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Eight different small diaphragm capsules (KK 120 … KK 185) may be combined with either an analog output stage (KM A) or a digital AES 42 output stage (KM D). An updated version of Neumann’s stereo microphone SM 2. The KMS 104 plus is a special version of the popular KMS 104 cardioid stage microphone. Discover. So like the wired the KK 105 is a super cardioid condenser capsule with a frequency response of 80Hz - 20kHz. A handheld condenser microphone for pristine vocals on stage. Since 2014 it is available again. Neumann’s first small diaphragm microphone with selectable directional patterns (omni, cardioid, figure-8). The KH 870 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. Neumann’s first stereo microphone. The KMR 81 D complies to the AES 42 standard for digital microphones. The KM 150 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 83 was the omnidirectional model of the KM 80 series, which introduced a technology, which, due to its many advantages, soon became the new standard: P48 phantom power. The U 47 fet never quite filled those giant footprints, but was eventually (re)discovered as a classic in its own right. The Neumann KK 105 is the capsule equivalent to wireless as the KM 105 wired handheld. The digital Version of Neumann’s high-resolution tri-amplified KH 310 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs. The KM 143 combines the KM 100 output stage with the wide cardioid capsule AK 43. It worked similar to a dummy head stereo microphone, but was optimized for loudspeaker playback. It was powered via T-power, P48 phantom power had not yet been invented. The KM 64 was the successor to Neumann’s KM 54 small diaphragm cardioid microphone. The KM 150 combines the KM 100 output stage with the hypercardioid capsule AK 50. The AM 31’s innovative oil-damped direct drive ensured an extremely even rotation. It is the ideal choice for smaller rooms and smaller studio monitors, such as the KH 80 DSP. The Neumann QM 69 was a variant of the SM 69 fet with four separate outputs for each half of the two dual diaphragm capsules. This capsules not really meant for genres where the performer is singing loud like in rock, metal or some rap styles. The TLM 49 uses the same capsule and the same iconic headgrille design as the legendary M 49. The original is back! The capsule head KK 204 uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 2000/6000/9000 handheld transmitters and EW G4 300/500 wireless systems. A budget friendly stereo version of the reknowned KH 810 subwoofer. A long neck stage microphone for speeches and presentations. A slight boost in the low frequencies gives the plus version more “warmth” and “weight”. From 2010 Neumann has also offered professional sound solutions for the studio monitoring market, thereby providing optimum solutions to its clients across TV and radio broadcasting, recording, live Sound and post-production. The KM 74 the successor to the KTM, Neumann’s first transistorized microphone. Like all microphones of its time, it operated with tube electronics. A special version of the omnidirectional small diaphragm microphone KM 53 for the broadcast industry. Neumann HQ is based in Berlin, where the company will celebrate its 90th anniversary in 2018. The KM 76 was the solid state successor to the KM 66 small diaphragm tube microphone. The KMR 82 i is still in production! While older dummy head microphones created a stunningly realistic sound image when played back over headphones, loudspeaker playback was unsatisfactory. The spherical surface microphone KFM 100 had two omni capsules flush mounted in a sphere. For its 40th anniversary the U 87 was offered as a special set in a unique retro style case. The U 87 is the standard microphone for speech and vocals. The KTM was soon replaced with the KM 74, which was almost identical except for a smaller body diameter. Thanks to its integrated pattern controls the USM 69 i does not require a dedicated power supply anymore but can be run off phantom power. A powerful tri-amplified midfield monitor for demanding engineers. Its functionally optimized design features an integrated pop screen and a shock protected large diaphragm condenser capsule. The U 48 was a special variant of Neumann’s flagship studio microphone, the U 47. The first Neumann Headphone – A premium quality closed-back studio headphone for monitoring, editing, and mixing. Its visually unobtrusive cardioid capsule had a diameter of only 17 mm. The KM 75 was a cardioid microphone for short distances, e.g. The GFM 132 was designed using computer simulations: The unique shape of the base plate avoids comb filter effects. For increased RF-immunity the KM 253 was fitted with a new, larger plug. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound. It offers the same precision as the KH 810 but with additional power for distortion-free bass reproduction even at highest SPLs. The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry. Neumann capsule head engineering expands with Sennheiser liveperformance engineering. The U 64 was a variant of the KM 64 small diaphragm microphone. The ultimate studio standard all over the world. The M 49 was the first studio microphone with a continuously variable directional pattern. Diameter: 9 cm, height: 40 cm, weight: 3 kg. Lead Powering). 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