The fabled Neumann U 87 large-diaphragm condenser has been around for almost six decades. Long established as a first-pick microphone by top engineers, producers and artists, the U 87’s hit-capturing track record is outshined only by its enduring prevalence in the modern recording age.

And there’s good reason for its storied reputation and continued application in world-class studios everywhere—it sounds good on everything. After all, an industry-standard large-diaphragm condenser should have some flexibility, and the Neumann U 87 is a contortionist in the studio.

In this article, we’ll uncover the history of the U 87, discover famous artists who’ve recorded with it, learn how it’s constructed, find out how it’s often used and see how it compares to other microphones in the current Neumann catalog.

Table of Contents

The History of the Neumann U 87
Famous Uses of the Neumann U 87
Constructing the Neumann U 87
   Neumann U 87's FET/Transformer Design
   Neumann U 87's K 67/87 Capsule
   Neumann U 87's Connection Types
   Neumann U 87's Phantom and Battery Power
What Does the Neumann U 87 Sound Like?
Common Applications for the Neumann U 87
   Recording Vocals With the Neumann U 87
   Recording Acoustic Instruments With the Neumann U 87
   Recording Electric Guitar and Bass With the Neumann U 87
How the U 87 Compares to Neumann's Current Offerings
   Neumann U 87 Ai Large-Diaphragm Condenser Microphone
   Neumann U 67 Tube Condenser Microphone Reissue
   Neumann U 89 i Large-Diaphragm Condenser Microphone
   Neumann TLM 103 Condenser Microphone
   Neumann TLM 107 Condenser Microphone
A Chicken for Every Pot and Two Neumann U 87s for Every Mic Locker

The History of the Neumann U 87

Design of the U 87 condenser microphone began in 1966 under Dr. Gerhart Boré and his team at Georg Neumann GmbH. Its heritage goes back years prior, when, in 1958, Boré was tasked with creating a successor to Neumann’s famed U 47 tube condenser microphone due to supply shortages.

First released in 1960, the follow-up U 67 tube condenser was an instant success. Quickly adopted by studio professionals, Neumann shipped 10,000 units over the course of 11 years. The U 67 was woven into the fabric of recorded music during one of its most influential decades. Still, vacuum tube-based microphones were cumbersome, and technology was rapidly developing—the U 67 ceased production in 1971, after a proven newcomer emerged.

Pictured: Neumann U 87 Miking Grand Piano

At least partly in concert with Neumann’s invention of 48V phantom power in 1966, Boré found himself on the cutting edge again. This time, in designing a solid-state version of the U 67, six years into its production cycle. Debuting in 1967, the U 87 positioned itself to replace clunky tube condensers of the era as a contemporary alternative, making use of recently viable field-effect transistor (FET) circuitry. Neumann’s latest innovation was one of the first transistorized microphones of its kind.

By the mid ’70s, the Neumann U 87 large-diaphragm FET condenser was a studio staple. Transistors were “in,” and the U 87’s sonic fidelity was indisputable—Neumann, once again, rocked the audio world forever.

Famous Uses of the Neumann U 87

It’s one thing to discuss a microphone’s legacy in a vacuum, but it’s better to understand how the U 87’s actually been used on famous recordings. While certainly a workhorse, one of its primary applications has always been vocals.

• Producer Elliot Mazer recalls a U 87 was used to capture Neil Young’s lead vocals, as well as Linda Ronstadt’s and James Taylor’s backgrounds, on the #1 single “Heart of Gold”
• Engineer Jay Messina used an 87 for Steven Tyler’s vocals on the Aerosmith hit “Walk This Way,” in addition to a pair for overheads on Joey Kramer’s drums
• Producer Mike Thorne recorded Marc Almond’s vocals (in one take) on Soft Cell’s iconic cover of “Tainted Love” using an 87
• Producer Steve Levine grabbed an 87 for Boy George’s vocals on “Do You Really Want to Hurt Me”
• Engineer Bill Jackson supplemented a DI bass performance by John Avila with a Neumann U 87-miked amp on Oingo Boingo’s “Just Another Day”
• Engineer John Cutler recorded Jerry Garcia’s vocals on The Grateful Dead’s “Touch of Grey” with a U 87
• Engineer Tom Flye relied on the U 87 for Don McLean’s “American Pie,” recording vocals, toms and piano
• According to producer Michael Beinhorn, Chris Cornell’s powerful voice burned through several U 87 diaphragms during Soundgarden’s Superunknown sessions
• Producer and engineer Young Guru frequently goes for a U 87 when recording Jay-Z’s vocals
• The Neumann U 87 was used on her vocals during Amy Winehouse’s Back to Black sessions

Truly, there are innumerable instances of the Neumann U 87 being employed in the studio. From timeless legends to today’s up-and-coming artists, the U 87 continues to capture musical magic as it has from day one.

