Description from Beesneez

There are 3 main areas of any microphone that give it character: the capsule, the circuitry, and the impedance conversion. The combination of these three in varying degrees allows the design team to add and/or remove frequencies. This design flexibility makes anything possible!

Our Capsule

We are using the BeesNeez K6 capsule. This capsule has been made in-house by our team for over 15 years and has been supplied to third-party manufacturers and also used in models of our own microphones (The Mahalia, The Shelise and The Isobel). This capsule is a recreation of the very same capsule that was in the Neumann U67, which is known as the K67. In this application, the capsule represents more than 80% of the overall sound.

Our Tube

The tube used in the U67 microphone is the EF86. This tube is well-known for its low noise and pleasant amplification at audio frequencies. In fact, it was one of the very few tubes that was designed specifically for audio frequencies rather than the more generic wider frequency ranged medium and sharp cut off pentodes and general use triodes that have been made by the millions and many of which are used by microphone manufacturers today. The BeesNeez team has spent decades searching for and researching tubes for microphones. The benefits of this can be heard across the entire range. For this particular model, we really have made an exciting find.

In the post-war 1940’s, Brimar and Mullard set out to specifically design and manufacture an incredibly quiet EF86 based tube. This tube was designed to have the lowest possible self-noise and still remain true to the specifics and design of the EF86. In order to keep the self-noise as low as possible, the tube’s grid (where the soundwaves enter the tube to be amplified) was re-designed to leave the tube through the head rather than, as it was previously, from the base. This design improvement (also seen on the AC701K microphone vacuum tube) was a distinct advantage as it keeps the low level easily permeable incoming audio away from the noise associated with the heating element of the tube. Sadly, due to the changes that would be needed by product manufacturers to use this new design, it never took off as a widely used variant. The tube manufacturer then aimed its sights at the DIY audio amplifier market. However, this also didn’t take off, so the design was shelved and the remaining tubes were stored. After researching and trialing this tube in the B67-269, we bought them all and will have enough tube stock to support this model throughout its very long lifetime.

This tube is a real game changer for us as EF86 tubes are getting so hard to purchase in usable quantities and many of those that are available today are either noisy or fail to pass the necessary tests to be used in a microphone. There are some currently manufactured EF86 tubes, but these do not even come close to the beauty of their vintage counterpart and do not even get a look in. Our Brimar/Mullard 86 designated tube is truly a remarkable tube and is so perfect for this application.

Our Transformer

Due to the enormous success of the B87i C microphone – largely stemming from its huge toroidal transformer, we decided to use this form factor also in the B67-269. The benefits of this transformer type are numerous, giving us a great platform to ensure excellent impedance conversion and perfect common mode rejection in signal balancing. The original U67 used a BV12 UI30 core transformer. This original transformer had a third winding that was used in a negative feedback filter network to assist in the overall sound sculpting. Most clone manufacturers omit this tertiary winding (due to its complexity) and opt for a simple circuit. To make a truly accurate clone microphone, we use this tertiary winding in the same way it was initially used. This winding is a huge part of the overall sound of the Neumann U67.

Our Circuit

In many microphones, the circuit represents merely a few percentage points. This, to some extent, is also true in the U67. However, this circuit, unlike many others, does direct the audio flow into various feedback and filter componentry and, even though the sonic footprint of the circuit is negligible, the overall implementation is critical to the finished sonics of the U67. Our circuit is true to form, and all filters/feedback are in place. For the more critical user, our circuit also has the following switching: Broadcast filter, High pass filter and Pad. The B67-269 is also a multipattern microphone with 9 available patterns from Omni through to Cardioid and Figure 8.

Compared to other models, there are relatively few U67 clone microphones available today. It has been said that this is due to similar microphones still being currently produced. However, it is more likely due to the complexity of the circuit and sound of the venerable U67. It should be noted that if any part of the original circuit is omitted, then the overall result cannot be achieved.

We are so pleased to be able to offer this great microphone to the market and look forward to the many fine recordings that will be made.

What’s Included:

▶  BeesNeez B67-269 Microphone
▶  BeesNeez Producer Series Shock Mount
▶  BeesNeez Producer Series Power Supply

2 reviews for The BeesNeez B67-269 (Version 2)

1. Rated 5 out of 5

   Brian Tochilin – March 5, 2024

   I bought a pair of these. I am using them as drum overheads right now. They sound unreal on OHs. The cymbals come though but are not harsh at all. The kick and snare also comes through in a very good way being upfront and not too far in the background. Perfect starting point for OHs. You can easily build the rest of your mix around them with the spot mics (kick/snare/toms etc). I also tried one on a guitar cab. My usual guitar cab mics are a 57 and a Royer 121 on the center of the cone. I added these to a 2nd speaker on the cab. Tried about 12 inches back then 6 and got to 3 inches and really liked that sound. The 57/121 combo had a 3k boost in it. The 67 was more rounded in that area. Maybe felt a little more back that the 57/121 combo I am used to but it had a wonderful sound too it. I blended all three and the tone was great. I am sure I could have gone all 67 and would have been fine but wanted to capture all of it to be safe. I have not tried them yet on anything else. Want to try them on vocals, acoustic and percussion. I want to buy a 3rd one now. I just want these things to live on my drum OHs and guitar cab. For the price you cannot at all go wrong. A++. Wish the shockmount was made better and they had Neutrik/Magomi cable but whatever does not effect the sound at all.

2. Rated 5 out of 5

   Aaron – November 23, 2024

   Well, my dreams seem to have come true. I wanted the sound, or at least in that realm of a u67. No one seemed to be able to do it or be bothered to try for whatever reason. I had a couple of mics that were supposed to be in the vein of the u67. One was around $2000 USD and just ok. The circuit was not at all the same and the capsule was probably average. The other mic was actually great, but not a u67 circuit or sound really. It had certain qualities that were similar, but it was decidedly different. After I saw Josh Seawell’s video of the BN b67-269 and heard first hand accounts from people I trusted, I decided to order one during the end of year sale. As soon as I plugged it in, I was shocked. There was that wonderful mid range, smooth top and not so boomy low end. You can get quite close to this mic before pops are a real issue. With hi end digital converters and modern chains that are often something like “microphone>preamp>converters” you can get some very bright and uninhibited sounds. That is sometimes wonderful, but often it is not. I think this is what has given way to much of the modern explosion of ribbon mics we see now. Tambourines, shakers, drums, all sorts of sources like this can actually be painful with a condenser, especially modern bright ones. I put the b67-269 up and tried vibraslap, tambourine, shaker etc and it just eats up the harshness and puts out a beautiful, slightly saturated sound. Magnificent! It sounds lovely on my voice, incredible on my Ukulele, acoustic guitars and has a very unique sound on guitar cabs. I was so stunned at the value and sound that I bought a second one immediately. It looks great as well. The power supply is a tank. The mic is fairly clean and simple on the inside with a modern PCB setup and a nice big toroidal transformer. The capsule must be perfectly made because this mic sounds as good as anything I’ve heard to date. It also has a set of DIP switches inside so you get several modes, 269 included. Thank you, Beesneez, for making this classic sound affordable to us “regular” guys and gals.