Neumann

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.

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.

Clamp for attaching the capsule and gooseneck of the Neumann Miniature Clip Mic MCM system to the frame of a violin, viola, mandolin and similar instruments. The self-adjusting spring mechanism and the rubber coating ensure reliable attachment without the risk of damaging the instrument. The holder for the gooseneck can be rotated for variable alignment and locks securely into place in 45° increments.

Neumann M49V:Technically speaking, the M 49 V is a large diaphragm tube microphone with a silky, warm and magically rich, deep sound. In fact, since it conquered the recording and broadcasting studios in 1951, no introduction was necessary at all. One of the reasons: The revolutionary microphone had a remotely switchable polar pattern (from omnidirectional to cardioid to figure-eight). At that time, most bands or orchestras were recorded with a few, often permanently installed microphones. Remote switching saved a lot of time and the engineers could work with the same microphone in many situations, from vocals to instruments. Even if the remote setting plays a minor role today, the unmistakable sound remains unrivalled to this day. Although today's production is dominated by digital workflows, the warm magic of a tube-driven analogue microphone remains unsurpassed. The M 49 has been one of the icons of the genre for over 70 years. For many reasons, it is an inseparable part of the Neumann DNA.With the new version, owners can now choose to extend the bass sensitivity and lower the high-pass frequency from the original 30 Hz to an incredible 12 Hz - a tribute to modern listening and recording culture. Another option is part of the classic circuitry and allows the user to switch the microphone to a fixed cardioid pattern (the most commonly used setting anyway). This increases the sensitivity by 2 dB and reduces the equivalent noise level by 3 dB. This setting provides even more M 49 magic and intimacy, especially for voice or vocal recordings. Please note that both options should not be changed by the customer. They are intended to be made to order.

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 limits. 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. An SG 1 metal stand joint and a wooden case are 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.

Neumann KM 184 has a very flat frequency response both on the 0-axis and at lateral sound incidence. Therefore, in practice, large recording angles can be transmitted without discolouration. The KM 183 and KM 184 microphones are the successors to the tried and tested KM 83 and KM 84, which have been used with great success worldwide since the 1970s. The KM 185 adds the hypercardioid characteristic to the series. The slim design and excellent transmission characteristics in particular make the "Series 180" microphones ideal for a wide range of radio and television applications.

Universal clip for attaching the capsule and gooseneck of the Neumann Miniature Clip Mic MCM system to the bell of a trumpet, trombone, saxophone, horns, percussion instruments and standpipes. The holder for the gooseneck can be rotated on two axes for variable alignment and locks securely into place in 45° increments.

Compact DSP-controlled subwoofer with closed housing and redundant AES67 Ethernet port.The compact KH 750 AES67, a product variant of the KH 750 DSP, is the ideal subwoofer for redundant and loss-free transmission of audio-over-IP to the loudspeakers in an existing AES67 studio environment. In this way, it establishes the connection between the ST-2110/AES67 data streams and all monitors in the KH series. With the help of additional KH 750 AES67 subwoofers, stereo systems of any size can be realised. In addition to AES67 connectivity, the KH 750 AES67 offers the familiar functions of the KH 750 DSP, such as the unique and flexible Bass Manager as well as analogue and digital inputs, four routing modes and adaptable acoustic controls that can be used in many different configurations and setups.The KH 750 AES67 allows all monitors in the KH series to be integrated into a redundant AES67 IP network and, in conjunction with the MA 1 - Automatic Monitor Alignment software for Mac and PC, the entire system can be precisely adapted to the room conditions. This also applies to the connected analogue monitors, whose amplitude and phase response are optimised for the respective room using the DSP integrated in the subwoofer.

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 KM 100 and Series 180, diameter approx. 90 mm. Attenuation of wind noise approx. 23 dB. Attenuation at 15 kHz approx. 4 dB. Colour black.

The TLM 170 R was the first microphone with the now so successful fet-100 technology. It offers balanced transformerless signal decoupling and maximum dynamic range with extremely low self-noise. Five directional characteristics can be selected with a rotary switch. In the sixth switch position, "R", the directional characteristics can be switched remotely using the N 248 power supply unit without the need for a special cable. The microphone also has a switchable 10 dB pre-attenuation for very high sound levels and a low-cut filter with an operating frequency of 100 Hz. In addition to the omnidirectional, cardioid and figure-of-eight polar patterns, hypercardioid and wide cardioid polar patterns are also available. The hypercardioid pattern is better than the cardioid pattern at suppressing sound sources positioned to the right and left of the object to be recorded, while the wide cardioid pattern is advantageous for transmitting extended sound sources.

Clamp for attaching the capsule and gooseneck of the Neumann Miniature Clip Mic MCM system to the strings below the bridge of a cello. The holder for the gooseneck can be rotated for variable alignment and locks securely into place in 45° increments.

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.

The attenuation of the wind noise was measured without an electric filter, in a swirling air flow at a speed of 20 km/h, generated by a noiseless wind machine. Windscreen for KMR 82 i. Diameter approx. 50 mm, length 350 mm. Attenuation of wind noise approx. 15 dB. Attenuation at 15 kHz approx. 2 dB. Colour black.

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 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 TLM 103 is the ideal large diaphragm microphone for all those who do not want to do without uncompromisingly professional technology despite tight budget limits. 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 TLM 103 is the ideal large diaphragm microphone for all those who do not want to do without uncompromisingly professional technology despite tight budget limits. 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. An SG 1 metal stand joint and a wooden case are included in the scope of delivery.