Constructing the Neumann U 87

Dr. Gerhart Boré had a solid foundation on which to build the Neumann U 87, borrowing many elements from the U 67—minus the tube. A modestly modified K 67 capsule, with virtually identical sonics, returned in the U 87, as did the U 67’s sleek, tapered, authoritatively “Neumann” enclosure.

Neumann U 87's FET/Transformer Design

The most important ingredient of the U 87’s recipe is solid-state circuitry. Borrowing its capsule from the U 67, the 87’s amplifier is also based on similar principles as its tube-driven inspiration. However, it reaches this end by means of a proprietary FET circuit and transformer-balanced output, offering incredible signal fidelity and consistency.

The Neumann U 87’s solid-state electronics deliver clarity and a balanced frequency response, promoting firm lows and a smooth, detailed midrange. Self-noise is low, maximum SPL handling is high, and transient capture is quick and precise. FET electronics undoubtedly make the Neumann U 87 as exceptional as it is.

Interestingly, according to Klaus Heyne—founder of German Masterworks, which restores, modifies, customizes and designs high-end microphones—there have been as many as 20 revisions to the U 87’s circuit over the years. Even when components or parts of the PCB layout were changed, the microphone’s sonic profile has always remained intact.

Neumann U 87's K 67/87 Capsule

The K 67 capsule, originally designed for the U 67 tube condenser, was a major achievement for Neumann, consisting of a split pair of backplates with Mylar membranes. It also utilized a center-terminated electrical connection to the diaphragm, contributing to the capsule’s distinct sound—tight, plosive-resistant lows; a forward, present midrange; and a bright, airy top end.

On the contrary, edge-terminated capsules tend to emphasize lows and low mids for fuller, richer sound with less high-end detail. In the Neumann world, the TLM 102 is a rare example where they’ve selected an edge-terminated capsule over a K 67-style one with a centered electrical connection.

Pictured: Neumann U 87 K 67/87 Capsule

For the U 87, there was no reason to upend the balance and frequency response of the K 67 capsule, so it remained an ideal fit with three minor, acoustically inconsequential alterations.

The K 87 capsule used electrically isolated backplates. This also meant that it attached to the amplifier circuit with four wires rather than three. Finally, the K 87’s mounting screws were sheathed to avoid creating an electrical connection between the backplates.

These small features distinguished the K 87 capsule from the original K 67, with minimal effect on the actual sound. With the release of the Neumann U 87 A and Ai in 1986, the brand returned to using original K 67 capsules.

Neumann U 87's Connection Types

From 1967–1986, two versions of the microphone existed. One was the U 87 with a 7-pin Tuchel (DIN) connector; the other was the U 87 i, with “i” designating an international 3-pin XLR connector. In 1986, Neumann ceased production of the 87 and 87 i, launching the U 87 A and U 87 Ai, equipped with Tuchel and XLR connectors, respectively. The U 87 Ai is still made today.

Ultimately, Neumann’s original U 87 design has undergone few revisions, and its iconic sonic signature has been preserved over the decades.

Neumann U 87's Phantom and Battery Power

The original U 87 could run on 48V phantom power, but it was far from the universal protocol in 1967 that it became later (recalling Neumann invented phantom power the previous year). As an alternative, the earliest U 87 models featured an internal compartment housing two 22.5V batteries, so engineers without phantom power on their preamp or console could still use the microphone.
By 1986, phantom power was standard, so Neumann ditched the battery option altogether. This was first reflected in the U 87 A.

What Does the Neumann U 87 Sound Like?

The U 87 is an elegant and refined microphone, featuring well-balanced lows and mids that almost never appear muddy or smeared; neutral upper mids to bring out the natural character of vocals and instruments; and a bright, velvety high end, accentuating the detail of sound sources in a nonabrasive way.

“Warm” and “smooth” are overused terms, sure, but that’s only because they convey so much meaning in audio, despite being nebulous at times. The U 87 is a warm and smooth microphone—dark, even, compared to other, more contemporary condenser microphones that often hype upper-mid and high frequencies to the nth degree. The Neumann U 87’s is a luxurious sound, almost unremarkable on its own, that fits so well into so many mixes and brings the best out of so many instruments.

Common Applications for the Neumann U 87

Between selectable polar patterns (cardioid, figure-8 and omnidirectional), switchable rumble filter, –10dB pad and a time-honored voice, the Neumann U 87 is omnipresent. It took what was so great about the U 67—robust lows, lifelike midrange, airy highs—and enhanced it with the responsiveness and reliability of solid-state electronics.

