BCM104
Broadcast microphone with a condenser capsule and a functionally optimized design, featuring integrated pop protection, suppression of structure-borne noise and
a cardioid directional characteristic.
BCM705
The first Neumann microphone with a dynamic capsule. Functionally optimized design specifically for the broadcast field, featuring integrated pop protection, suppression of structure-borne noise and a hypercardioid directional characteristic.
GFM132
The problem solver for special recording situations. The uniform frequency response for all angles of incidence, with an increase in the upper frequency range, ensures clarity and presence even when recording distant sound sources. However, optimal results are also obtainable when the mic is located in the bass drum!
KK105S
The capsule head of the KMS vocal microphone, compatible with the Sennheiser SKM 5000 / 5200 wireless system, makes possible wireless Neumann sound on the stage.
KM120
The flexible miniature microphone system for professional users. A comprehensive selection of accessories permits adaptation to a wide range of requirements. Seven different capsules are available.
KM130
KM 120
MS-Stereo microphone, in combination with the KM 140
Two crossed AK 20s in Blumlein technique
Inconspicuous spot microphone with optimum attenuation of lateral sound sources
Single microphone for two speakers facing each other
KM 130
Ideal as AB stereo pair in the diffuse sound field because of the flat frequency response
As a main mic, especially for capturing room acoustics
For stereo recordings with a baffle platet
As a spot mic for piano, wind instruments, organ, and choir
KM 131
For close miking of instruments when there is no need to attenuate extraneous noise, and in a balanced acoustic environment to record acoustic guitar, wind instruments, strings, percussion, and drums
KM 140
Universal usage, especially in situations when it is necessary to attenuate sound coming from adjacent instruments
As XY and ORTF stereo pair
Announcer's mic for broadcasting
Spot mic, overhead
Close miking of strings, wind instruments, percussion, piano, Leslie speakers, guitar amps
We recommend using an additional windscreen to minimize the effects of high wind velocity
KM 143
Polar response characteristic acts more like an omni. Therefore, it is an ideal tool to record larger instrument ensembles
As AB stereo pair, especially in rooms with less than ideal acoustics
As spot mic for strings, wind instruments, percussion, and Leslie speakers
Acts very neutral when used close up to bass instruments, such as double bass, bass amps, guitar amps
KM 145
It naturally compensates for proximity effect
Acts very neutral when used close up to bass instruments, such as double bass, bass amps, guitar amps, Leslie speakers, toms
Very neutral tonal balance during close miking of speech, as in TV, movie and video productions, PA systems
KM 150
As XY stereo pair
Overhead
Toms
In situations that are susceptible to acoustic feedback
To attenuate unwanted sound of nearby instruments
Recording of speech, as in TV, movie and video productions, PA systems
Produces especially warm and bass supporting sound for artists who perform in proximity effect range
We recommend using an additional windscreen to minimize the effects of high wind velocity, and plosive sounds
These are just some of the most common applications. We recommend additional experimentation to gain maximum use from this microphone.
Neumann Series 180
The "Series 180" consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications.
Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the "Series 180" is predestined for economy-minded production and home recording studios.
The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All "Series 180" microphones are available with either matte black or nickel finish.
KM 183
For close miking of instruments when there is no need to attenuate extraneous noise, and in a balanced acoustic environment to record acoustic guitar, wind instruments, strings, percussion, drums
Ideal as AB stereo pair because of the flat frequency response in the diffuse sound field
As a main mic, especially for capturing room acoustics
For stereo recordings with a baffle plate
As a spot mic for piano, wind instruments, organ, choir
KM 184
For universal use, especially for recording situations when it is necessary to attenuate off-axis sound (mainly from the rear) from other nearby instruments.
As XY and ORTF stereo pair
Announcer’s mic for broadcasting
Spot mic, overhead
Close miking of strings, wind instruments, percussion, piano, Leslie speakers, guitar amps
KM 185
Especially for recording situations when it is necessary to attenuate off-axis sound (lateral and rear) from other nearby instruments.
As XY stereo pair
Overhead, toms
To attenuate unwanted sound of nearby instruments
Recording of speech, as in TV, movie and video productions, PA systems
Produces especially warm and bass supporting sound for artists who perform in proximity effect range
These are just some of the most common applications. We recommend additional experimentation to gain maximum use from this microphone.
KMR81i
Recordings for broadcasting/ENG, film and video productions
Medium length shotgun spot mic in noisy surroundings
Balanced weight during handheld and boom/fishpole operation
KMR82i
Long version of the classic shotgun mic, with switchable high-pass and low-pass filter. Excellent off-axis (lateral and rear) attenuation. Free of coloration.
KMS105
Acts as reference on the stages of the world. For demanding singers, the microphone for a lifetime!
The KMS 104 and KMS 105 microphones have been developed to permit optimal transmission of the human voice, and are thus microphones of choice for demanding live applications. The KMS 105, which has already been available on the market for some time, has become an internationally recognized standard in the field of high-quality stage microphones.
