Neumann

The KH 310 is designed for use as a nearfield monitor and as a front speaker in medium-sized or rear speakers in large multi-channel systems. It is ideally suited for use in project, music and post-production studios, broadcast control centres and OB vans for multitrack recording, mixing and mastering. The active 3-way studio monitor KH 310 is characterised by a Mathematically Modeled DispersionT Waveguide (MMDT), universal acoustic controls, multiple input options and a wide range of mounting hardware. The speaker offers maximum flexibility in dealing with a wide range of acoustic conditions, source devices and installation locations. The KH 310 represents the state of the art in acoustic and electronic simulation and measurement technologies and guarantees maximum sonic precision.

Table stand with horizontal and vertical angle and height adjustment.Suitable for KH120 and KH80Colour: grey

Neumann engineering:The newly developed transducer, which has been specially tuned for this microphone, impresses with its fantastic impulse fidelity. Unusual for a large diaphragm capsule is also the high consistency of the five patterns, omnidirectional, cardioid, figure of eight, with the intermediate stages wide cardioid and hypercardioid. The TLM 107 not only delivers optimum sound results in the cardioid position, but also maximum precision across the entire frequency range for all other polar patterns. The sound image always remains balanced with an almost linear reproduction up to 8 kHz and a soft boost of the highest frequencies, which gives voices presence and freshness. Particular emphasis was placed on the natural reproduction of speech sounds, especially the critical S-sounds. The speaker basket has been acoustically optimised for low susceptibility to pops. In addition, the transducer is edge-contacted, with both diaphragms at ground level. In concrete terms, this means significantly less susceptibility to dust and moisture.Uncompromising sound design:The transformerless circuit offers high linearity and great dynamics. The self-noise of just 10 dB-A is practically inaudible, while the TLM 107 is also very level-resistant. The maximum sound pressure level is 141 dB SPL and can be increased to up to 153 dB SPL by means of pre-attenuation (pad). This means that the TLM 107 transmits even the loudest instruments without distortion. The bass roll-off with linear, 40 Hz and 100 Hz settings is precisely tuned to recording practice. The 40 Hz setting cuts the noise below the fundamental range (the open E string of the double bass is at 41 Hz) without any side effects, while the 100 Hz setting has been optimised for speech/vocals (100 Hz corresponds to the lowest notes of a baritone).Innovative operating concept:For the first time in a microphone, all switching functions are intuitively controlled by a navigation switch. A visual highlight is the illuminated pattern display in the chrome ring, while the switching states of the pad and low cut are indicated by LEDs to the left and right of the switch. The switch and display have been positioned at the rear so as not to irritate singers. The displays switch off automatically after 15 seconds.

The reduced overall sizeresults in an extremely compact appearance that combines all the typical design components of a Neumann microphone. The harmonious proportions and the high-gloss basket ring ensure that the TLM 102 is instantly appealing. When it comes to sound, the TLM 102 is really big: inside it is a newly developed large diaphragm capsule (cardioid) which, with a maximum sound pressure level of 144 dB, also allows drums, percussion, amps and other very loud sound sources to be recorded, for example. Even instruments that are not extremely loud benefit from the very fast transient response of the TLM 102, but the most important area of application is in vocals and speech, where a slight boost above 6 kHz ensures an excellent presence of the voice in the overall mix. Up to this point, the frequency response is extremely linear, which guarantees maximum freedom from colouration and a very clearly defined bass range. The capsule is elastically mounted for structure-borne noise suppression and a pop protection integrated in the basket ensures the suppression of explosive sounds during vocal or speech recordings. The TLM 102 is predestined for the home recording and project studio sector, but also for the broadcast sector, especially if particular value is placed on a clear line of sight to the speaker positions. The TLM 102 is available in black and nickel. A tripod joint is included in the scope of delivery.

