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BPM Studiotechnik TB-95

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Page last updated Aug 11, 2025

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The BPM Studiotechnik TB-95 is a high-performance condenser microphone crafted for both professional and home studio settings. Known for its exceptionally low self-noise and wide frequency response, the TB-95 ensures that your recordings are captured with remarkable clarity and detail. Perfectly suited for vocals, acoustic instruments, and even ambient soundscapes, this microphone offers a versatile solution for a variety of recording needs.

The TB-95 features a large diaphragm design, enabling it to capture the nuances of your performance with precision. Its cardioid polar pattern helps to isolate the source from background noise, making it an ideal choice for untreated spaces or live environments. The microphone is equipped with a built-in shock mount system to minimize handling noise and vibrations, ensuring a clean and professional sound.

For ease of use, the TB-95 comes with a standard XLR connector, allowing seamless integration into existing setups. Whether you're a seasoned professional or an aspiring home studio enthusiast, the BPM Studiotechnik TB-95 offers a reliable and high-quality recording experience.

Key Features:

Large diaphragm condenser microphone
Cardioid polar pattern for focused sound capture
Exceptionally low self-noise for clear recordings
Built-in shock mount to reduce handling noise
Wide frequency response for capturing detailed audio
Standard XLR connector for easy integration into setups

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Sean Moore

Drummer

Manic Street Preachers

Verified via Sound On Sound

Used for the drums on This Is My Truth Tell Me Yours, as stated by engineers Ian Grimble and Mike Hedges in this June 1998 Sound on Sound interview.

Ian Grimble: "Sean (Moore) has a Yamaha kit, and we surrounded it with four '60s‑style very dead baffles, to stop the low‑end reflections from creating a boomy sound. I used a lot of compression on the drum mics, so boom could have been a problem. For the last album I miked up the drums with old valve mics, such as Telefunken and old Sony models, but this time I used a Shure SM57 and Neumann KM84 on the snare, an AKG D12 close to the bass drum and a Sennheiser MKH20 three feet away, a Sennheiser 421 on the toms, and for overheads we used Sennheiser MKH20 or BPM microphones."

BPM are a relatively little‑known German company. Hedges comments: "They make very good modern valve mics. We used the TD94 and the TD95. They're great for ambience and to add a little 'valviness' to the sound. We were in part inspired by the drum sound on the band's demos, and were initially going for an ultra‑close sound with no ambience at all. Later we decided to add some room sounds." Grimble: "We recorded especially the low‑end drum sounds at a very high level, because the tape compression makes it sound better. This rounds off the transient a little bit, so we might record other drum sounds at a lower level." Hedges: "In the '60s, before noise reduction, people tended to put on a lot of level to avoid hiss, and then in the '70s, when Dolby came out, they recorded drums at lower levels, because tape hiss was less of a problem, and the transients aren't rounded off so much. In the '80s, creative use of tape compression came into its own and people started to use the tape recorder not just as a recording tool, but also as a sonic tool, as an effect."