues and clones produced by various manufacturers to meet modern demand.^[1] Its physical dimensions—240 mm in length and 63 mm in diameter—along with a classic cylindrical housing and wire-mesh grille, contribute to its iconic appearance in studio photography and history.^[3]

Design and Specifications

Capsule and Polar Patterns

The Neumann U 47 features a large-diaphragm condenser capsule measuring 34 mm in diameter, utilizing dual nickel-sputtered polyethylene terephthalate (PET), also known as Mylar, diaphragms in a center-terminated design with a single shared backplate.^[4]^[5] This construction allows for a balanced frequency response, with the diaphragm tensioned to provide a resonant frequency around 8-10 kHz, contributing to the microphone's characteristic warmth and detail in the midrange.^[6] Early production models from 1949 to 1956 employed the M7 capsule, which used a polyvinyl chloride (PVC) diaphragm, while later versions from 1956 to 1965 incorporated the improved K47 capsule with a PET diaphragm and enhanced nickel coating for superior frequency response and durability.^[7] The K47 addressed limitations in the M7's material stability, particularly in humid conditions, resulting in a more consistent high-frequency extension up to 20 kHz.^[4] The U 47 offers switchable omnidirectional and cardioid polar patterns, without a figure-8 option, achieved through a mechanical pattern selector switch on the microphone body that controls the polarization voltage to the rear diaphragm, disabling the polarization voltage to the rear diaphragm and disconnecting its electrical contribution for cardioid operation.^[7]^[1] In cardioid mode, this setup functions as a pressure-gradient transducer, sensitive to the difference in sound pressure between the front and rear, while omnidirectional mode parallels both diaphragms for pressure operation. The cardioid pattern exhibits a pronounced proximity effect, boosting low frequencies by up to 10 dB when sources are placed within 6 inches, enhancing vocal warmth. Self-noise is approximately 15-24 dB(A), allowing clear capture of quiet sources without excessive electronic hiss.^[8]^[9] The microphone body measures 63 mm in diameter and 240 mm in length for early models (shortened to approximately 217 mm from the late 1950s), constructed from brass with nickel plating for durability and a distinctive metallic finish.^[7]^[10]

Electronics and Performance

The original Neumann U 47 employs a single-ended Class A tube amplifier circuit centered around the Telefunken VF14 pentode vacuum tube, which provides low-noise amplification and contributes to the microphone's signature warm, harmonically rich sound profile. The VF14, a steel-cased subminiature tube specifically developed for microphone applications, operates with the PSU providing ~105 V DC B+ voltage, resulting in ~40-50 V DC at the tube plate, and is coupled to the output via a custom BV8 or similar transformer, ensuring balanced signal delivery while imparting subtle saturation characteristics that enhance midrange presence without excessive coloration. Due to the increasing scarcity of the VF14 during the later production years in the 1960s, some units were retrofitted with the AC701 tube as a compatible replacement to maintain functionality, though this did not alter the core circuit design.^[1]^[7]^[11] The microphone requires an external Neumann power supply unit (PSU), typically the NG model, which delivers 105 V DC for the B+ voltage and a specialized 55 V AC at 50 mA for the VF14's filament heating to minimize hum and extend tube life; plate current is around 0.5 mA, allowing operation over long cable runs up to 100 meters without significant signal degradation. This dedicated PSU design isolates the high-voltage components from the microphone body, reducing internal heat and electromagnetic interference while supporting the tube's stable bias for consistent performance.^[1]^[12]^[13] The U 47's frequency response spans 20 Hz to 20 kHz within ±3 dB, featuring a characteristic "U 47 curve" with a gentle high-frequency roll-off above 10 kHz for natural warmth, an extended low-end that rolls off below 40 Hz in cardioid mode to control proximity effect, and a subtle presence boost in the 2-5 kHz midrange that emphasizes vocal intelligibility and instrumental detail without harshness; the K47 capsule variant offers improved high-frequency consistency over the M7. This response profile, derived from the tube amplifier's interaction with the capsule and transformer, yields a balanced yet euphonic tonality prized for its ability to capture sources with lifelike depth and airiness.^[11]^[7] Sensitivity measures ~24 mV/Pa in cardioid pattern (higher in omnidirectional), enabling effective capture of quiet sources while the circuit handles maximum sound pressure levels up to 127 dB without audible distortion (for 1% THD), making it versatile for both intimate vocals and louder instruments like drums or amplifiers. The output is balanced at 200 ohms via a 7-pin Tuchel connector, with a signal-to-noise ratio of approximately 70-80 dB (A-weighted), which was exceptionally low-self-noise for a tube microphone of its era, allowing clean recordings even in quiet studio environments.^[11]^[7]^[14] Key performance traits include harmonic distortion below 0.5% at 1 kHz and normal operating levels, contributing to the U 47's transparent yet musically forgiving sound that adds subtle even-order harmonics for perceived warmth, particularly on vocals where the low self-noise (around 15-24 dB-A equivalent input) preserves nuance without electronic sterility. These electronics, in tandem with the transformer's loading, define the microphone's enduring reputation for reliability and sonic excellence in professional recording applications.^[11]^[14]^[15]

