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 <b>KM 184</b> is a state-of-the-art small diaphragm condenser microphone with a uniform, frequency-independent cardioid polar pattern. Its very natural, transparent sound with very low self-noise and high SPL capability have made the KM 184 a worldwide stage and studio standard for many applications ranging from classical piano to heavy metal drums.</p><p><b>Faithful</b><br />While many microphones, these days, are designed to add some sonic imprint of their own, there are many applications that require a faithful reproduction of the original acoustic event, without adding or removing anything. That's where the Neumann Series 180 comes in.</p><p>The Neumann Series 180 consists of three members with different pickup patterns: KM 183 (omni), KM 184 (cardioid), and KM 185 (hypercardioid), thus covering the majority of stage and studio applications. Because the Series 180 microphones are non-modular, they are more cost-effective than the modular Series KM A and KM D (which offer a wide range of interchangeable capsule heads for analog and digital output stages).</p><p><b>Cardioid</b><br />Despite its attractive pricing, the KM 184 offers state-of-the-art Neumann engineering. Its cardioid pattern is frequency-independent; rejection of rearward sound (180°) is excellent, even at low frequencies. In practical usage, there is no sound coloration over a wide pickup angle, which is crucial in multi-microphone setups and for precise stereo/surround imaging. The KM 184's frequency response is very smooth and linear with a slight treble lift around 9 kHz for added brilliance. Its innovative transformerless head amplifier offers a wide dynamic range of 125 dB and is carefully designed to maintain the capsule's sonic integrity. The KM 184 has a very low self-noise of only 13 dB-A and can handle high sound pressure levels of up to 138 dB free from distortion. Due to its low impedance output stage, the KM 184 can drive long cable runs of up to 300 meters (1000 feet) without transmission losses.</p><p><b>Applications</b><br />The KM 184 is a universal microphone for studio and stage applications. Its transparent sound makes the KM 184 a superb microphone for acoustic instruments, such as piano, percussion, drums, acoustic guitar, upright bass, violin, cello, woodwinds, and brass. The KM 184 can be used for soloists as well as ensembles. Thanks to its superior off-axis behavior, the KM 184 is an excellent microphone for stereo and surround recording with perfect imaging. Although the KM 184 is not specially optimized for the human voice, it is often used for classical vocals and whenever sonic authenticity is paramount. Due to its small size, the KM 184 is visually unobtrusive and well suited to TV and radio applications.</p>
The KH 310 three-way active tri-amplified monitor features a Mathematically Modeled Dispersion Waveguide (MMD), flexible acoustical controls, various input options and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 310 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.</p><p>The KH 310 is designed for use as a near-field monitor, as a front loudspeaker in mid-sized multi-channel systems, or as a rear loudspeaker in a larger multi-channel system. It can be used in project, music, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering.</p>
The KH 80 DSP two-way active bi-amplified monitor features a DSP engine with network control, a Mathematically Modeled DispersionT Waveguide (MMDT), an analogue input and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 80 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.</p><p>The KH 80 DSP is designed for use as a near-field monitor, as a front loudspeaker in small multi-channel systems, or as a rear loudspeaker in a compact multi-channel systems. It can be used in project and music studios, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering. It is also well suited for use in domestic environments.</p>
The KMR 81 is a shotgun microphone with a high directivity that remains within the acceptance angle independent of the frequency. </p><p>The advantage is that a sound source, for example an actor on stage, will not change its apparent tonal balance when moving within this area. </p><p><strong>Applications</strong><br />Shotgun microphones are particularly useful in recording situations where a microphone cannot be positioned within the desired distance of the sound source to produce a sufficiently loud signal level. </p><p>Typical applications are film and video recordings, where the microphone should not appear in the picture. </p><p>The KMR 81 has been specifically designed for electronic news gathering. </p><p><strong>Acoustic features</strong><br />In principle, Neumann shotgun microphones use a combination of a pressure gradient transducer and an interference tube. If the wavelength of the frequency is longer than the tube length, the microphones work as pressure gradient transducers. At higher frequencies they operate as interference transducers for lateral sound. Off-axis sound sources are picked up with reduced level, but without coloration. </p><p>Therefore, the microphones are well suited to record individual instruments of an orchestra. The pickup areas of several shotgun microphones may even overlap as, for example, during recordings on a large stage, without causing any problem. </p><p>The KMR 81 is less sensitive to wind and pop noise when compared to the KM 150 miniature microphone with a similar high directivity. The shotgun microphone features extremely low self noise, good impulse response, and high output level. </p><p><strong>Polar patterns</strong><br />The KMR 81 is a shotgun microphones with a very directional characteristic. </p><p>The microphone capsule is positioned inside a housing tube that is acoustically open but has a high flow resistance. The directional pattern of the microphone is lobe shaped. The attenuation of lateral sound is practically independent of the frequency. The KMR 81 has a frequency independent directivity within a pickup angle of 90° for audio signals that determine the tonal balance of the program material. </p><p><strong>Filter and attenuation</strong><br />The microphone has a 10 dB attenuation switch to prevent the input of the following unit from overloading. </p><p>A second switch activates a 200 Hz high-pass filter. Toward the lower frequencies the sensitivity of the microphone is attenuated by approximately 15 dB at 50 Hz. The frequency range above 200 Hz is unaffected. </p><p><strong>Use on location</strong><br />The shotgun microphone features very high output capability and a remarkably low self-noise level. </p><p>Its low power consumption, light weight, and low sensitivity to wind and handling noise, makes it an ideal tools for news gathering on location. </p><p>Small dimensions, together with a balanced center of gravity, make handling easy without any whiplash effect. </p><p>However, when on location and during strong wind conditions, we recommend using an additional wind screen (included as standard accessory). The wind screen is made of polyurethane foam. </p><p>For mobile use a handle and an elastic suspension are available. </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 reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102* attracts attention.</p><p>The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources, for example. Instruments that are not especially loud also benefit from the very fast transient response of the TLM 102. However its most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. </p><p>Due to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority.</p><p>The TLM 102 is available in black and nickel; a stand mount is included.</p><p>*The design of the microphone is a registered design of the Georg Neumann GmbH in certain countries.</p>
The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102* attracts attention.</p><p>The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources, for example. Instruments that are not especially loud also benefit from the very fast transient response of the TLM 102. However its most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. </p><p>Due to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority.</p><p>The TLM 102 is available in black and nickel; a stand mount is included.</p><p>*The design of the microphone is a registered design of the Georg Neumann GmbH in certain countries.</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>
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.<br /><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>