Ben and Veronica Sneesby have been making mics in Australia for nearly 25 years (the name derives from Ben’s nickname in high school). Some of their mics have been designed as modernized clones of classic originals (e.g., Neumann U 47, Telefunken ELA M 251, etc.), while others are original designs named after their kids: Elly, Phelicity, and Oliver, for example). They take pride in building nearly every component of their microphones in the BeesNeez factory, including capsules (arguably the most important element of a microphone design) and transformers – they even machine the bodies for most of their models. I have owned one of their Arabella large diaphragm tube condensers for many years, and it never fails to impress on a vocal performance (male and female). Clients always comment on the deep, warm presence of the mic on their voices, and it never requires much corrective EQ in a mix.
When I learned BeesNeez introduced their new take on the Neumann U 67 (one of my desert island mics) – incorporating some features added to the M 269 (two years after the U 67’s release) into a single mic – I knew that a pair of these had to be mine. The B67-269 Version 2 adds more to the original design (still available at a slightly lower price), which makes this latest update an incredibly versatile microphone indeed! Both the original and Version 2 feature the BeesNeez K6 capsule, a recreation of the Neumann K67, which doesn’t disappoint. I have no issue shoving a U 67 in front of a roaring 4 x 12 guitar cabinet, because I know the mic will give me exactly what I’m hearing in the room. The B67-269 handles this role with aplomb, both on its own and when paired with a dynamic or ribbon mic for additional tone shaping. What I’ve always loved about U 67s is that they are so incredibly versatile and can reproduce a full frequency width without having certain ranges overwhelm others; the high end is present but silky and not harsh. The lows are full, yet never wooly or muddy. The midrange is perfectly natural and neutral but not boring. The B67-269 mimics this presentation perfectly.
The BeesNeez mic uses a NOS Mullard CV4006 or Brimar 6BR7 tube, a lower noise variant of the EF86 found in the original Neumann U 67. The M 269 swapped that tube for an AC701, which was a “micro-tube” also used in the Neumann M 49. The tube choice is spot-on for authenticity and tone with lower noise. The included power supply has a nine-position polar pattern switch on the front with the XLR input and 7-pin mic cable connector. The power switch and voltage/fuse switch are on the back. I do wish there was a power LED indicator on the power supply so I would know when I’ve forgotten to switch the mic off after a session.
The B67-269 Version 2's enlarged mic body and head basket brings it closer in size to the original Neumann mics – many may be quite surprised at how the tone of a mic is affected by its size and the shape of the head basket. Version 2 also offers switchable voicing via a five-position DIP switch inside the mic body; access requires unscrewing the bottom body cap then pulling the main body down a couple of inches to reveal the switches. Having a small jeweler’s screwdriver handy to move the switches is recommended. These controls activate the high-pass filter (-0.75 dB per octave from 500 Hz which equates to -3 dB at 20 Hz), a -10 dB pad, the original Neumann U 67 S2-style “broadcast filter,” plus New and Old voicing for both 67 and 269 modes. The Old settings on each are designed to recreate the original frequency responses of the two mics, while the New setting in 67 mode adds high mids and air, in 269 mode there’s a boost in the low mids and air – think of it as a little smiley face curve to modernize the output of the mic. I love 269 mode, maybe even a little more than 67 mode, and in both, I prefer the Old more than New settings. I’ve used both original Neumann U 67s and 269s many times. If I’m working with a microphone based on either of those, I definitely want to hear what I expect from the originals.
In the few months that I have had the B67-269 Version 2s they have been used as drum kit overheads, drum rooms, on many guitar amps and acoustic guitars, a beautiful Steinway grand piano, upright bass, and multiple male and female vocalists. I’ve tried both 67 and 269 voicings on many sources. Not once have I wished I’d chosen a different mic after hearing the results during playback or mixing.
The price of a pair of original Neumann U 67s (or even the re-issues) is not quite what one could consider an impulse purchase – or any purchase, for that matter! BeesNeez’s ability to come so close to capturing the truly special characteristics of classic Neumann mics at this price point speaks volumes to their ingenuity and talents at mic design. The B67-269 Version 2 ships with a molded, padded case that holds the power supply, shock mount, and mic; it also includes a pouch for mic and power cables. Check the price below – it’s not a bargain; it’s a miracle! Now, it’s time to decide on the next BeesNeez mic to add to my locker.
_disp_horizontal_bw.jpg)