Neumann TLM 102 is available at a lower price point, and is praised for the natural audio character. And, of course, it is a true Neumann, designed and manufactured in Germany with great attention to every detail. Like the U 87, the U 77 was a solid state successor to Neumann’s classic tube microphone U 67. The KM 53 was a pressure transducer with an ultra-thin metal diaphragm. For increased RF-immunity the KM 253 was fitted with a new, larger plug. Its smooth and refined sound is as iconic as its elegant exterior design. It used the same cardioid capsule as the KM 64 and KM84, but the grounding scheme of its T-powered circuit necessitated a different capsule head design. Neumann’s first large diaphragm stereo microphone SM 69 was still tube based. Designed as a successor to the U 87, the U 89 was eventually recognized as a classic Neumann microphone in ist own right. Like the KM 76, the KM 86 was a transistorized successor to the KM 66 small diaphragm tube microphone. Like all microphones of its time, it operated with tube electronics. Starting with the KH 120 in 2010, Neumann offers his expertise in electro-acoustic transducer technologies to the studio monitoring market, and is now the perfect partner for both the front end and the back end of the audio signal path. Variable pad and low cut settings and an enormous dynamic range make it adaptable to any application. The MM 5 was to remain the last measurement microphone produced by Neumann. Like its more expensive siblings, the TLM 102 combines technical excellence with a beautifully balanced sound for silky vocals, crisp guitars and powerful drums. A powerful tri-amplified midfield monitor for demanding engineers. Thanks to the latest amplifier and acoustical components, the KH 810 achieves distortion-free bass extension down to 18 Hz. The KM 66 was to remain Neumann’s last tube microphone design for almost 30 years. It was powered via T-power, P48 phantom power had not yet been invented. Big sound for small studios: The TLM 102 is Neumann’s most affordable large diaphragm condenser microphone to date. And, of course, it is a true Neumann, designed and manufactured in Germany with great attention to every detail. However, it used the same nickel capsules previously found in the KM 56 tube microphone. KH 310 A. High-resolution tri-amplified near-field monitor, optimized for midrange and a dry bass sound. The KMS 104 plus is a special version of the popular KMS 104 cardioid stage microphone. Neumann’s first small diaphragm microphone with selectable directional patterns (omni, cardioid, figure-8). Today, more than ever, its inimitably smooth sound continues to be in high demand. The M 147 Tube brings back the classic sound of Neumann’s famous tube microphones of the 1950s. It used the same large diaphragm capsule as the U 47 and ranks among the most sought-after tube microphones of all time. A handheld condenser microphone for pristine vocals on stage. Keys 12/2009, German Like its predecessor the RSM 191 A operates in mid/side technique; the corresponding new MTX 191 A matrix box offered significantly enhanced features. Since 2019 also headphones belong to the product portfolio. The 'Neumann Bottle', the first ever mass produced condenser microphone. 94 dB SPL), Compact microphone with genuine Neumann large diaphragm capsule, Transformerless circuitry for high SPLs without distortion. 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. It has been used in countless famous recordings. Small size – big sound: Neumann’s most affordable large diaphragm microphone. Download PDF, TLM 102 review Download PDF, TLM 102 review 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 R 21 was a portable disk recorder for electronic news gathering. Compared to more expensive Neumann microphones, the TLM 102 is reduced in size and features, but Neumann would never compromise on sound quality. The KM 143 combines the KM 100 output stage with the wide cardioid capsule AK 43. The AM 31 was the successor to Neumann’s first disk cutting lathe AM 29, which was still belt driven. Its high directivity makes the KM 185 an excellent problem solver for demanding applications such as drum recording. This applies not only to the design of the microphone but also to the price. Like its more expensive siblings, the TLM 102 combines technical excellence with a beautifully balanced sound for silky vocals, crisp guitars and powerful drums. Neumann celebrates the anniversary of this studio legend with the U 87 Rhodium Edition – a spectacular creation that gives the U 87 an extra special look to celebrate its timeless achievement. 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 KM 64 was the successor to Neumann’s KM 54 small diaphragm cardioid microphone. A miniature microphone with a detached amplifier. 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! By the early 70s Neumann’s tube microphone U 47 was legendary among seasoned engineers, and many wished for a direct solid state successor. It uses the same capsule as the legendary U 47 combined with an innovative transformerless tube circuit. The KH 870 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. 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. Compared to more expensive Neumann microphones, the TLM 102 is reduced in size and features, but Neumann … The state of the art broadcast microphone from Neumann, made to convey emotion with perfection. Due to its enormous dynamic range of 132 dB and a remarkably uniform cardioid pickup pattern, the TLM 102 is a very easy to use microphone for home and project studios, and also for demanding live applications. The upper system may be rotated to allow for XY, MS, and Blumlein stereo techniques. The U 47 fet never quite filled those giant footprints, but was eventually (re)discovered as a classic in its own right. The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry.
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