History

Development and Launch

The Neumann U 47 was developed by Georg Neumann, the founder of Georg Neumann GmbH, which he established in Berlin in 1928 as a manufacturer of professional condenser microphones. During World War II, the factory was relocated to Gefell in Thuringia to avoid bombing, but post-war, in 1946, operations resumed in West Berlin's British sector after returning from Soviet-controlled eastern Germany, facing significant disruptions and resource scarcity in the war-devastated economy.^[16] The U 47 represented Neumann's first major post-war design, leveraging advancements in vacuum tube technology to create a versatile studio microphone rather than simply reviving pre-war models.^[1]^[17]^[16] Prototyping of the U 47 began around 1947, with the debut prototype showcased at the Berlin Radio Show (Berliner Funkausstellung) that year, where its innovative features drew immediate attention despite ongoing production hurdles. Full-scale manufacturing commenced in 1949, marking the microphone's commercial launch after delays caused by material shortages and economic recovery efforts in West Germany. This timeline positioned the U 47 as a symbol of German engineering resurgence in the audio industry.^[1]^[5]^[18] A key innovation of the U 47 was its status as the first commercially successful switchable-pattern condenser microphone, allowing users to select between cardioid and omnidirectional patterns via a rear switch, a feature enabled by the dual-diaphragm M 7 capsule. This capsule design built directly on the technology of Neumann's pre-war CMV 3 ("Neumann Bottle") microphone from the late 1920s, adapting its single-pattern capsule into a more flexible system while incorporating a custom BV 8 output transformer for improved signal handling. The microphone's tube circuitry, powered by the rare Telefunken VF 14 vacuum tube, further enhanced its warm, low-noise performance, setting new standards for broadcast and recording applications.^[1]^[7]^[19] Development faced acute challenges in sourcing components amid Germany's post-war ruins, leading Neumann to utilize military surplus materials where possible and innovate around limited availability. A critical partnership with Telefunken, which held a 25% stake in the revived company and had distributed Neumann products pre-war, provided the VF 14 tube—specially developed for the U 47—and facilitated distribution. These constraints ultimately contributed to the microphone's robust, handcrafted build.^[1]^[18] Upon launch, the U 47 was acclaimed as a "technical revolution" for its unprecedented versatility, natural sound reproduction, and minimal self-noise, quickly becoming a staple in European and American studios. It retailed for approximately 1,200 Deutsche Marks in Germany, equivalent to about $300 USD at the time, reflecting its premium status amid economic austerity.^[1]^[20]

