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Author Topic: Neumann U47fet Reissue: Complete Tear Down and Analysis  (Read 35522 times)

Offline klaus

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Neumann U47fet Reissue: Complete Tear Down and Analysis
« on: October 17, 2014, 06:55:00 pm »
The following review, including close-up pictures, can be viewed in its entirety here


What company can safely use the word 'reissue' for daring to name and shape a new mic after an old, without receiving ridicule, disdain, or other forms of disrespect from audio professionals and collectors? Of the remaining Heritage brands, only Neumann can!
AKG cannot, and Telefunken... well, that's an entirely different story again.

'Reissue' is the appropriate terminology for a mic that most closely resembles its direct forbear, ancestor, or whatever else you want to use to describe true blood.
In my dictionary that was assembled from a life time of experience, rather than from a Thesaurus, 'Replica' connotes a cheap version of the real thing, and 'copy' and 'clone' are more honest efforts that fall short. That leaves us with "Re-Issue"- the closest thing to the real thing, where all vital, sound-shaping components are identical with the original, and the rest as close to it as can be sourced or manufactured today- while cutting absolutely no corners in doing so.

It's been a couple of decades since Neumann "revisited the past" with considerable dedication and attention to detail: The 1992 reissue of the U67 (a few hundred pieces, starting with serial number 10000) was, with the exception of the head/switch assembly indeed 1:1 authentic in construction and sound; consequently, quite unlike other copies of famous mics attempted by mere mortals, that reissue has seen its value rise right up to where the originals have recently soared in price.

With the company's emphasis of never revisiting the past, it came to me as a surprise when I received notice from Neumann last week that it would be offering, in limited numbers, an authentic reissue of the original U47fet-a model which, during its first run, never quite caught the enthusiasm of the buying public like the U47 tube did and still does: expectations were for something a bit closer in build and sound to the famous predecessor than a stubby, single-pattern rendition with a discrete six-transistor + FET op-amp at its heart, with relatively low output, and not exactly three-dimensional subtlety of tone, sensitivity and musicality.

My aim is to analyze to what extent the fet47 reissue of the ultimate kick drum mic (tongue in cheek, and more about that later) has succeeded in rivaling the original fet47, which was last issued more than 28 years ago (start of conceptualizing: 1969, beginning of production: Spring 1972).

I am grateful to Vintage King which loaned me a sample of the new mic for a few days. I also would like to acknowledge feedback from Neumann's Martin Schneider, who added valuable additions and corrections of some historic details.

Right away, looking at the outside, the mic's first impression, build quality and adherence to original dimensions, shapes and surface treatment are impressive; though it will be rather easy for a lay person to distinguish reissue from original: the cardioid sign is upside-down on the reissue.
The basket is as sturdy with its three layers of mesh, as the original, and though the bead blasting of the housing and head surfaces is a bit coarser and shinier than in the past, it does no harm to the first impression: everything looks and feels solid and absolutely identical to the original, except for a slightly shorter thread section on the mounting arm.

Ernie Black, our webmaster, has helped me upload some high res pix, which I annotated with further comments.
(FYI: in all photos, the reissue will be shown on the left.)

P.S.: All photos in this thread are copyrighted and may only be duplicated or copied by adding "© Klaus Heyne 2014".

Once you carefully look at the side-by-side pix- reissue and original- you recognize that the reissue is indeed the real thing, all the way to the muddled, point-to-point arrangement of discrete FET, capacitors, resistors and wiring-all still arranged like an enthusiastic bread board project. How an ultra-high tech company like Sennheiser could still train human beings to duplicate this mess and solder it in place, rather than use a neat SMT chip is beyond me. But duplicate they did, in every little and big detail, all the way, no shortcuts. Amazing. This fet47 reissue is even closer to the original in all aspects of parts choices, construction, build quality than the few hundred U67 that were made in 1992 were to the original U67.

Note to fakers: knowledgeable fet47 collectors will not fail to distinguish original from reissue- there are subtle nuances everywhere, and no part could ever be substituted and not noticed as stemming from the reissue- slightly different angle and bead blasting of the Philips screw heads...different mesh density of the inner top basket layer... Fairchild FET vs. TI FET...
Having said that, all parts aside of the new and hopefully longer lasting switches (see below), are fully interchangeable between old and new.

The Sound

I used two stock U47fet (circuits 930-04, 930-05) as comparison. I left the strapping at 200Ω (bottom switch at right, full output position), and also left the fairly useless attenuator switches (low-end, -10dB) off.

