The Sound of the Seventies
“Smooth” is the word that best describes the sonic ideal of the seventies. The then new U 47 fet was very much part of that sound. Introduced in 1972, it soon became a studio favorite combining the refined sound balance of its tube predecessor with a new clarity and greater ease of use. Toward the mid-80s, as records became increasingly more strident, the smooth U 47 fet fell out of favor as a vocal microphone and was discontinued. Yet over the years top engineers discovered new applications for the U 47 fet in front of guitar cabinets and kick drums. Eventually, famous vocalists from boy group pop to heavy metal reestablished the U 47 fet as a versatile vocal microphone. So now, by popular demand, it’s back in production.
Far from Outdated
The U 47 fet uses the same K 47 large diaphragm condenser capsule and the same headgrille design as its tube operated predecessor, the legendary U 47, which revolutionized the recording and broadcast industries from 1949 to1960. For sonic continuity, the U 47 fet also uses a similarly oversized output transformer. Otherwise, its transistorized head amplifier is an amazingly advanced design and a testament to Neumann’s state of the art engineering. This “vintage” microphone has a dynamic range of 119 dB!
The U 47 fet can handle extreme SPLs of up to 137 dB, and even 147 dB with the –10 dB pad switch engaged. This, along with its smooth top end and lush midrange, makes the U 47 fet an excellent microphone for bright and loud instruments such as brass and electric guitar. Due to its exceptionally clear and uncluttered low end, it is a great choice for upright bass and bass cabinets. Numerous top engineers consider U 47 fet the ultimate microphone to place in front of the kick drum. At the same time it is an excellent vocal mic for crooners and screamers alike, due to its beautifully balanced response with just a slight, unobtrusive boost in the upper mids for added presence in the mix.
The U 47 fet comes with a unique one-sided swivel mount, which makes it easy to position. Pad and low cut switches are accessible on the rear of the microphone. An additional switch next to the XLR socket allows for attenuating the output signal by 6 dB, which is a handy feature in conjunction with low-headroom vintage preamplifiers.
- Exact reproduction of the classic U 47 fet (1972-1986)
- Solid state successor of the legendary U 47 tube microphone
- Balanced sound with superb presence
- Cardioid pattern
- Large output transformer
- Low self-noise and enormous SPL capability
|Acoustical operating principle||Pressure gradient transducer|
|Frequency Range||40 Hz ... 16 kHz|
|Sensitivity at 1 kHz into 1 kohm||8 mV/Pa = –42 dBV ± 1 dB|
|Rated Impedance||150 ohms|
|Rated load impedance||1 kohms|
|Equivalent noise level, CCIR 1||25 dB|
|Equivalent noise level, A-weighted 2||18 dB-A|
|Maximum SPL for THD 0.5% 3||137 dB|
|Maximum SPL for THD 0.5% with preattenuation 4||147 dB|
|Signal-to-noise ratio, CCIR (re. 94 dB SPL) 5||69 dB|
|Signal-to-noise ratio, A-weighted (re. 94 dB SPL) 6||76 dB|
|Maximum output voltage||-3.3 dBu|
|Supply voltage (P48, IEC 61938)||48 V ± 4 V|
|Current consumption (P48, IEC 61938)||0.5 mA|
|Matching connector||XLR 3 F|