A high-end large-diaphragm condenser like the U 87 shouldn’t just sweeten a sound source—it should help capture a true representation of the instrument and performance, as it occurs in the room. To that end, Neumann’s famous U 87 has been a go-to choice for producers, engineers and artists for nearly 60 years. If you’ve ever asked, “What is the Neumann U 87 best for?”, there’s a ton you can do with one.

Pictured: Neumann U 87 Miking Drums

Recording Vocals With the Neumann U 87

Recording sung vocals and speech are extremely common applications for a U 87. The human voice is a midrange instrument, and the way this microphone handles those frequencies in a way that’s both natural and present is exquisite. Many of the most famous uses of the U 87 on hit songs were to record vocals.

For voice over, ADR and audiobooks, the 87 reproduces spoken word in an organic, nuanced way. Oftentimes, the mic finds its way into broadcast studios, too—it’s NPR’s in-house standard and was legendary radio presenter Casey Kasem’s personal choice.

Ultimately, the U 87’s high-end fidelity adds articulation and detail to vocals without harshness, and its organic midrange presence pushes them forward in a mix. At the low end of the spectrum, there’s controlled fullness and body, minus excessive boominess. It’s a near-perfect concoction for consistently great sounding vocals.

Recording Acoustic Instruments With the Neumann U 87

Just as it excels on vocals, the Neumann U 87 records piano, acoustic guitar, strings, brass, woodwinds, overheads, percussion and ambience with expressive detail and three-dimensional presence. A stereo pair on piano situates it magnificently in a mix, while on acoustic guitar, a solo U 87 pointed at the 12th fret about a foot away sounds like you’re in the room with the player. Engineers frequently rely on the U 87 to spot-mike soloists, as well as ensembles, for orchestral recordings, too.

On drums, 87s make toms sound massive with their punchy bass response. As stereo overheads, they capture top-end sizzle and slicing transients without sounding washy—the precision is there to cut through even a dense hard rock or metal mix.

In the famous Glyn Johns (Led Zeppelin, The Rolling Stones, The Beatles, The Who) method, where three or four microphones are used to record a whole drum kit, U 87s make superb mono overheads. One is placed a few feet above the snare drum in fairly typical overhead fashion, while the other plays a side-fill role several inches off the rim of the floor tom, pointed back toward the snare and hi-hat. Together, a pair of 87s creates an image of the drum kit worth a thousand thunderous grooves.     

The U 87 also benefits from having a relatively balanced frequency response in each of its polar patterns. So, if you need a bit more room ambience for drums or another instrument, you can open cardioid up to figure-8 or omnidirectional to capture more vibe in the space without drastically changing the mic’s overall tonality.

Recording Electric Guitar and Bass With the Neumann U 87

The Neumann U 87 is no stranger to recording electric guitar and bass. One typical technique for guitar involves placing the microphone 12–18" away from center of the speaker cone. This was the preferred method of engineering legend Ken Scott, who worked on seminal projects by The Beatles, Jeff Beck and David Bowie, among many others. Backing an 87 off the speaker cabinet and close miking with your favorite dynamic mic creates a special brew, too.

Pictured: Neumann U 87 Miking Guitar Amplifier

Of course, you can always close mic a guitar cabinet with the Neumann—simply engage the pad if you need a little more headroom. On bass, an 87 captures punchy, defined lows, ensuring the instrument finds its place in any arrangement.

How the U 87 Compares to Neumann's Current Offerings

Model	Capsule	Price	Polar Pattern	Weight	Sensitivity	Frequency Range
U 87 Ai	K 67	$3,750	Cardioid, Figure-8, Omnidirectional	500 g, 1.1 lb.	28 mV/Pa	20Hz–20kHz
U 67	K 67	$7,895	Cardioid, Figure-8, Omnidirectional	560 g, 1.2 lb.	24 mV/Pa	40Hz–16kHz
U 89 i	K 89	$3,295	Cardioid, Figure-8, Omnidirectional, Wide Angle, Hypercardioid	400 g, 0.88 lb.	8 mV/Pa	20Hz–20kHz
TLM 103	K 103	$1,195	Cardioid	450 g, 0.99 lb.	23 mV/Pa	20Hz–20kHz
TLM 107	K 107	$1,495	Cardioid, Figure-8, Omnidirectional Wide Cardioid, Hypercardioid	445 g, 0.98 lb.	11 mV/Pa	20Hz–20kHz

Neumann U 87 Ai Large-Diaphragm Condenser Microphone

To this day, the Neumann U 87 Ai is the company’s flagship microphone and frequently the inspiration behind later offerings in the catalog. With a high sensitivity rating and a full-spectrum frequency response, the U 87 emphasizes clarity and detail in every recording. There’s a notable presence bump—in all three polar patterns—which gives the microphone its crispness, yet it’s tame enough to retain a vintage hi-fi character.