How does the sound of the reissue compare? Same cotton-mouthy sibilance, same restricted high- and low-end, same dynamic behavior. I could not tell the difference in sound and character signature between original and reissue, even after switching head assemblies around: the op-amp-driven processor is such a strong sound shaper, it obliterates any possible subtleness derived from different capsule timbres (and the K47 capsule, including the current batch, is quite a stunner when not pressed through so much electronic processing as it is in the fet47).

Speaking of subtlety: The fet47 has none, and never had any. But there is a clearly identifiable character to this mic, and that character has a deserved, firm place in any well-stocked mic locker: I don't need to revisit the peculiar synergy between a kick drum's beater attack, delayed drum head response and this mic. It also excels with stand-up bass, because it does not obliterate texture, and does not boom too much in the bass, it's fantastic on many a brass instrument, and even works with some voices, particularly male (the transformer and K47 add to a faint impression of a U47, despite the op-amp).

Bottom line: the U47fet reissue has the exact same sound in all its (non-) subtlety as the original. And, no wonder: all sound-shaping electronic components, capsule, FET, head shape, basket, transformer, etc. etc. are identical. with the original version. (Even if Haufe or whoever makes the transformer now cheated on the exact transformer winding specs and core laminations of the original Berlin-made transformers, they must have done an awfully good job faking it).

So here is my prediction: the sales curve for the fet47 will start steep, filling a need in the $3.5K price range for a specialty mic of highest build-quality and superb quality control, like few other mics currently can. There will also be some hoarders and collectors standing in line who hope for the same result as the U67 reissue (right before the 2008 crash, fet47s went for well above $4000.-), and, after the initial rush, sales will gradually fade. But hopefully, sales will not fade below profitability for Neumann any time soon, because it would be a shame to not entice Mr. Fraissinet towards scheming the next vintage reissue (starts with a "K" and ends with a "4").

Ernie Black, PSW's webmaster, graciously helped me upload the pictures (hence his name as poster).

First picture:
Note the shorter mic stand adaptor piece on the reissue (mic on left), copied from the 1983/84 model, and also used in TLM170
« Last Edit: July 05, 2018, 02:01:23 pm by klaus »
Klaus Heyne
German Masterworks®
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #1 on: October 18, 2014, 12:45:32 pm »
Rear View.
Note the new switches are in the 'off' position mid-way, whereas the original switches had the indent at the bottom of the switch travel when 'off'. (Reissue on left, as on all other pictures)
« Last Edit: July 05, 2018, 01:46:01 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #2 on: October 18, 2014, 12:46:09 pm »
Basket Front
Note the reversed cardioid logo on the reissue. Same as on the original model manufactured from 1980 onward (original on right is from 1975 and is featured throughout this analysis).

Other than that, same quality, dimension, weight and feel as before.
« Last Edit: October 21, 2014, 04:40:34 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #3 on: October 18, 2014, 12:46:48 pm »
Basket Inside
Inside weave on top screen is the finer mesh variety, as used in the model after 1980, but, unlike the M149, the basket is still a three-mesh affair with, from outside: coarse, fine, medium.

Note the different head assembly mounting surface: rather than honing out the brass plate except for the ears containing the three mounting holes (through 1980) the whole ring is now of uniform thickness, as it was after 1980.
I tried the new basket on the old head assembly, and vice versa: no problem, perfect fit.
« Last Edit: October 21, 2014, 04:23:31 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #4 on: October 18, 2014, 12:47:20 pm »
Capsule and Mount
Note the '14.' inscribed on the diaphragm ring: it indicates a 2014 capsule manufacturing date.

The capsule suspension rubber is as flexible inside the capsule column as it was before, for good damping, and nice whip-lash injuries when you drop the mic.

Hence the protective nylon capsule collar which was not part of the original, at least not on the capsules of the first two generations. The collar buffers and isolates the diaphragm ring against diaphragm distortion after an impact against the inside of the basket during whiplash: the nylon ring, not the diaphragm ring, makes first contact and redirects the impact force to the backplate, via the two collar mounting screws.
« Last Edit: October 21, 2014, 04:35:56 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #5 on: October 18, 2014, 12:47:50 pm »
Connector Plate
Aside of using a Neutrik, rather than Switchcraft 3-pin XLR, all seems the same as before.
Note the serial number of one of the first units shipped: 10106. I.e. most likely the pre-series went to <10100 or so, and they started shipping with ser. no. 10100 to customers last week.
« Last Edit: October 20, 2014, 05:20:52 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #6 on: October 18, 2014, 12:48:22 pm »
Head Connectors
Note the close resemblence of the new part to the old. We are starting at ca. 10.000 with the re-issue, (the head plate serial number always used to hover around the serial number of the mic).
The U47fet reissue most likely started at 10.100.
« Last Edit: October 20, 2014, 05:18:32 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #7 on: October 18, 2014, 12:48:52 pm »
Bottom Board
Point-to-point, as always; no chips or multipoint wire connectors to be found anywhere
« Last Edit: October 18, 2014, 04:56:29 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #8 on: October 18, 2014, 12:49:17 pm »
Amp Guts.
According to Neumann's Schneider, the model they chose to duplicate 1:1 for physical circuit layout was from ca. 1972- Circuit #02. While the electrical circuit and physical features of the mic resemble that of the #06 variety (last version with three switches. Two remaining versions, #07, #08 did away with the -6dB switch, and had the transformer output strapping permanently set for 200Ω, i.e. secondaries connected in series).

