NEUMANN KM 185 Stereo Set

Product overview

The NEUMANN KM 185 Stereo Set is a stereo set of two KM 185 small diaphragm condenser microphones with a tight, frequency-independent hypercardioid polar pattern, each supplied with a WNS 100 windscreen and an SG 21 bk stand mount swivel.

Its very natural, transparent sound with low self-noise and high SPL capability have made the KM 185 a worldwide stage and studio standard for many applications ranging from classical piano to heavy metal drums. While many microphones add a sonic imprint of their own, the NEUMANN Series 180 (KM 183 omni, KM 184 cardioid, KM 185 hypercardioid) is made for a faithful reproduction of the original acoustic event, without adding or removing anything. The stereo set brings two KM 185 together, in matte black (KM 185 mt Stereo Set) or nickel (KM 185 Stereo Set).

Key features

• Uniform hypercardioid pattern without off-axis colouration
• High suppression of unwanted sound: excellent rejection at 120°
• Linear frequency response with a slight treble lift around 10 kHz
• Low self-noise: 15 dB-A
• Up to 142 dB SPL free from distortion; 127 dB dynamic range
• Transformerless circuitry (fet 100 technique); output for cable runs of up to 300 m
• Compact size (22 x 107 mm, approx. 80 g), visually unobtrusive
• Two microphones in one set, each with WNS 100 and SG 21 bk

Hypercardioid sound without colouration

Its hypercardioid pattern is frequency-independent; rejection of sound from 120° is excellent, even at low frequencies. There is no sound colouration over a wide pickup angle, which is crucial in multi-microphone set-ups and for precise stereo and surround imaging. The frequency response is very smooth and linear with a slight treble lift around 10 kHz for added brilliance.

A problem solver

Its high rejection at 120° without off-axis colouration makes the KM 185 a perfect problem solver in demanding applications, such as recording the snare drum while suppressing spill from the hi-hat.

Transformerless fet 100 circuitry

The Series 180 microphones use the fet 100 technique with a transformerless head amplifier. It offers a wide dynamic range of 127 dB and is carefully designed to maintain the capsule's sonic integrity: self-noise of only 15 dB-A and sound pressure levels of up to 142 dB free from distortion. The low impedance output drives cable runs of up to 300 m (1000 ft) without transmission losses; the microphone runs on 48 V phantom power (P48, 3.2 mA).

Applications

The KM 185 is a universal microphone for studio and stage applications. Its transparent sound makes it a superb microphone for acoustic instruments such as piano, acoustic guitar, upright bass, violin, cello, wind instruments, drums and percussion, and it is often used for classical vocals. Due to its small size it is visually unobtrusive and well suited to TV and radio applications.

In the box

• 2 x KM 185 mt microphone (mt set) or 2 x KM 185 microphone (nickel set)
• 2 x WNS 100 windscreen
• 2 x SG 21 bk stand mount swivel

Available versions

• KM 185 mt Stereo Set: matte black, Cat. No. 008525
• KM 185 Stereo Set: nickel, Cat. No. 008526

NEUMANN KM 185 Stereo Set: frequently asked questions

What polar pattern does the KM 185 have?

A frequency-independent hypercardioid pattern, with no sound colouration over a wide pickup angle.

Does the KM 185 need phantom power?

Yes. It operates on 48 V phantom power (P48, IEC 61938); any P48 supply providing at least 3.2 mA per channel is suitable.

How loud a source can the KM 185 handle?

Up to 142 dB SPL for 0.5 % THD, with a self-noise of 15 dB-A and a dynamic range of 127 dB.

What is in the KM 185 Stereo Set?

Two KM 185 microphones (matte black in the mt set, nickel in the nickel set), two WNS 100 windscreens and two SG 21 bk stand mount swivels.

Where can I buy the NEUMANN KM 185 Stereo Set in India?

The NEUMANN KM 185 Stereo Set is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: XY or ORTF stereo pair

Engineers recording ensembles, choirs or pianos in stereo.

Connections

Setup

1. Mount both SG 21 bk swivels on the DS 120 stereo bar.
2. Set the capsules for XY or spaced for ORTF.
3. Switch on 48 V phantom power on both channels.
4. Set identical gains and record.

Tip: The absence of off-axis colouration is crucial for precise stereo imaging.

Workflow 2: AB spaced pair

Recording orchestras, organs or rooms with a spaced pair.

Connections

Setup

1. Place the two microphones apart in front of the ensemble.
2. Point both at the source.
3. Switch on phantom power.
4. Balance the two channels and record.

Tip: Long cable runs of up to 300 m cause no transmission losses.

Workflow 3: Acoustic guitar

Singer-songwriters and engineers recording acoustic guitar.

Connections

Setup

1. Mount the microphone on a stand.
2. Point it at the instrument from a short distance.
3. Switch on 48 V phantom power.
4. Adjust the position until body and detail balance, then record.

Tip: The transparent sound reproduces the instrument faithfully without adding a sonic imprint.

Workflow 4: Piano

Recording grand or upright piano.

Connections

Setup

1. Place the microphone(s) above the strings or at the open lid.
2. Switch on phantom power.
3. Set the gain with the loudest passage.
4. Record and compare positions.

Tip: Its high rejection at 120° without off-axis colouration makes the KM 185 a perfect problem solver in demanding applications, such as recording the snare drum while suppressing spill from the hi-hat.

Workflow 5: Strings, woodwinds and brass

Spot miking orchestral and ensemble instruments.

Connections

Setup

1. Position the microphone near the instrument.
2. Switch on 48 V phantom power for both microphones.
3. Set the gain.
4. Blend with the main microphones.

Tip: Small and visually unobtrusive on stage and on camera.

Workflow 6: TV and radio

Broadcast engineers who need discreet microphones.

Connections

Setup

1. Place the microphone discreetly near the source.
2. Switch on phantom power.
3. Check the level with normal speech or playing.
4. Go on air or record.

Tip: Test with normal speech, never by blowing into the microphone.