The KH 120 II is based on the same acoustic concept as its highly acclaimed predecessor, but has been completely redesigned to improve performance in all parameters: deeper bass, higher sound pressure levels and even better resolution. The internal DSP enables phase-linear crossovers and room-adaptive calibration via Neumann's revolutionary MA 1 Automatic Alignment.When Neumann launched the KH 120 A on the market in 2010, it was the beginning of an ongoing success story. Since then, Neumann Monitoring has become the reference in countless studios around the world. The KH 120 II follows the same philosophy as its predecessor and in fact all Neumann studio monitors: maximum linearity, minimal distortion, no colouration and perfect adaptability to any acoustic environment. Thanks to performance improvements in all parameters and a powerful DSP engine, the reproduction gains even more clarity, which enables more efficient work. This results in mixes that work perfectly on all playback systems. With ease.The KH 120 II has an exceptionally linear frequency response from 44 Hz to 21 kHz (+/-3 dB). And that's not all: it also linearises the phase response! This means: clear mids with astonishing transparency as well as extreme accuracy in the time domain with precise impulse reproduction and finely resolved reverbs. This is made possible by DSP-controlled electronics with sophisticated crossovers that avoid the phase distortion caused by analogue filters. The internal DSP also sets new standards in tonal consistency. The KH 120 II is manufactured with the lowest tolerances of just +/-0.5 dB! And you can hear it: the stereo imaging is razor-sharp.The KH 120 II is designed for near-field applications with a recommended listening distance of 1 - 2 metres. It is therefore ideal for smaller rooms such as home and project studios as well as mixing and editing suites or as a surround speaker in large multi-channel applications. Thanks to its outstanding linearity in a portable format, the KH 120 II is also an excellent choice for setting up a temporary control room in professional quality for on-site recordings (e.g. orchestra/choir, live recordings, film, radio).Even the best loudspeaker only sounds as good as the acoustic environment allows. Neumann's Mathematically Modelled Dispersion™ (MMD™) waveguide guarantees a wide sweet spot and minimises desk reflections. However, the KH 120 II goes much further: its internal DSP allows it to be calibrated using Neumann's revolutionary Automatic Monitor Alignment. The MA 1 system (available separately) ensures that the DSP-based monitors are optimally matched to the room character and perfectly calibrated for the listening position. This results in a significant improvement even in acoustically treated rooms.The sound compatibility with other KH-Line studio monitors allows the KH 120 II to be used in mixed setups, e.g. for immersive monitoring. The KH 120 II offers both analogue and S/PDIF inputs for flexible connection options.In addition, the KH 120 II AES67 model offers integrated redundant AES67 audio network ports that are fully compliant with broadcast standards such as ST 2110, ST 2022-7 redundancy and RAVENNA. At the same time, the KH 120 II AES67 is compatible with DANTE®-generated AES67 network streams.

The holder of the SG 287 is made of metal, the threaded connection has 5/8"-27 threads, with adapter for 1/2" and 3/8" tripods.

The TLM 103 is the ideal large diaphragm microphone for all those who do not want to do without uncompromisingly professional technology despite tight budget constraints. It works with the transformerless circuit technology already proven in numerous Neumann microphones, offers an unrivalled low self-noise level and maximum dynamic range. The cardioid capsule used is particularly well-balanced acoustically and has excellent cancellation for rear sound incidence.

