|Dimensions||7 × 1.8 × 2.6 in|
The Neumann KMS 105 brings the legendary Neumann studio sound to the stage with high SPL capabilities, low handling noise and excellent feedback rejection. Neumann KMS 105 Microphone Designed with superlative vocal reproduction in mind, the KMS 105 brings Neumann quality to the demanding sound reinforcement environment. With its supercardioid polar pattern, low self noise, and uncolored off-axis pickup, the KMS 105 complements in-ear monitor systems. By employing a unique 4-layer acoustic filter, the KMS 105 minimizes popping and wind noise, and with special mechanical and electrical filters, handling noise is virtually eliminated. Because of the superior resolution and linear frequency response, it is very easy for the artist using the KMS 105 to identify whether he or she is “on mic.” The Neumann KMS 105 has become an internationally recognized standard in the field of high-quality stage microphones. An excellent vocal mic that truly gives the Neumann Sound on stage, it excels as a live and studio microphone for speech, acoustic-stringed instruments and brass. Very high SPL capabilities, low handling noise, a tight supercardioid polar pattern, excellent feedback rejection, and uncolored off-axis response make this a professional choice that is easy to use and a pleasure to record with. Features:- Supercardioid polar pattern with excellent feedback rejection – Excellent transparency for vocals/speech – Without off-axis coloration – Transformerless output – Effective pop shielding without any side effects – Set includes stand clamp – Low self-noise and crosstalk behavior — ideal for use with in-ear monitoring systems
Vocals and speech on stage- Announcer’s mic for broadcasting/dubbing- Especially suited for in-ear-monitoring- Excellent stage condenser for feedback-prone environments
The Neumann Sound on StageCompared to other handheld vocal microphones, the KMS 105 offers a superior resolution of the voice, with extended frequency response and accurate transient detail. Sibilance problems common to other handheld condenser mics are eliminated. No foam is used in the basket, thus eliminating any “clouding” or “muffling” of the sound. Also, by using a DC-polarized studio condenser capsule, all the nuances of the voice come through with subtlety, power, and focus.
With its supercardioid characteristic, the KMS 105 is particularly good at suppressing sounds originating from the entire 180-degree hemisphere behind the microphone. The K 105 capsule was developed from the K 50, found in the KMS 150, KM 150, and KM 185 microphones. The K 105 features a supercardioid pattern, achieved by specially modifying the response of the K 50 pressure gradient transducer. The frequency response characteristic is developed in the acoustic realm, allowing for accurate representation of transient details found in music and speech, and thus transmitting a very “open” and detailed capture of the human voice. Due to the tight supercardioid polar pattern and the coloration-free off axis response, a very high level of gain before feedback is achieved. This polar pattern offers the highest degree of isolation while still allowing for a generous “sweet spot” in front of the microphone.
The dynamic range of the KMS 105 is 132 dB, allowing reproduction of the artist’s full expression, without restraint. The maximum SPL is 150 dB and with a low self noise of 18 dB-A, a greater gain can be used without risk of adding noise to the mix. This way, the artist is able to use the microphone at a greater distance — therefore maintaining a wide range of creative freedom during the performance.
Because of the superior resolution and linear high frequency response, it is very easy for the artist using in-ear monitors to identify whether or not he or she is “on mic” with the KMS 105. And by employing a transformerless output circuit, this microphone can incorporate long cable runs with no loss of signal quality or high-frequency response.
Most of the available vocal microphones rely on the attenuating effects of foam layers inside the basket. Although this is certainly a cost-effective procedure, the detrimental effects of this foam layer can be shown quite easily. Treble frequencies are attenuated, and furthermore the polar pattern can be deformed. These drawbacks can be eliminated by selecting open mesh constructions. With careful dimensioning and selection of different mesh sizes, excellent pop and wind attenuation can be delivered, as is well known from the standard studio-use pop screens PS 10 and PS 20, made of 2 layers of spaced fabric. In the KMS 105 a combination of 4 wire meshes with different mesh sizes is used. The chosen combination yields a very constant polar pattern, while maintaining the capsule’s acoustic frontal frequency response. Naturally, the outer microphone basket is hardened steel, due to the required ruggedness for on-stage use.
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