Notice the same point-to point mess that has tripped up countless repair people over the years. The version after 1974 at least had a board which you could slide forward for better access to most of the amp components (see vertical edge of the gray sub-board, with T2 (BC212) showing horizontally). Until 1974, as in the reissue, every time you want to work on the mic amp, you have to do micro-surgery in situ, due to the lack of a circuit board that can slide out.

Note hexagonal column-construction of the amp compartment of the reissue, same as the original through 1974; whereas plastic injection molding was used after 1974 to form the amp cavity (the original in all pictures is a 1975 model). The plastic mold allowed for a slot to insert a newly developed rectangular circuit board, which made component layout and servicing a bit easier.

It's kind of amazing that Neumann would succumb to such unorderly component layout, but kind of cool that they have no shame doing it, for the sake of keeping it all original and immune from criticism by "100% authentic"-freaks, damn the preconception of German anal-retentiveness.

« Last Edit: October 21, 2014, 04:35:02 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #9 on: October 18, 2014, 12:49:42 pm »
Transformer Side
Note transformer core lamination differences. This could just be the appearance of the cutting edges of each laminate, or it could be a different alloy. Winding resistance seems similar to the old one, ± 10%. In any case, it does not seem to matter- the tone of the new mic retains its original characteristics.
« Last Edit: October 20, 2014, 05:09:42 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #10 on: October 18, 2014, 12:50:11 pm »
Top Board plus new FET used.
Late versions of the original (after circuit 930-05) had the FET mounted as it is on the reissue: on the outside of the top board (mine is a 930-05). Note the new FET used: a Fairchild 2N3819, same model, different manufacturer, as was used until the early 1980s. Sample FET placed on top of board, for illustration what it looks like.
« Last Edit: October 18, 2014, 04:48:37 pm by klaus »
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Offline Ernie Black

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #11 on: October 18, 2014, 12:50:42 pm »
Switches.
The question has come up repeatedly: can the old attenuator and impedance switches, which tended to self-destruct, because of their brittle plastic housings, be replaced by the switches from the reissue?

The answer: not easily, if at all. The mounting hole distance to screw them into the side and bottom wall was 22mm old, and is 17mm on the reissue. With other words, the original fet47 mic housing and frame would need to be modified to fit them.
« Last Edit: October 18, 2014, 04:45:18 pm by klaus »
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Offline hasbeen

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #12 on: October 18, 2014, 02:18:41 pm »
Thanks for taking the time! Can't wait for sound impressions.
Who Is John Galt?

Offline musicalnyc

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #13 on: October 20, 2014, 04:14:48 pm »
Awesome.  If only every microphone review on the internet were this deeply knowledgable, thorough, and helpful...  Thanks Klaus! :D

Offline Glenn Bucci

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #14 on: October 21, 2014, 07:16:30 pm »
Cheers Klaus, your insight is always appreciated and insightful.  ;D

Offline mike_mccue

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #15 on: October 31, 2014, 08:07:16 pm »
Thanks for making the photos available for viewing and sharing a first hand review.
Mike McCue
Tallahassee Florida USA

Offline SergioA

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #16 on: November 25, 2014, 01:45:04 pm »
Great post. Thanks
Sergio Armes

Offline Nob Turner

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #17 on: November 29, 2014, 01:15:31 pm »
The one thing missing so far is an operational assessment. Has anyone used one of these yet? Liked/disliked it? That, while anecdotal, is after all the real question.

Offline klaus

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #18 on: November 29, 2014, 01:33:22 pm »
Not sure what an "operation assessment" may mean aside of the sound (see chapter "The Sound" in the very first post of this thread)?
Klaus Heyne
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Online aremos

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #19 on: November 30, 2014, 12:04:28 am »

The Sound
... Same cotton-mouthy sibilance, same restricted high- and low-end, same dynamic behavior.

