Neumann

The TLM 49* is a large diaphragm studio microphone with a cardioid characteristic and a warm sound tuning that is optimised for vocals in particular. It is supplied as a set together with an elastic suspension.The design is based on the legendary M 49 and M 50 microphones from the 1950s. Naturally, the TLM 49 has the typical, elegant Neumann nickel-matt finish. Its sound design is based on the M 49 and the U 47.This microphone with a retro look utilises Neumann's proven transformerless circuit technology - with very low noise and high dynamic range.Field of application:During the development phase, extensive practical tests were carried out to fine-tune the sound, making the TLM 49 ideal for vocal and speech recordings in particular. However, it is also suitable for instrumental applications in professional production studios and sophisticated home recording.Polar pattern:The large diaphragm capsule of the TLM 49 has a cardioid polar pattern with a tendency towards supercardioid due to the special capsule design. High frequencies are focussed more strongly, just like the original M 49. The diameter of the capsule is 34 mm.The red Neumann logo on the body of the microphone indicates the front of the capsule and thus the direction of pickup.Acoustic properties:The TLM 49 works with the famous K 47 capsule, which was already used in the M 49 and U 47. It has a linear frequency response up to the high mid-range and offers a gentle presence increase of up to 3 dB above 2 kHz.The capsule is surrounded by a generously dimensioned microphone basket, which is acoustically very open and therefore has a neutral sound behaviour.Electrical properties:The letters TLM stand for transformerless microphone. The output transformer normally used in the TLM 49 has been replaced by an electronic circuit which - like a transformer - ensures good unbalance attenuation.As a result, interference signals that affect the balanced modulation line are effectively suppressed. The microphone can transmit sound pressure levels of up to 129 dB without distortion and provides a dynamic range of 117 dB (A-weighted).Operational safety:The entire internal structure is elastically mounted to protect against structure-borne sound transmission. In addition, the capsule is mounted on a rubber mount.Due to the wide transmission range, the TLM 49 can also reproduce extremely low-frequency signals without distortion. As a result, the microphone is naturally also sensitive to interference signals such as structure-borne sound or wind noise in this frequency range. For this reason, the TLM 49 is supplied with the EA 3 elastic suspension, which effectively protects the microphone from structure-borne noise. For extremely close pickup, the PS 15 or PS 20 a pop screen can be used in front of the microphone to protect against plosive sounds.

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.

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 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 TLM 103 is the ideal large diaphragm microphone for anyone who does 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 M 149 Tube is a modern version of the famous Neumann M 49. Like its predecessor, the classic K 47/49 large diaphragm capsule sits in an acoustically open microphone basket. The M 149 is a universal studio microphone with 9 polar patterns. Its innovative transformerless tube circuit guarantees optimum sound with the lowest inherent noise.The M 149 is a universal studio microphone with tube electronics in the tradition of the legendary M 49, the large-diaphragm condenser microphone that set a new standard in the 1950s and has provided good sound on countless jazz and pop recordings ever since. The M 149 continues this tradition by upgrading the timeless fidelity of its predecessor with even better performance data thanks to advanced technology.The M 149 uses the same transducer as its legendary predecessor, the classic K 47/49 large diaphragm capsule, which is famous for its unrivalled presence and balance. An acoustically open microphone basket minimises internal reflections. The capsule signal is amplified by a subminiature triode tube, which is selected for lowest noise and optimum transmission characteristics. The output stage is a high-precision transformerless circuit that preserves the entire dynamic range of the tube input stage and makes it fully usable for today's recording technology. The M 149 offers higher sensitivity and significantly lower self-noise than older tube microphones. In addition, the operating points of the tube are optimised internally; voltage drops in the microphone cable are automatically compensated. Thanks to its low output impedance, the M 149 can handle long cable runs of up to 300 metres without transmission losses. For this innovative combination of classic tube technology and advanced Neumann engineering, the M 149 Tube was honoured with the TEC Award in 1997.The M 149 offers nine polar patterns - omnidirectional, wide cardioid, cardioid, hypercardioid, figure-of-eight and four intermediate positions - as well as a seven-stage bass roll-off (20 to 160 Hz in half-octave steps). This flexibility and an exceptionally low self-noise of only 13 dB-A (in cardioid position) make it a truly universal studio microphone for all applications. The M 149 is not only an outstanding vocal microphone for all musical genres. Unlike many other recent tube microphones, it is equally suitable for instruments of all kinds such as piano, acoustic and electric guitar, double bass, percussion and drums (overheads) as well as solo strings and wind instruments. The M 149 is a premium microphone that fulfils even the highest demands.

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 "Series 180" consists of three compact small microphones whose characteristics fulfil the requirements of all common studio applications. Thanks to an optimised mechanical design and the deliberate avoidance of a modular construction - which is not necessary in many cases - the "Series 180" is predestined for the cost-effective basic equipment of a production or home recording studio.Based on the great success of the KM 184 cardioid microphone, which quickly became a standard in the worldwide studio scene, the KM 183 microphone with omnidirectional characteristic and the KM 185 with hypercardioid characteristic were developed.

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.