Neumann KMS 105 Supercardioid Handheld Microphone (Matte Black)
The Neumann KMS 105 Handheld Condenser Microphone has been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. The KMS 105 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 â??Sâ? 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 (â?"3 dB, measured in a free sound field). The dynamic range of the KMS microphones is 132 dB, and the maximum sound pressure level 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.
Neumann KMS 105 Supercardioid Handheld Microphone Features
- Neumann sound on stage
- Excellent transparency for vocals/speech
- Cardioid/Supercardioid polar pattern with excellent feedback rejection
- Without off-axis coloration
- Transformerless output
- Effective pop shielding without any side effects
- Set includes stand clamp
Neumann KMS 105 Supercardioid Handheld Microphone Specifications
- Acoustical operating principle: Pressure gradient transducer
- Directional pattern: Cardioid/cardioid/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: 1 kohms
- Equivalent noise level: CCIR1) 28 dB
- Equivalent noise level: A-weighted1) 18 dB-A
- Signal-to-noise ratio: CCIR1) (rel. 94 dB SPL) 66 dB
- Signal-to-noise ratio: A-weighted1) (rel. 94 dB SPL) 76 dB
- Maximum SPL for THD: 0.5%2) 150 dB
- Maximum output voltage: 12 dBu
- Dyn. range of the mic. amplifier: (A-weighted) 132 dB
- Supply voltage: (P48, IEC 1938) 48 V Â± 4 V
- Current consumption: (P48, IEC 1938) 3.5 mA
- Matching connector: XLR3F
- Weight: approx. 300 g
- Diameter: 48 mm
- Length: 180 mm
Neumann KMS 105 Supercardioid Handheld Microphone Downloads
3 Reviews Hide Reviews Show Reviews
I have been using a Shure Beta 58 and liked it but having purchased a U87 for recording vocals I started looking at Neumann and other brands for live vocals - Really glad I went with the KM105-huge improvement in tonal quality and clarity. Cuts through while sounding very smooth. Amazing mic IMHO. Only adjustment needed was to re-EQ highs which had been boosted a bit for the 58. Ryan at FEA was very really new his stuff and was a great help in discussing my options so kudos to him as well!
Great! Simply the best choice. A microphone that outperforms all others. No comparison. When it comes microphone for voice, Neumann KMS 105 is a product of another planet.
On a budget, yet still seeking a Neumann, I bought the KMS 105 to use for live and possibly home studio vocals. For live vocals, it performed very well, as advertised. I was somewhat surprised to realize that it performed equally well for studio vocals. Full- yet not boomy-sounding, the supercardioid pattern coupled with the onboard highpass filter reduced sibilance to a non-issue. Handling noise was minimal, as well. It translated the actual vocalist without coloring the voice. Knowing that some artists such as Bob Brozman use the KMS 105's more expensive cousin, the KSM 150, for live acoustic guitar work, I tried the KMS 105 for both live and studio acoustic instrument trials. I was extremely pleased and have since used it routinely for these purposes. I gave the KMS 105 five stars because for the price-conscious buyer, the KMS 105 is a very fine multi-purpose microphone, holds its value extremely well, and is truly an excellent alternative to the KMS 150.