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The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times. Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems. The KMS 104 and the KMS 104 plus have a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In contrast, with its supercardioid characteristic the KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone. The KMS 104 plus features, compared to KMS 104, a more extended bass frequency response. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field. The user can thus select the version that is optimally suited to the specific application. The studio condenser capsules used in the microphone versions provide the basis for transmitting all the nuances of the human voice. In comparison with other handheld microphones, which operate mostly with dynamic capsules, the KMS series has a particularly high acoustic transparency, a wide frequency range and a fine resolution of transients. In KMS microphones, carefully adjusted acoustic filters and transformerless impedance converters that can handle very high sound pressure levels prevent the microphones from being overloaded even by strong plosive sounds. In spite of excellent pop protection, sibilants and “S” sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the above-mentioned acoustic filters are designed so that the distinctive directional characteristics of the capsules are preserved even in the bass range. The filters thus ensure a very high level of feedback protection for the KMS 104/104 plus and KMS 105 vocal microphones when they are used with a stage sound system. Since vocal microphones are typically addressed at close range, for the bass frequency response of the microphones, electronic compensation is used for the proximity effect in the respective capsules. In addition, the microphone has an invariable, built-in high-pass filter with a cutoff frequency of 120 Hz (–3 dB, measured in a free sound field). The maximum sound pressure level of the KMS microphones is 150 dB. The low self-noise level of only 18 dB A permits the microphones to be used at high gain levels without the risk of additional noise. Even at large distances, the microphones thus operate with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist. Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound. Microphones designed for use on stage require a particularly robust construction. The KMS 104/104 plus and KMS 105 therefore have thick-walled metal housings, which also provide effective protection against handling noise. The microphone headgrilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters. The KMS 104/104 plus and KMS 105 microphones, with a matching stand clamp, are supplied in an attractive padded nylon bag that is sufficiently durable for touring. Color: Nickel Impedance: 50 Ohm Package Contents: Holder;Microphone;Gig Bag Frequency Range: 20 Hz - 20 kHz Switch: No Made in: Germany Type: Condenser Polar Pattern: Supercardioid Weight: 300 g
Product Neumann KMS 104 plus Vocal Condenser Microphone is described by the EAN code 4006087086247.
Category | Microphones |
EAN | 4006087086247 |
The KMS 104 plus is a studio grade vocal microphone for stage use with a Neumann condenser capsule and all the virtues of a rugged stage microphone: excellent pop protection, enormous SPL capability, and high feedback resistance, thanks to its tight cardioid pattern. Compared to the KMS 104, the
The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic
The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic
The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic
The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS series has become the internationally acknowledged standard for first-class stage microphones. The high acoustic
A studio grade vocal microphone for stage use. Its precision manufactured condenser capsule offers true Neumann sound quality, combined with all the virtues of a rugged stage microphone: excellent pop protection, low handling noise, enormous SPL capability, and high feedback resistance, thanks to
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
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
Broadcast condenser microphone with large-diaphragm capsule which has a flat frequency response up to 3 kHz, and cardioid directional characteristic that is ideal for the faithful reproduction of speech and music. It features integrated pop protection and elastic suspension, easy to clean
Microphone clip for fastening KMS 104/105 microphones. The clip is tiltable and has a 5/8'-27 female thread with a reduction to 1/2' and 3/8' for mounting on a microphone stand. It is produced in matte black. | Colour : Black | Compatible with : Neumann KMS105
Condenser microphone with large diaphragm and classic Neumann design. It is designed for universal use. Has a cardioid directional characteristic, acoustic-pressure gradient system, transformerless circuitry, frequency response 20 Hz - 20 kHz, impedance 50 ohms, maximum sound pressure 138 db SPL
Condenser microphone with large diaphragm and classic Neumann design. It is designed for universal use. It has a changeable directional characteristics (omnidirectional, wide angle cardioid, cardioid, hypercardioid, figure-8), switch for selected parameters with LED signalization, pressure-acoustic
Condenser microphone with a compact body and classic Neumann design. It is designed for universal use. It has a cardioid polar pattern, frequency response 20 Hz - 20 kHz, impedance 50 ohms, maximum sound pressure 144 db SPL and slight presence boost above 6 kHz. The microphone capsule is placed in
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
Large diaphragm condenser microphone. The extremely quiet self-noise of the TLM 103 is regarded a milestone until today. In technical terms: a noise level of just 7 dB(A). In other words: the TLM 103 is so low noise that even the faintest nuances become audible. Thus, it is perfectly suited for
Large diaphragm condenser microphone. The extremely quiet self-noise of the TLM 103 is regarded a milestone until today. In technical terms: a noise level of just 7 dB(A). In other words: the TLM 103 is so low noise that even the faintest nuances become audible. Thus, it is perfectly suited for
The microphone's smaller dimensions contribute to an exceptionally compact appearance that nevertheless fits in with the classic Neumann design. The elegant shape together with the chrome-plated ring catches your attention at first glance. Inside the microphone is a newly developed large-diaphragm
The microphone's smaller dimensions contribute to an exceptionally compact appearance that nevertheless fits in with the classic Neumann design. The elegant shape together with the chrome-plated ring catches your attention at first glance. Inside the microphone is a newly developed large-diaphragm
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
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
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
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
The U87 is probably the best known and most widely used Neumann studio microphone. Every sound engineer will immediately recognize it by its characteristic shape. It is an excellent choice for general use in studios, broadcasting, film and television. It is also used as the main microphone when
Studio microphone. The Neumann U 87 Ai is probably the best-known and most frequently used studio microphone the world over. Its smooth and refined sound is as iconic as its elegant exterior design. The U 87 Ai is the standard microphone for speech and vocals. Three polar patterns plus pad and low