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Disc cutting lathe for vinyl. The KM 140 combines the KM 100 output stage with the cardioid capsule AK 40. The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. The GFM 132 was designed using computer simulations: The unique shape of the base plate avoids comb filter effects. 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. Early on, Neumann also developed measuring equipment such as this Level Recorder, which was able to draw frequency response curves on wax paper. The KMS 105 is a studio grade vocal microphone with all the virtues of a rugged stage microphone: excellent pop protection, low handling noise, enormous SPL capability, and high feedback resistance, thanks to its tight supercardioid pattern. The KH 310 A offers the fastest transient response in its class, outstanding midrange detail, and a pleasantly dry low frequency reproduction. The KM 130 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The SRM 64 consisted of a cardioid condenser capsule and a tube amplifier, hidden in the lower part of the stand tube. Its functionally optimized design features an … Its capsule had a built-in low cut to compensate for the proximity effect. The KMS 84 used the same capsule as the KM 84 in a newly designed headbasket with excellent pop protection. Today, more than ever, its inimitably smooth sound continues to be in high demand. Protect & clean your microphones especially for vocal and speech recordings. Discover studio microphones, monitors and headphones made by Neumann. A powerful tri-amplified midfield monitor for demanding engineers. Designed as the bigger brother of the popular TLM 103, the TLM 127 offered additional functions such as pad and low cut and even remote controllable patterns using the patented technology Neumann had introduced ten years earlier with the TLM 170 R. Neumann sound on stage – wireless! The KK 105 is a higher profile wireless element that are used a lot where you expect and need the warm representation of a vocal. The KM 85 was thus optimized for short distances as are typical in speech applications. The TLM 103 D uses Neumann’s Solution D converter technology ensuring highest fidelity with an enormous dynamic range of 130 dB. A new milestone: The D-01 digital microphone is the flagship of Neumann’s Solution D technology ensuring unprecedented fidelity and an enormous dynamic range of 130 dB. The KMR 82 i is still in production! A high-resolution tri-amplified near-field monitor for editing, mixing, and mastering with confidence and precision. Its functionally optimized design features an elastic suspension. Although technically excellent, it never caught on. in speech applications. While stationary disk cutting lathes engraved the signal in heavy wax disks, the R 21 used gelatine foil as its recording medium. It used the same large diaphragm capsule as the U 47 and ranks among the most sought-after tube microphones of all time. The KH 410 combines enormous SPL capability with a low frequency reproduction that extends down to 26 Hz. The open mesh headbasket houses a small diaphragm capsule flush mounted in a small sphere. The U 64 was a variant of the KM 64 small diaphragm microphone. The KM 86, however, was developed for P48 phantom power, introduced a few years earlier by Neumann – and soon the world standard. The M 269 c was a special version of the U 67 for the German broadcast industry, which insisted on the use of the AC 701 tube (instead of the EF 86 used in the U 67). Its high directivity makes the KM 185 an excellent problem solver for demanding applications such as drum recording. 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). Discover. Like its predecessor the RSM 191 A operates in mid/side technique; the corresponding new MTX 191 A matrix box offered significantly enhanced features. A good dynamic mic is going to be better for that. A special version of Neumann’s flagship small diaphragm microphone KM 56 with switchable patterns (omni, cardioid, figure-8). The KTM was a small diaphragm microphone using the same capsule as the KM 64. The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry. It is also used for industrial applications. A short shotgun microphone, primarily designed for film dialogue. Variable pad and low cut settings and an enormous dynamic range make it adaptable to any application. The MM 3 was a high-precision measurement microphone, much like its predecessor, the MM 2, but with updated tube electronics. The KM 120 combines the KM 100 output stage with the figure-8 capsule AK 20. Introduced as a successor to the legendary U 47 tube microphone, the U 47 fet became a Neumann classic in its own right. The KM 54 was the cardioid counterpart to the omnidirectional small diaphragm microphone KM 53, introduced the previous year. The R 21 was a portable disk recorder for electronic news gathering. A state-of-the-art microphone preamplifier with integrated headphone monitoring. The KM 140 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. Instead of the Telefunken AC 701, which was not as easily available in non-European countries, the U 64 used a tiny nuvistor tube. 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. In the early 70s people began to think beyond stereo. For increased RF-immunity the KM 253 was fitted with a new, larger plug. Like a tube microphone, the TLM 49 produces soft saturation at higher SPLs. Neumann’s first solid state microphone. Since 2014 it is available again. Neumann sound on stage – wireless! Microphone Head (for Sennheiser wireless systems). The new and improved dummy head microphone KU 100 offers a truely immersive sound experience for music and audio drama productions. Like its predecessor the SM 23 has two small diaphragm systems with selectable polar patterns. Neumann’s first shotgun microphone was designed with great attention to an even off-axis response to minimize unwanted sound coloration. The KM 145 combines the KM 100 output stage with the cardioid capsule AK 45, whose built-in low cut compensates the proximity effect. The Neumann KK 105 is the capsule equivalent to wireless as the KM 105 wired handheld. An affordable broadcast microphone from Neumann, made to convey emotion with perfection. The KM 76 offered switchable patterns (omni, cardioid, figure-8) and operated T-powered. The KMS 140 (cardioid) was the precursor to today’s very successful KMS 104. The N7000 had comprehensive computer automation while the signal path remained analog. The KM 85 was a cardioid microphone like the KM 84 but with a low cut built into the capsule to compensate for the proximity effect. The upper system may be rotated to allow for XY, MS, and Blumlein stereo techniques. Built-in, highly effective suppression of popping noises. Let us know in the comment section if you are using this with a specific Sennheiser system. So like the wired the KK 105 is a super cardioid condenser capsule with a frequency response of 80Hz - 20kHz. Neumann’s first measurement microphone. Nonetheless it offers true Neumann quality, made in Germany. Instead of cardiod and omni patterns the U 48 offered cardioid and figure-8. In the mid-70s quadraphonic sound became popular among hi-fi enthusiasts. The 'Neumann Bottle', the first ever mass produced condenser microphone. 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