1 in stock $504.33
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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. Especially due to its low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems.
The KMS104 plus has a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. The KMS104 plus features a more extended bass frequency response. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS104 plus has been especially optimized for the requirements of female voices in the rock and pop field.
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.
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.
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 KMS104 plus vocal microphone when it is used with a stage sound system.
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.
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. Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound.
The KMS104 plus has thick-walled metal housing, which also provides effective protection against handling noise. The microphone headgrille is made of hardened steel. If required, it can easily be unscrewed to permit cleaning of the interior acoustic filters.
The KMS104 plus microphone, with a matching stand clamp, is supplied in an attractive padded nylon bag that is sufficiently durable for touring.
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.
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.
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.
Classic proportions combined with attractive styling and fresh ideas - the TLM 107 perfectly embodies the Neumann philosophy: Innovation based on tradition. Far from evoking vintage or retro nostalgia, the standard-setting TLM 107 represents an impressive, modern studio microphone. Its extensive performance spectrum and high-precision reproduction, very close to the original, make the TLM 107 universally applicable, opening up previously unknown design freedom possibilities in mixing and post-production.
The newly developed sound transducer, which was designed especially for this microphone, is impressive with its outstanding impulse fidelity. The great consistency of the five polar patterns, omnidirectional, cardioid and figure-8, with the intermediate patterns wide-angle cardioid and hypercardioid, is also unusual for a large-diaphragm capsule. The TLM 107 provides optimal sound not only for the cardioid setting; it also ensures maximum precision over the entire frequency range for all of the other directional characteristics. The sound always remains balanced, with an almost linear reproduction up to 8 kHz, and a slight boost in the highest frequencies that lends presence and freshness to the voice. Here particular attention has been paid to the natural reproduction of speech sounds, especially the critical "s" sound. The grille is acoustically optimized for low sensitivity to pop sounds. In addition, the sound transducer is edge-terminated, with both diaphragms at ground voltage. Specifically, this ensures considerably reduced sensitivity to dust and humidity.
Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible, while at the same time, the TLM 107 features high level stability. The maximum sound pressure level of 141 dB SPL can be increased to 153 dB SPL via pre-attenuation (Pad). This enables the TLM 107 to transmit the sound of even the loudest instruments without distortion. The Low Cut settings of Linear, 40 Hz, and 100 Hz are precisely adapted to practical recording situations. Without side effects, the 40 Hz setting cuts interference noise below the range of fundamental tones (where 41 Hz is the frequency of the double bass open E string), while the 100 Hz setting is optimized for speech and vocals (where 100 Hz corresponds to the lowest notes of a baritone).
For the first time, all of the microphone switch functions are controlled intuitively via a navigation switch. A visual highlight is the illuminated pattern display in the chrome ring, while the Pad and Low Cut status is displayed by LEDs to the left and right of the switch. In order not to distract singers, the switch and display are located on the back of the microphone. After 15 seconds, the displays are turned off automatically.
SG 2 stand mount included.