The original - still unrivalled today:Introduced in 1960, the U 67 was the proverbial workhorse during the formative years of the musical revolution. Its inimitably smooth sound is still extremely popular today. That's why, after many years of waiting, Neumann is reissuing the tube classic - to the original specifications!A legend returns:As a successor to the extremely popular Neumann U 47, a weaker microphone would certainly have failed. The U 67, however, was quickly chosen as the new studio standard, as it offered many advantages over its predecessor. With three directional characteristics and an advanced tube circuit, including switchable pre-attenuation and bass roll-off, the Neumann U 67 was ideally equipped for any task. This is still true today: for many famous sound engineers, it would be the microphone they would take to a desert island because of its tremendous versatility and unrivalled sound quality.Neumann engineering at its best:The U 67 was the first microphone with the famous K 67 capsule, which has characterised the Neumann sound ever since and is still used today in its successor, the U 87 Ai. Hardly less important is the masterful tube circuitry, which minimises tube noise by means of a sophisticated pre-emphasis/de-emphasis technique. The U 67 was also the first microphone to specifically address modern recording techniques such as close miking, including a switchable bass roll-off to compensate for the proximity effect. With its switchable pre-attenuation, the U 67 can handle sound pressure levels of up to 124 dB without distortion (and much higher with a little tube dirt).Its appearance is as timeless as its sound and technology. The conical housing tube and the bevelled microphone headgrille of the U 67 are now considered iconic for the Neumann brand, as the same elegant design also adorns its transistorised successor, the U 87 - for over 50 years!History repeats itself:In terms of sound, the reissue is identical to the U 67, which was produced from 1960 to 1971. It uses the same capsule and circuitry; key elements such as the BV12 output transformer have been faithfully reconstructed using the original documentation. EF 86 tubes are carefully selected for optimum characteristics and minimum noise at a dedicated measuring station. The power supply unit has been redesigned to comply with today's strict safety regulations and to provide a slightly higher heating current for current premium tubes. The new NU 67 V power supply is fully compatible with older U 67 microphones.

It is equipped with a large double diaphragm capsule with omnidirectional, cardioid and figure-of-eight polar patterns, which are selected via a switch on the capsule head. A switch at the rear provides a 10 dB pre-attenuation. This allows the microphone to transmit sound pressure levels of up to 127 dB without distortion. Furthermore, the frequency response can be reduced in the low frequencies, e.g. to compensate for the proximity effect. It is equally suitable for a large number of applications in radio, television, film and sound recording technology. In orchestral recordings it is used as the main microphone and as a support microphone for individual instruments, but mainly as a vocal microphone in all music genres.

The KMS 104/104 plus and KMS 105 microphones were developed to optimise the transmission of the human voice under the special conditions on the live stage. In the meantime, the KMS series has become the internationally recognised reference for high-quality stage microphones.Thanks to the balanced frequency response and high acoustic resolution, the microphones offer musicians optimum control over their stage performance at all times.The KMS microphones are particularly suitable for use with in-ear monitoring systems thanks to their colouration-free crosstalk behaviour and low self-noise.The KMS 104 and the KMS 104 plus have a cardioid condenser microphone capsule, which offers the best possible suppression of rear sound. The KMS 105 with its supercardioid characteristic, on the other hand, suppresses sound from the entire rear half-space particularly well. Compared to the KMS 104, the KMS 104 plus is characterised by a more pronounced bass frequency response. In close cooperation and long practical tests with professional female musicians, these have been specially optimised to meet the requirements of female voices in the rock and pop genres.The user therefore has the option of choosing the optimum version for their particular application.

The reduced overall size results in an extremely compact appearance that combines all the typical design components of a Neumann microphone. The harmonious proportions and the high-gloss basket ring ensure that the TLM 102 is instantly appealing. When it comes to sound, the TLM 102 is really big: inside it is a newly developed large diaphragm capsule (cardioid) which, with a maximum sound pressure level of 144 dB, also allows drums, percussion, amps and other very loud sound sources to be recorded, for example. Even instruments that are not extremely loud benefit from the very fast transient response of the TLM 102, but the most important area of application is in vocals and speech, where a slight boost above 6 kHz ensures an excellent presence of the voice in the overall mix. Up to this point, the frequency response is extremely linear, which guarantees maximum freedom from colouration and a very clearly defined bass range. The capsule is elastically mounted for structure-borne noise suppression and a pop protection integrated in the basket ensures the suppression of explosive sounds during vocal or speech recordings. The TLM 102 is predestined for the home recording and project studio sector, but also for the broadcast sector, especially if particular value is placed on a clear line of sight to the speaker positions.

Windscreens made of open-cell polyurethane foam are available to prevent interference noise that can occur during close miking, wind influence or, for example, when the microphone boom is swivelled quickly. These windscreens do not generate any disturbing resonances and do not influence the directional characteristic of the microphone. The transmission level is slightly attenuated in the upper frequency range. The attenuation of the wind noise was measured without an electrical filter, in a turbulent air flow at a speed of 20 km/h, generated by a noiseless wind machine. Windscreen for U 89 i and TLM 193, diameter approx. 90 mm. Attenuation of wind noise approx. 27 dB. Attenuation at 15 kHz approx. 3 dB. Colour black.

