Powerful compact bi-amplified studio monitor with superb impulse response and resolution. By the early 70s Neumann’s tube microphone U 47 was legendary among seasoned engineers, and many wished for a direct solid state successor. A unique omnidirectional tube microphone, based on the legendary Neumann M 50 of the 1950s. A microphone specially made for the French broadcasting network ORTF. Its functionally optimized design features an … The KMS 105 D is the digital version of Neumann’s supercardioid stage microphone KMS 105. The SRM 64 consisted of a cardioid condenser capsule and a tube amplifier, hidden in the lower part of the stand tube. The KTM was a small diaphragm microphone using the same capsule as the KM 64. 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. Its visually unobtrusive cardioid capsule had a diameter of only 17 mm. 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). Instead of a tube amplifier the SRM 84 had a solid state circuit hidden in the lower part of the stand tube. The KM 54 was the cardioid counterpart to the omnidirectional small diaphragm microphone KM 53, introduced the previous year. It has been used in countless famous recordings. The M 147 Tube brings back the classic sound of Neumann’s famous tube microphones of the 1950s. For many decades, Neumann was the world market leader for record cutting machines. The original is back! Despite its small size, the KH 80 DSP achieves reference class sound. The KM 183 is the successor to the classic KM 83 and can handle much higher SPLs, thanks to its transformerless output stage. As requested by the broadcast industry, the KM 256 was fitted with a different plug for increased RF-immunity. 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. Neumann HQ is based in Berlin, where the company will celebrate its 90th anniversary in 2018. Like all microphones of its time, it operated with tube electronics. Studio quality sound with outstanding resolution, The complete microphone portfolio for recording and live sound, Professional monitoring for nearfield and midfield applications. A short shotgun microphone, primarily designed for film dialogue. The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. Telefunken, a subsidiary of AEG, took on the marketing rights to this Neumann microphone. A good dynamic mic is going to be better for that. The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry. Its smooth yet defined character shaped the sound of the 70s. 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 M 50 was instrumental in developing the Decca tree recording technique. The microphone, its shock mount, and the exclusive 60s style pop shield featured an attractive combination of polished and matte nickel surfaces. The MM 5 was to remain the last measurement microphone produced by Neumann. A budget friendly stereo version of the reknowned KH 810 subwoofer. The U 89 sports an all-new dual diaphragm capsule with a consistently linear sound in five pickup patterns. The sound of our 1950s tube classics recreated with trouble free FET circuitry, State-of-the-art small diaphragm condenser microphone, Small size – big sound: Neumann’s most affordable large diaphragm microphone. The KTM was soon replaced with the KM 74, which was almost identical except for a smaller body diameter. Ten years after its initial release the TLM 170 was updated with Neumann’s new remote switching technology. Since 1928 the brand Neumann has been synonymous with perfect sound, pioneering research and development, and uncompromising quality. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound. While stationary disk cutting lathes engraved the signal in heavy wax disks, the R 21 used gelatine foil as its recording medium. Nonetheless it still required a dedicated power supply due to its remote pattern control. Important: You can change the rent dates for other materials that you want to rent in the cart. By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. 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). While older dummy head microphones created a stunningly realistic sound image when played back over headphones, loudspeaker playback was unsatisfactory. However, it used the same nickel capsules previously found in the KM 56 tube microphone. The absence of transformers makes the sound more transparent and open. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound. A long neck stage microphone for speeches and presentations. A handheld condenser microphone for pristine vocals on stage. Its precision manufactured condenser capsule offers true Neumann sound, combined with the freedom of wireless operation and all the virtues of a rugged stage microphone: excellent pop protection, enormous SPL capability, and high feedback resistance. By focusing on the essential features that are important for most home recording users, Neumann was able to offer the TLM 193, a cardioid microphone for smaller budgets in this increasingly larger area. Like its predecessor, the TLM 67 is a workhorse with three polar patterns while its circuit produces tube-like saturation at high SPLs. It is also used for industrial applications. For 50 years! The KM 66 was to remain Neumann’s last tube microphone design for almost 30 years. Let us know in the comment section if you are using this with a specific Sennheiser system. Disc cutting lathe for vinyl. Neumann sound on stage – wireless! The USM 69 i is an updated version of Neumann’s large diaphragm stereo microphone SM 69 fet. Its DSP engine allows for FIR phase correction as well as a room alignment using the Neumann.Control App. A miniature microphone with a detached amplifier. Neumann’s first measurement microphone. The U 64 was a variant of the KM 64 small diaphragm microphone. Rare is the recording – whether classical, rock or Pop, news broadcasts or radio dialogue – which doesn’t feature at least one Neumann microphone. Slightly modified version of the RSM 190. Like the U 87, the U 77 was a solid state successor to Neumann’s classic tube microphone U 67. The R 21 was a portable disk recorder for electronic news gathering. Neumann’s first stereo microphone. This capsule by default is adapted for Shure wireless handhelds. Its tube amplifier was based on the U 47’s, but instead of a large diaphragm capsule it used a tiny high-precision condenser capsule on a long neck to avoid reflections from the microphone body. The tube microphone that defined the sound of the 1960s. 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. With the TLM 170 Neumann brought the first transformerless microphone onto the market. The M 49 was the first studio microphone with a continuously variable directional pattern. (Not as low as the KK 205 however.) The 'Neumann Bottle', the first ever mass produced condenser microphone. The U 87 is the standard microphone for speech and vocals. Since 2019 also headphones belong to the product portfolio. This mic won't make you a better singer but will enhance the already disciplined vocalists. The new and improved dummy head microphone KU 100 offers a truely immersive sound experience for music and audio drama productions. Microphone Head (for Sennheiser wireless systems). Neumann sound on stage – wireless! Compact DSP-controlled closed cabinet subwoofer. The KM 88 was a multipattern small diaphragm microphone (omni, cardioid, figure-8) with FET electronics, similar to the KM 86. Neumann capsule head engineering expands with Sennheiser liveperformance engineering. So like the wired the KK 105 is a super cardioid condenser capsule with a frequency response of 80Hz - 20kHz. 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 GFM 132 was designed using computer simulations: The unique shape of the base plate avoids comb filter effects. Neumanns first DSP-controlled studio monitor. Neumann’s first microphone with a dynamic capsule. The KMS 140 (cardioid) was the precursor to today’s very successful KMS 104. The KM 73 was an omnidirectional small diaphragm microphone with solid state electronics. The MM 3 was a high-precision measurement microphone, much like its predecessor, the MM 2, but with updated tube electronics. The KMR 82 i is still in production! The KM 76 was the solid state successor to the KM 66 small diaphragm tube microphone.
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