Due to their low self-noise and crosstalk behavior which is free of coloration, both microphones are ideal for use with in-ear monitoring systems.
KU100
The dummy head has its place, even in the age of surround sound. It is highly recommended by some audio engineers for the rear channels.
The KU 100 dummy head is a binaural stereo microphone. It resembles the human head and has two microphone capsules built into the ears. When listening through high-quality headphones it gives the illusion of being right at the scene of the acoustic events.
When using the KU 100 dummy head, the binaural stereo experience moves the listener into the scene of the original performance, in contrast to other space-related recording techniques, where the acoustic event is moved to the listener.
M147 Tube
Neumann tube sound with a cardioid directional characteristic and a classic design. The double diaphragm capsule is derived from that of its legendary predecessors, the U 47 and M 49.
The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model's now legendary predecessors, the U 47 and the M 49.
Following the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic.
M149 Tube
The universal high-end tube microphone with a unique sound and a comprehensive selection of settings, including 15 directional characteristics and a 7-level low-cut filter! The capsule is derived from that of the legendary U 47 and M 49.
The M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule – well-known from the legendary U 47 and M 49 microphones – is followed by a tube functioning as an impedance converter. In contrast to earlier concepts – utilizing a transformer – the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration.
M150 Tube
A redesigned classic with state-of-the-art circuit technology and correspondingly low self-noise. Like the legendary M 50, this tube microphone is ideal for orchestral recording.
Since the 1950s, the Neumann M 50 has been heralded as the ideal microphone for orchestral recording and string scoring. With its phenomenal transient response and unique directional characteristic, this classic mic has endeared many fans, both in the control room and on the soundstage.
The new M 150 Tube takes many of the features from the original M 50 and incorporates them in a very modern microphone. With low self noise, a Titanium membrane and capsule, transformerless tube amplifier and sophisticated power supply, the M 150 Tube is not a reissue but an entirely new microphone in its own right.
RSM 191 A-S
A remote-control shotgun system for MS and XY stereophony. Complete set with case and accessories.
The RSM 191 is a stereo microphone system consisting of the microphone and the MTX 191 A matrix amplifier. It has an adjustable pick-up angle and high directivity. The microphone has two separate capsule systems, a hypercardioid element and a figure-8, both in a short shotgun. Together they generate the mid and the side signals.
The matrix amplifier controls the width of the stereo image by changing the gain of the side signal relative to the middle signal in six 3 dB steps. The output signals of the matrix amplifier are either mid-side (MS) or left/right (XY). The signals are converted through transformerless sum-and-difference circuitry.
The balanced, transformerless technology permits the use of long cables between the microphone, the matrix amplifier and the following mic input of other signal processing equipment.
Solution D
Pure Neumann sound in the digital domain, for use with AES/EBU or AES 42. The signal is converted directly at the capsule. Difficult questions concerning the optimal preamp and A/D converter for a Neumann mic are thus a thing of the past.
A new milestone in microphone technology
The Georg Neumann GmbH company has repeatedly played a leading role in the field of analog microphone technology. The first condenser microphone, switchable polar patterns, the first stereo microphone and the 48-V phantom power supply were all developed by Neumann and opened up new possibilities in the realm of microphone technology and recording techniques.
TLM49
Studio microphone with Retro look. Warm sound, optimized for vocal recordings. Uses the capsule of the legendary M 49 and U 47.
Cardioid polar pattern. Set includes elastic suspension.
The TLM 49 is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.
The design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The “sound design” is also oriented toward that of the M 49 and the U 47.
By combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.
TLM103
The new standard for home recording and the music industry. The mic for everyone who, despite budget limitations, does not want to do without the uncompromising Neumann sound. Cardioid directional characteristic and very low self-noise.
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.
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.
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.
TLM127
The "upgrade" for the TLM 103. Switchable between omni and cardioid at the mic. Five directional characteristics can be selected remotely via an optional power supply. Extremely low-noise, with pre-attenuation and a low-cut filter.
TLM170
The first Neumann mic with transformerless technology, featuring 5 directional characteristics, selectable at the mic or remotely, in addition to pre-attenuation and low-cut filter switches. The excellent sound pressure handling capability makes this mic ideal for recording wind instruments, for example.
TLM193
A large-diaphragm mic reduced to the essentials, but with no compromise in quality, featuring a cardioid directional characteristic and a classic design.
U87
In a word: The Neumann classic. Three directional characteristics and switchable pre-attenuation ensure suitability for a wide range of applications.
The U 87 is probably the best known and most widely used Neumann studio microphone. It is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille.
U89
A further development of the classic U 87. The 5 directional characteristics, 2-level low-cut filter and switchable pre-attenuation provide maximum flexibility.
USM69
Compact switchable stereo microphone for MS and XY stereophony, with freely adjustable pickup angles and selectable directional characteristics.
The USM 69 i stereo microphone has two separate dual-diaphragm capsules. These are mounted vertically and rotate against each other. The directional polar patterns can be selected separately for each capsule. The capsules operate independently from each other.