Neumann KMS105 Black
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- Acoustical operating principle: Pressure gradient transducer
- Directional pattern: supercardioid
- Frequency range: 20 Hz - 20 kHz
- Sensitivity at 1 kHz into 1 kohm: 4.5 mV/Pa
- Rated impedance: 50 ohms
- Rated load impedance: 1000 ohms
- Equivalent SPL CCIR 468-3: 28 dB
- Equivalent SPL DIN/IEC 651: 18 dB-A
- S/N ratio CCIR 468-3: 66 dB
- S/N ratio DIN/IEC 651: 76 dB
- Maximum SPL for THD 0.5%: 150 dB
- Maximum output voltage: 12 dBu
- Dyn. range of the mic. amplifier DIN/IEC 651: 132 dB
- Supply voltage: 48 V ± 4 V
- Current consumption: 3.5 mA
When compared to other handheld vocal microphones, the Neumann 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.
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 artists 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 vocalist 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. In the KMS 105 a combination of four wire meshes with different mesh sizes is used. The chosen combination yields a very constant polar pattern, while maintaining the capsules 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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Not just for broadcast studios and vocals, try putting the ElectroVoice RE20 in front of a bass, guitar or a kick drum!
- Variable-D for minimal proximity effect
- True cardioid with no coloration at 180-degrees off-axis
- Voice tailored frequency response
- Bass roll-off switch
- Frequency Response: 45 - 18,000 Hz
- Impedance, Low-Z balanced: 150 Ohms
- Open Circuit Voltage: 1.5 mV/Pa
- Power Requirement: Passive
Whether for on the stage or in the studio, the AKG Drum Set Session 1 is the first step in getting in a great drum sound!
- Drum microphone set
- For stage applications, rehearsal rooms and home recording
- Includes five dynamic and two condenser overhead microphones for an array of applications
- Microphones optimally tuned to work in harmony
- Includes all microphone clamps and stand adapters allowing for quick and easy set up
- Roadworthy, rugged aluminium carrying case
- offering portable protection to store microphones and accessories
- 1 x P2 bass drum microphone
- 2 x P17* for overheads (identical specs) to P170
- 4 x P4 for toms and snare
The Audix OM11 is a dynamic mic designed to be all purpose. It has a great vocal sound, is resistant to feedback and can handle high SPL's
- Ideal for live, studio, and broadcast
- Clear, accurate sound reproduction
- Type: Dynamic
- Polar Pattern: Hypercardioid
- Frequency Response: 50Hz-18kHz
- Impedance: 200 ohms
- Sensitivity: @1k 2.3 mV/P
Offering exceptional gain before feedback, the Audix OM7 is an outstanding live vocal microphone
- Hypercardioid dynamic microphone
- Frequency Response: 48Hz - 19kHz
- Impedance: 50 ohms
- Sensitivity: 0.8 mV/Pa @1k
Capturing all the low end thump you want, as well as the high end to make it pop, the Audix D6 isn't just for kick drums...
- Dynamic drum and instrument microphone
- Polar pattern: Cardioid
- Frequency response: 30Hz - 15kHz
- Impedance: 280 ohms
- Sensitivity: 0.8 mV/Pa @ 80Hz
The Audix OM6 is a concert level, professional dynamic microphone designed to be used for a wide variety of situations, impeccably.
- Transducer Type: Dynamic
- Frequency Response: 48 Hz- 19 kHz
- Polar Pattern: Hypercardioid
- Output Impedance: 200 ohms
- Sensitivity: Sensitivity 2.4 mV ref 1k @ 1 Pascal
- Capsule Technology: VLM Type D
- Off axis rejection: >25dB
- Maximum SPL: >144dB
- Cable/Connector: 3 pin gold plated male XLR
- Polarity: Positive voltage on pin 2 relative to pin 3 of output XLR connector
- Housing: Zinc Allo
- Weight: 10.5oz/298 grams
- Weight: 10.5oz/298 grams
£459.00 inc VAT
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- 1 year warranty
This product comes with a 1 year warranty as standard.
Please note that you will need to register your product with the manufacturer to qualify for any warranty beyond 12 months.