Neumann engineering:The newly developed transducer, which has been specially tuned for this microphone, impresses with its fantastic impulse fidelity. Unusual for a large diaphragm capsule is also the high consistency of the five patterns, omnidirectional, cardioid, figure of eight, with the intermediate stages wide cardioid and hypercardioid. The TLM 107 not only delivers optimum sound results in the cardioid position, but also maximum precision across the entire frequency range for all other polar patterns. The sound image always remains balanced with an almost linear reproduction up to 8 kHz and a soft boost of the highest frequencies, which gives voices presence and freshness. Particular emphasis was placed on the natural reproduction of speech sounds, especially the critical S-sounds. The speaker basket has been acoustically optimised to reduce susceptibility to pops. In addition, the transducer is edge-contacted, with both diaphragms at ground level. In concrete terms, this means significantly less susceptibility to dust and moisture.Uncompromising sound design:The transformerless circuit offers high linearity and great dynamics. The self-noise of just 10 dB-A is practically inaudible, while the TLM 107 is also very level-resistant. The maximum sound pressure level is 141 dB SPL and can be increased up to 153 dB SPL by means of pre-attenuation (pad). This means that the TLM 107 transmits even the loudest instruments without distortion. The bass roll-off with linear, 40 Hz and 100 Hz settings is precisely tuned to recording practice. The 40 Hz setting cuts the noise below the fundamental range (the open E string of the double bass is at 41 Hz) without any side effects, while the 100 Hz setting has been optimised for speech/vocals (100 Hz corresponds to the lowest notes of a baritone).Innovative operating concept:For the first time in a microphone, all switching functions are intuitively controlled by a navigation switch. The illuminated pattern display in the chrome ring is a visual highlight, while the switching states of the pad and low cut are indicated by LEDs to the left and right of the switch. The switch and display have been positioned at the rear so as not to irritate singers. The displays switch off automatically after 15 seconds.

Windscreens made of open-cell polyurethane foam are available to prevent interference noise that can occur during close miking, wind influence or, for example, when the microphone boom is swivelled quickly. These windscreens do not generate any disturbing resonances and do not influence the directional characteristic of the microphone. The transmission level is slightly attenuated in the upper frequency range. The attenuation of the wind noise was measured without an electrical filter, in a turbulent air flow at a speed of 20 km/h, generated by a noiseless wind machine. Windscreen for KMR 81 i. Diameter approx. 50 mm, length 195 mm. Attenuation of wind noise approx. 15 dB. Attenuation at 15 kHz approx. 2 dB. Colour black.

The extremely compact KH 750 DSP is the ideal choice for smaller rooms and smaller studio monitors, such as the KH 80 DSP. It has a uniquely flexible 2.0/0.1 bass manager that allows the subwoofer to be used in many different system configurations. The rear panel features analogue and digital inputs and outputs, four routing modes and flexible acoustic controls for seamless system integration. The Neumann.Control software provides access to many additional functions of the subwoofer. The KH 750 DSP can be used in music, broadcast and post-production studios for tracking, mixing and mastering.The newly developed 10-inch driver has a large, linear magnet system and a very solid sheet steel basket. As subwoofers are normally placed on the floor, a robust grille protects the driver from accidental damage. The well-braced cabinet is sealed to achieve the fastest possible transient behaviour. Both analogue XLR inputs are balanced, as are the two analogue XLR outputs. The 192 kHz / 24-bit digital input accepts AES3 and S/P-DIF signals. There is a bypassable standby function whose switch-off time can be set in the Neumann.Control app.Via a standard IP network, Neumann.Control provides full access to additional functions of the KH 750 DSP that are not available on the rear panel. Speaker systems can be defined from mono to 3D, adjusted for good sound in the room and then operated centrally: Set up, calibrate and operate. You don't need to be an expert to optimally integrate this subwoofer into the system, even in a small room.