Is it that this mic's sibilance, as well as it's hi's & lo's, are not up to par with other Neumanns or are those "qualities" part of it's signature sound?
How does it compare to other K47 capsule Neumann mics (new & old) when it comes to voice?

Offline klaus

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #20 on: November 30, 2014, 01:54:13 pm »
The attributes you quoted from my impressions of the sound of the mic are in my opinion a result of the unusual electronic processing in the U47fet (op-)amp. The only other mic of that era which used it was the U89 and the KMR shotgun series.

A K49-equipped mic with a different and less complicated electronic signal path, like an M49, sounds markedly different, and, in my opinion, more "hifi", and a bit more musical. (So does the K89 when, for example, mounted on a U87.)

The K47/49, old or new, in my opinion is the finest LD capsule product Neumann has manufactured since the demise of the M7, in 1958/59.
« Last Edit: November 02, 2015, 11:11:35 pm by klaus »
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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #21 on: November 30, 2014, 09:40:49 pm »
How does the 47fet compare (if it's even possible to describe) on vocals to the M49 or U47 even if those are valve & not fet?

Offline Daniel_Dettwiler

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #22 on: December 11, 2014, 02:27:26 pm »
To my ears they don't compare very well to a M49 or U47 and I always felt it was a stupid Idea from Neumann to call that mic 'U47 Fet' (because it implies to many musicians that the studio would have a U47 and they would get that magic sound). When you come to think of it, the U87 is also not called 'U67transistor.'

Vocals with the U47fet are quite "flat" in the meaning you will not hear the size of the body of the singer as with the U47 tube. That must not be bad, i.e. if a singer sings loud and you need the voice in front and it shall sound "rocky" but not have any depth, the 47fet can be ok. It lacks personality, however, and it does not have an organic sound. The U47 (tube) however has a very round, warm and organic sound that it gives to almost every voice. It sounds gorgous and lush and opens the 5 kHz range in a nice and often magic way, giving it almost a little "grainy" character in a good way (the M49 does that in a similar way while the U47fet is more "hard" but not open in this range) .

That all said, I have a lot of U47 (tubes) but at the moment no U47 fet. I worked with it a lot in other studios, so I really know the fet-version fairly well. I want one, but really would use it on bass drums only, and maybe sometimes on guitar amps.

The M49 is another great mic that I love, but it does not come to be used on vocals here much. It shines on piano and all kinds of brass and it is also great on jazz overheads. And it is magic on cello, and a pair of M49 with K47's will shine as main mics for a string quartet. It sounds more "wooden" than a U47 with a somehow tighter sound in the low mids and is somewhat "drier".
Daniel
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« Last Edit: December 11, 2014, 05:24:30 pm by klaus »
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Offline NelisB

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #23 on: December 12, 2014, 04:22:33 am »
The K47/49, old or new, in my opinion is the finest LD capsule product Neumann has manufactured since the demise of the M7, in 1958/59.

Off topic, sorry, but Klaus, how is the K870/67 different from the K47/K49 soundwise? Mister Schneider (Neumann) writes that these capsules are acoustically identical. What differences do you experience?

Thanks, Niels

Offline klaus

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #24 on: December 12, 2014, 04:23:38 pm »
Hello Niels, I am pretty sure you misunderstood Martin Schneider:

the K870/67/87 has an 8dB rise in the high frequencies, around 9kHz, while the K47/49 is almost flat in that region, with a mere 2dB rise, at most.

Both capsules also vary dramatically in their construction: the K870/67/87 is a Braunmühl-Weber, double-backplate design with acoustical pathways between the plates, whereas the K47/49 is a single backplate design lacking these pathways.

Hence the dramatic difference in response. (The high-frequency rise of the K870/67/87 is mitigated in the electronics of all mics that use that capsule).
« Last Edit: December 12, 2014, 06:07:41 pm by klaus »
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Offline NelisB

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #25 on: December 12, 2014, 04:47:58 pm »
Thanks Klaus for your explanation.

And you are right, I mis-read mr Schneider's info.




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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #26 on: December 23, 2014, 03:59:37 pm »
... Vocals with the U47fet are quite "flat" in the meaning you will not hear the size of the body of the singer as with the U47 tube. That must not be bad, i.e. if a singer sings loud and you need the voice in front and it shall sound "rocky" but not have any depth, the 47fet can be ok. It lacks personality, however, and it does not have an organic sound. The U47 (tube) however has a very round, warm and organic sound that it gives to almost every voice. It sounds gorgous and lush and opens the 5 kHz range in a nice and often magic way, giving it almost a little "grainy" character in a good way (the M49 does that in a similar way while the U47fet is more "hard" but not open in this range) .
That all said, I have a lot of U47 (tubes) but at the moment no U47 fet. I worked with it a lot in other studios, so I really know the fet-version fairly well. I want one, but really would use it on bass drums only, and maybe sometimes on guitar amps. ...