Production and Discontinuation

The original Neumann U 47 was hand-built in Berlin by Georg Neumann GmbH from 1949 until 1965, with production focused on meticulous assembly to meet the demands of professional recording and broadcast studios.^[2] Early production saw a boom in the 1950s driven by increasing adoption in radio stations and recording facilities across Europe and the United States, reaching peak output in the mid-1950s when many units were badged as Telefunken U 47 due to the close partnership with Telefunken, who supplied key components and handled distribution.^[1] In the late 1950s, around 1960, Neumann transitioned from the M7 capsule to the improved K47 capsule (starting around serial number 4,800), incorporating a more durable polyester (Mylar) diaphragm while maintaining acoustic consistency, as part of ongoing material refinements to enhance longevity.^[1]^[5] Approximately 5,000 to 6,000 units were produced in total, with each microphone individually tuned during assembly for optimal performance; early models, with serial numbers starting from 72 and long-body design up to approximately 3,250 by mid-1957, featured the VF14 tube and were emblematic of the initial production phase in the early 1950s.^[7]^[5] Quality control was rigorous, involving manual adjustments to ensure low noise and balanced response, reflecting Neumann's commitment to precision engineering in a hand-crafted process.^[5] Discontinuation occurred in 1965, primarily due to the exhaustion of the VF14 tube supply—Telefunken produced approximately 27,000 VF14 tubes total from 1946 to 1958, with about 6,700 suitable units used in U 47 and U 48 microphones—coupled with escalating costs for tube-based components and the broader industry transition to solid-state electronics.^[5] The final units were assembled using stockpiled parts to fulfill outstanding orders, marking the end of the original tube series amid these technical and economic pressures.^[1] Following discontinuation, the limited surviving originals became highly sought-after collector's items due to their scarcity and historical significance.^[9]

Variants and Successors

Tube-Based Variants

The U 48, introduced in 1957, represented the principal tube-based evolution of the original U 47, maintaining its core design while adapting the polar pattern options for specialized recording needs.^[21] Unlike the U 47's cardioid and omnidirectional settings, the U 48 offered cardioid and figure-8 patterns, achieved through electrical switching that applied opposite polarity to the rear diaphragm of the shared M 7 or K 47 capsule.^[22] This modification enabled enhanced side rejection in the bidirectional mode, making the U 48 particularly suited for room miking and stereo techniques where off-axis control was essential.^[5] Otherwise, the U 48 mirrored the U 47's electronics, including the VF14 vacuum tube (later supplemented by the AC701 due to supply constraints) and external power supply unit, ensuring comparable frequency response and warm tonal character.^[1] Production of the U 48 ran until 1965 alongside the U 47, but at significantly lower volumes—approximately 800 units—reflecting its niche appeal compared to the more versatile baseline model.^[5] The figure-8 pattern introduced acoustic nuances, such as improved isolation of direct sound sources from ambient interference, though it complicated proximity effect management due to the microphone's sensitivity to sources from both front and rear, often requiring precise positioning to balance low-end response.^[22] Another significant tube-based successor in the U 47 lineage was the U 67, launched in 1960 as a multi-pattern tube microphone, featuring the K 67 capsule, switchable omnidirectional, cardioid, and figure-8 patterns, and a frequency response of 20 Hz to 20 kHz.^[22]^[23] These models shared foundational traits with the series, including the use of vacuum tubes, external PSU, and a focus on sonic fidelity for professional studio demands.^[1] Overall, such variants underscored the U 47's adaptability within tube circuitry, prioritizing sonic fidelity over mass production.

