Neumann is excited to introduce its latest innovation, the KH 120, representing the first product in the new line of Neumann Studio Monitors. </p><p>The KH 120 A studio monitor is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. The KH 120 A represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible. It has a Mathematically Modeled Dispersion waveguide (MMD (TM), flexible acoustical controls, analog class-AB amplifiers, a large headroom analog input and an extensive mounting hardware range. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment, and physical locations.</p><p>The KH 120 is perfect for tracking, mixing and mastering in music, broadcast, project and post-production studios.</p>
The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. <br />The KMS series has become the internationally acknowledged standard for first-class stage microphones.</p><p>The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times. </p><p>Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems.</p><p>The KMS 104 and the KMS 104 plus have a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In contrast, with its supercardioid characteristic the KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone. The KMS 104 plus features, compared to KMS 104, a more extended bass frequency response. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field.</p><p>The user can thus select the version that is optimally suited to the specific application. </p><p>Acoustic features<br />The studio condenser capsules used in the microphone versions provide the basis for transmitting all the nuances of the human voice. In comparison with other handheld microphones, which operate mostly with dynamic capsules, the KMS series has a particularly high acoustic transparency, a wide frequency range and a fine resolution of transients. </p><p>In KMS microphones, carefully adjusted acoustic filters and transformerless impedance converters that can handle very high sound pressure levels prevent the microphones from being overloaded even by strong plosive sounds. </p><p>In spite of excellent pop protection, sibilants and "S" sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the above-mentioned acoustic filters are designed so that the distinctive directional characteristics of the capsules are preserved even in the bass range. The filters thus ensure a very high level of feedback protection for the KMS 104/104 plus and KMS 105 vocal microphones when they are used with a stage sound system. </p><p>Electrical features<br />Since vocal microphones are typically addressed at close range, for the bass frequency response of the microphones, electronic compensation is used for the proximity effect in the respective capsules. </p><p>In addition, the microphone has an invariable, built-in high-pass filter with a cutoff frequency of 120 Hz (-3 dB, measured in a free sound field). The dynamic range of the KMS microphones is 132 dB, and the maximum sound pressure level is 150 dB. </p><p>The low self-noise level of only 18 dB A permits the microphones to be used at high gain levels without the risk of additional noise. Even at large distances, the microphones thus operate with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist.</p><p>Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound. </p><p>Mechanical features<br />Microphones designed for use on stage require a particularly robust construction. The KMS 104/104 plus and KMS 105 therefore have thick-walled metal housings, which also provide effective protection against handling noise.</p><p>The microphone headgrilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters. </p><p>Delivery Range<br />The KMS 104/104 plus and KMS 105 microphones, with a matching stand clamp, are supplied in an attractive padded nylon bag that is sufficiently durable for touring.</p>
The TLM 103* is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget.</p><p>By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear. </p><p>The TLM 103 is available in satin nickel and matte black. Delivery includes an SG 1 metal swivel mount and a wooden jeweler's box. </p><p><strong>Applications</strong><br />Due to the universal cardioid pattern, straightforward handling, extremely low self-noise level, and finally, the price, the TLM 103 is predestined for all demanding applications from home recording to professional broadcasting and commercial recording studios. </p><p><strong>Polar pattern</strong><br />The TLM 103 is equipped with a large diaphragm capsule with cardioid pattern. By focusing on this pattern - used in most recording situations - the attenuation of unwanted rear sound has been optimized. Off-axis sounds are rendered naturally while isolation is increased. This also leads to a high feedback suppression when the microphone is used in live situations or where loudspeaker playback is a factor. </p><p><strong>Acoustic features</strong><br />The TLM 103 is addressed from the front, marked with the red Neumann logo on the microphone body. The K 103 large diaphragm capsule is based on the K 87, well known from the U 67 / U 87 microphones.The capsule has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost. </p><p>The large wire mesh headgrille protects the capsule from plosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects.</p><p>Therefore, the microphone maintains an excellent impulse response and reproduces the finest details of music and speech without coloration.</p><p><strong>Electrical features</strong><br />With just 7 dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced basically noise-free. As it is capable of handling sound pressure levels up to 138 dB without distortion, the TLM 103 provides a dynamic range of 131 dB (A-weighted).</p><p>The letters TLM stand for "transformerless microphone". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal. </p><p><strong>Operational safety</strong><br />The entire internal construction is elastically mounted to attenuate any structure borne noise that could interfere with the TLM 103's operation. Furthermore the capsule is set on an elastic mount. The frequency range reaches below 20 Hz and thus even very low bass signals are reproduced without coloration.</p><p>Due to this low frequency extension, the TLM 103 is more sensitive to structure borne interference and wind noise. For such cases, the elastic suspension EA 1 and the windscreen WS 87 are available as accessories. For close vocal use, the PS 15 or PS 20 a pop screens are recommended. </p><p>*The design of the microphone is a registered design of the Georg Neumann GmbH in certain countries.</p>