Here's an interesting use of the 47fet on vox (2 w/ 170's):

https://www.youtube.com/watch?v=jmTs1c_K720

Offline gtoledo3

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #27 on: February 26, 2015, 09:35:31 pm »
For what it's worth, the Aretha Franklin album "Who's Zoomin' Who" is said to have used a 47fet in one of the Mix Magazine "Classic Tracks" articles.

Offline brightmillion

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #28 on: March 22, 2015, 03:14:20 am »
What I am wondering- with the 47fet reissue's going for $4000 new and the vintage ones on eBay going for around the same +/- $200, what would be the advantage of one vs. the other to a new purchaser? 

I could see if a re-issue came out significantly lower than the vintage market it could sell very well (not that I'm suggesting that Neumann should be selling it for $1500 or whatnot). But it seems a vintage one would possibly retain a higher resale value in the long term still? assuming it is in proper working condition..

Klaus, would you grab a reissue to record just as quickly as a vintage one? Or if still given the choice, go for a well maintained vintage one?
« Last Edit: February 18, 2018, 02:07:02 pm by klaus »

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #29 on: March 22, 2015, 01:19:58 pm »
$4K is the retail price. You can obtain them at a lower price. I would say it's a "no-brainer". Why opt for something used (God knows how many times it's been put in front of a kik drum) when you can buy it brand new for around the same price?

Offline klaus

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #30 on: March 22, 2015, 03:50:23 pm »
Quote
$4K is the retail price. You can obtain them at a lower price
Please cite concrete examples.

Neumann has become very strict about undercutting its MAP pricing. You will not find a new U47fet for under approximately $3800.- because otherwise, the dealer will be cut off.
« Last Edit: March 22, 2015, 03:58:58 pm by klaus »
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Offline klaus

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #31 on: March 22, 2015, 03:57:48 pm »
Klaus, would you grab a Reissue one to record just as quickly as a Vintage one? or if still given the choice, go for a well maintained vintage one?

Given the audible differences in capsule sounds, I would grab the better sounding one: Neumann specifies ± 2dB for this mic over the entire frequency range, which means there may be as much as 4 dB off from one to the next fet47 at any frequency point, which is audible and character-defining. Almost all of the mic's response spread or tolerance is due to the hand-made capsule.

The verdict is much more iffy if you asked me which one will retain its value over the long run. From experience with the U67 reissue, it could end up that both- vintage and reissue- will appreciate equally in value over time, especially if the reissue will be limited in numbers (notice: I use "appreciate" rather than "retain").
« Last Edit: March 23, 2015, 03:36:25 pm by klaus »
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Offline Daniel_Dettwiler

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #32 on: April 11, 2015, 03:57:39 am »
To me the benefit of getting a vintage one would be if the capsule inside is still original but also still top notch. If it was an M7 that still works great even better. But even with the K47, while I do agree that new one's sound great the few original old ones I have that are still in good shape do sound better to my ear. ( I still don't know if this is because they indeed were manufactered better or if it is because of aging - maybe Klaus can bring some insight here?)
If how ever the vintage Capsule sounds hard, lacks bass and does not give the sense of dimension (which is the case with most old capsules I have gotten) then I would prefear to buy the reissue rather to let the old capsule reskinn.

Daniel
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Daniel Dettwiler
www.ideeundklang.com
www.volkshausstudio.com

Offline soapfoot

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #33 on: April 11, 2015, 08:58:40 am »
Daniel,

I don't believe the 47 FET ever shipped with an M7 capsule. Someone can correct me if I'm wrong, but I do believe that Berlin Neumann had phased-out the M7 long before the 47 FET's introduction.

Offline Daniel_Dettwiler

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #34 on: April 11, 2015, 01:12:52 pm »
Soapfoot

I always thought there was a small number of M7-47fet's, but I could be wrong. Don't know who telled me that there was a version with the m7. All the 47 fets I used indeed had a K47...
thanks
D.
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Daniel Dettwiler
www.ideeundklang.com
www.volkshausstudio.com

Offline klaus

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Re: Neumann U47fet Reissue: Complete Tear Down and Analysis
« Reply #35 on: April 11, 2015, 03:28:55 pm »
M7 were discontinued by Neumann in 1959. U47fet was introduced in 1972. No U47fet, original or re-issued, was ever delivered with an M7.
Klaus Heyne
German Masterworks®
www.GermanMasterworks.com