Shop Now: Neumann U 87 Ai Large-Diaphragm Condenser Microphone Stereo Set

An onboard filter eliminates rumble in extreme cases, while a –10dB pad provides the headroom needed for the U 87 to reach its maximum SPL tolerance of 127dB. It’s easy to overuse the term “workhorse” when referring to certain studio equipment, but if there was ever an appropriate time, it would be to describe the Neumann U 87 Ai. The microphone is also available as a stereo pair to cover all your recording needs.      

Neumann U 67 Tube Condense Microphone Reissue

As the predecessor to the U 87, there’s a lot to love about the Neumann U 67 tube condenser. Compared to the U 87, the U 67 might be described as a little smoother in tone overall, with a definitively “vintage” vibe provided by the tube component. In cardioid mode, the U 67 is noticeably less bright than the 87, though you will hear more air if you switch to figure-8 or omnidirectional. For vocals, the U 67 in cardioid naturally tames sibilance and gives many voices a rich, sultry sound.

Shop Now: Neumann U 67 Tube Condenser Microphone Reissue

The U 67’s sensitivity and SPL tolerance are similar to the U 87, so you can expect familiar performance and versatility in that area. If you like to experiment in the studio and commit to creative sonic choices on the way in, though, there’s the ability to naturally overdrive the U 67’s tube with loud sources—perhaps not your everyday color, but the option is there.

Neumann U 89 i Large-Diaphragm Condenser Microphone

First released in 1980, the Neumann U 89 i large-diaphragm condenser was introduced as a new and improved U 87. On the technical side, it has plenty to offer. Low noise, low distortion, extreme SPL handling (up to 140dB), a two-stage 80Hz and 160Hz bass-cut filter, and two additional polar patterns (wide angle and hypercardioid) are fantastic additions.

Shop Now: Neumann U 89 i Large-Diaphragm Condenser Microphone

Sonically, the U 89 i is distinct from the U 87. The K 89 capsule boasts an extended, un-hyped frequency response, and it retains its tonal balance regardless of the polar pattern you’re using. The U 89 performs much like a small-diaphragm condenser based on its linearity and precision, with the additional versatility and richness of a large-diaphragm condenser. In many respects, Neumann’s U 89 i is a tremendous success in that it separates itself enough from the U 87 to ensure each’s enduring viability.

Neumann TLM 103 Condenser Microphone

Neumann introduced the TLM 103 condenser in 1997 as an affordable alternative to the U 87. The K 103 capsule is inspired by the renowned K67/87 design but features a broader presence boost for frequencies above 5kHz, lending it an ultracontemporary sonic style unlike the 87’s somewhat old-school appeal. Another unique aspect of the TLM 103 is its transformerless circuitry—there’s a recognizable immediacy and directness to its capture that establishes instruments’ prominence in a mix.

Shop Now: Neumann TLM 103 Condenser Microphone

The TLM 103 also has exceptionally low self-noise (7dBA) and high SPL tolerance (138dB) for a whopping 131dB of dynamic range. The TLM 103 is a solid introduction to Neumann microphones for the price, especially if you’re looking for a versatile project studio microphone with a more modern voicing.

Neumann TLM 107 Condenser Microphone

Neumann’s TLM 107 condenser debuted in 2013 as a state-of-the-art, 21st-century microphone for home and project studio enthusiasts. It offers five polar patterns, –6dB and –12dB pad options, 40Hz and 100Hz low-cut filters, and broadly uncolored sound. Its purpose-built K 107 capsule captures true-to-source transient response and balanced frequency reproduction in any polar pattern.

Shop Now: Neumann TLM 107 Condenser Microphone

Compared directly to the Neumann U 87 Ai, the TLM 107 doesn’t have the one-of-a-kind character of the former. Instead, it favors a blank-slate frequency response for maximum flexibility at the mixing stage.

A Chicken for Every Pot and Two Neumann U 87s for Every Mic Locker

Neumann’s lionized U 87 belongs to a small class of microphones that have revolutionized the recording industry and shaped the sound of multi-platinum, era-spanning hits across genres. Richness, clarity and warmth are sonic hallmarks of the ubiquitous condenser. And while it isn’t the only microphone described this way, the U 87 has an intangible essence that sets it apart.  

In a few years, the Neumann U 87 will celebrate its diamond white anniversary. This milestone is a testament to how influential a recording tool the U 87 has been and continues to be.

Ready to enter the next phase of your audio journey? Connect with a Gear Adviser for expert advice on acquiring a Neumann U 87 Ai, or venture into your local Guitar Center store to witness a legendary microphone firsthand.