Solid-State Models

The solid-state models of the Neumann U 47 series marked a significant shift from tube-based designs, introducing transistor technology to address reliability issues and component shortages while maintaining the microphone's core sonic character. The U 47 FET, introduced in 1969 as a direct successor to the original tube U 47, utilized a field-effect transistor (FET) impedance converter instead of a vacuum tube, eliminating the need for an external power supply and relying on 48V phantom power.^[24]^[15] Equipped with the same K 47 large-diaphragm condenser capsule as its tube predecessor, the U 47 FET featured a fixed cardioid polar pattern, a frequency response of 40 Hz to 16 kHz, and a sensitivity of 8 mV/Pa. It offered improved maximum sound pressure level (SPL) handling of 137 dB, extendable to 147 dB with an integrated -10 dB pad, along with reduced self-noise at 18 dB(A), providing a dynamic range of 119 dB. Production continued until 1986, with serial numbers indicating over 10,000 units manufactured, making it a widely adopted model in professional studios.^[25]^[24]^[15] These solid-state innovations addressed the scarcity of VF14 tubes that had halted original U 47 production in 1965, offering advantages such as no tube replacement or warm-up time, lower noise floor compared to tube models, and a brighter high-frequency response due to the absence of tube-induced warmth, all while outputting via standard XLR. The U 47 FET quickly became a staple for pop and rock vocal recordings, prized for its clear, present sound.^[15]^[24] Other solid-state successors in the lineage included the fully solid-state U 87 in 1967, which evolved from multi-pattern designs by replacing tube circuitry with transistors, retaining a K 67-style capsule, and delivering enhanced clarity and ease of use in studio environments.^[26]

Cultural Impact

Notable Users and Recordings

The Neumann U 47 has been a staple for lead vocals in numerous landmark recordings, prized for its warm, detailed capture that enhances presence and intimacy. Frank Sinatra, upon joining Capitol Records in 1953, adopted the U 47 as his primary microphone, refusing alternatives thereafter, which defined his signature sound on albums like In the Wee Small Hours (1955) and tracks such as "I've Got You Under My Skin." This tube condenser's smooth frequency response contributed to the lush, emotive quality of Sinatra's performances during these sessions at Capitol Studios.^[27]^[28]^[29] In rock and pop, the U 47 featured prominently on early Beatles recordings, serving as the go-to vocal microphone from their 1962 debut through much of the decade, as favored by producer George Martin and engineer Geoff Emerick for its clarity and natural timbre on tracks across albums like Please Please Me and Sgt. Pepper's Lonely Hearts Club Band. Emerick, who engineered many Beatles sessions, routinely selected the U 47 for vocals due to its versatility in capturing the band's dynamic range. While later projects like Abbey Road (1969) incorporated successors such as the U 48, the original U 47 remained integral to their sound at Abbey Road Studios.^[30]^[31]^[32] Jazz recordings also showcased the U 47's prowess, particularly through engineer Rudy Van Gelder, one of the first in the U.S. to acquire the microphone in the early 1950s, using it extensively at his Van Gelder Studio for Blue Note sessions with artists like Miles Davis and John Coltrane to achieve heightened realism and detail in ensemble and solo captures. Van Gelder praised its sensitivity for room miking and instrument reproduction, as heard in Davis's trumpet work on albums like Musings (1955).^[33]^[34]^[35] Beyond vocals, the U 47 excelled in studio contexts for its adaptability, earning acclaim from engineers like Emerick at Abbey Road and Van Gelder for handling diverse sources in high-profile environments. The FET variant, reintroduced later, found favor on instruments such as acoustic guitar for its balanced warmth and on kick drums for powerful, defined low-end punch, as demonstrated in modern reissues and vintage applications. Contemporary artists continue to employ U 47 reissues for vocals in pop and hip-hop, underscoring its enduring versatility across genres.^[25]^[36]

Legacy and Reissues

The Neumann U 47 has solidified its status as an industry standard for large-diaphragm condenser microphones, establishing a benchmark for tonal warmth and versatility that has shaped audio engineering for decades.^[1] Its design inspired a wide array of modern clones, including the Manley Reference Cardioid, which draws on the U 47's tube-driven character for rich, detailed recordings, and the Warm Audio WA-47, a more affordable recreation emphasizing similar midrange presence.^[37]^[38] Despite being over 75 years old, original U 47s remain actively used in premier studios for their ability to capture nuanced performances on vocals and instruments.^[39] The microphone holds profound cultural significance as a symbol of post-World War II innovation, marking Neumann's first post-war product and representing a fresh start in German audio engineering amid Berlin's reconstruction.^[5] In the collector's market, well-preserved originals with the rare VF14 tube fetch prices exceeding $15,000 at auctions, reflecting their scarcity—production was limited by component shortages—and enduring appeal among audiophiles and historians.^[40]^[41] The U 47 has been prominently featured in recording history books, documentaries, and even song lyrics, underscoring its role in defining the sound of mid-20th-century music production.^[18] Neumann has not pursued an official reissue of the tube-based U 47, primarily due to the unavailability of the VF14 vacuum tube, a critical component no longer in production since the 1970s.^[1] In its place, the company launched the U 47 FET Collector's Edition in 2014 as a faithful recreation of the 1970s solid-state model, utilizing original schematics, a K 47 capsule, and FET 80 circuitry for high SPL handling and classic articulation.^[15] This limited-edition release, priced at around $3,999 upon launch, honors the FET variant's legacy while bridging to modern workflows.^[42] In 2024, Vintage King introduced a reissue of the rare "large badge" U 47 model, featuring a VF14ER tube and M7-style capsule, continuing efforts to recreate the original's sound for contemporary use.^[43] The U 47's influence persists in digital realms through emulations like those in Universal Audio's Bill Putnam Microphone Collection UAD plugin, which models the U 47's proximity effect and polar patterns for virtual tracking.^[44] As of 2025, it continues to inform vocal recording techniques in hybrid analog-digital setups, prized for its "vintage warmth" that adds harmonic richness to sources.^[45] However, maintaining originals presents challenges, including the need for specialized tube replacements amid dwindling VF14 supplies, leading to critiques of unit-to-unit inconsistency when compared to reliable solid-state designs.^[46]

References

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U 47 - Switchable Condenser Microphone - Neumann
The U 47, introduced in 1949, was a technical revolution and is still considered the indisputable reference for perfect sound. With its well-balanced, extremely ...
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Neumann Model U 47 - Coutant.org
It was designed around a Telefunken-developed steel-cover radio tube, type VF14m. It became a bench mark mic in the early fifties, but was expensive at around ...
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Large-Diaphragm Microphone Capsules - Recording Hacks
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All about the Microphone capsule - Mic & Mod
Rating 4.8 (143) ... Neumann microphones such as the Neumann U47 or M49. The main feature of this capsule is that it uses a single backplate with a central termination. Its design ...
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The original U 47, developed by Neumann in the mid-to-late 1940's, was the first switchable pattern condenser microphone. It has become the most revered vocal ...
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VF14M tube, BV-08 output transformer; low self-noise (ca. 14 dBA); sound ... manufacturing period: 1949-1963. Favourite applications: the studio standard ...
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Technical Specifications ; Type: Vacuum Tube Condenser ; Polar Pattern: Cardioid, Omnidirectional ; Frequency Range: 20 Hz – 20 kHz, ±3 dB ; Power Source: External ...M 940H Tube Microphone... · M 840TH Tube Microphone...
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Sep 30, 2020 · Cathode voltage is around 1.15 volts and the supply voltage is 105 volts. Heater current draw is 41ma, plate current draw is low at around .4ma.How can VF14s still even work?!VF14 tubesMore results from gearspace.com
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It was the first microphone with a switchable polar pattern response. The M7 capsule, derived from the CMV 3, has two moving diaphragms producing a cardioid ...<|control11|><|separator|>
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The U 48 was a special variant of Neumann's flagship studio microphone, the U 47. Instead of cardiod and omni patterns the U 48 offered cardioid and figure-8.Missing: date units
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The Neumann U 67 is a multipattern large-diaphragm condenser microphone with a tube-and-transformer topology. It was introduced by Neumann in 1960.
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Feb 21, 2021 · ... sound, well some of that is because of actual vacuum tubes. He favored a Neuman GmbH U 47 large diaphragm condenser microphone which is/was ...
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We repair all Neumann microphones produced after 1947. If repair is not possible because certain spare parts are unavailable (e.g. VF14 and AC701 electron tubes) ...Missing: U 47<|separator|>