NEUMANN KMS 105 bk

Product overview

The NEUMANN KMS 105 bk is a studio grade condenser vocal microphone for the stage with a tight supercardioid pattern, in a black finish.

Its precision manufactured condenser capsule offers true Neumann sound quality, combined with all the virtues of a rugged stage microphone: excellent pop protection, low handling noise, enormous SPL capability of up to 150 dB and high feedback resistance. Optimised for close miking, it has a fixed low cut that keeps the bass clear even if the singer's lips touch the microphone, a hardened steel headgrille with a multi-level wire gauze pop filter and a transformerless 50 Ω output that drives cable runs of up to 300 m. The same microphone is also available in nickel as the KMS 105.

Key features

• Tight supercardioid pattern without off-axis coloration
• Unaffected by extreme sound pressure levels: up to 150 dB
• Rugged construction
• Feedback resistant
• Built-in pop screen: multi-level wire gauze filter
• Very low handling noise
• Transformerless output: cable runs of up to 300 m
• Delivered with the SG 105 stand clamp and a padded nylon bag

Studio quality for stage vocals

Instead of a dynamic capsule, the KMS 105 bk uses a true condenser capsule with the clarity that made Neumann studio microphones famous, yet it is as rugged as a stage microphone needs to be. Its smooth frequency response with an airy top end and fast transient response give effortless intelligibility without the usual EQ boosts, which further improves feedback resistance.

Supercardioid for high gain before feedback

The tight, frequency-independent supercardioid pattern gives the best possible rejection of sound from the rear half-space. The acoustic filters suppress plosives while the directional characteristics are kept down into the bass range, for very high feedback resistance on stage.

Pop protection and rugged build

The hardened steel headgrille features a carefully designed multi-level pop filter of wire gauze that causes no sibilance problems and does not compromise the capsule's directivity. The thick-walled housing protects the head amplifier, and its transformerless output minimises electromagnetic interference such as hum.

Applications

Designed primarily as a handheld vocal microphone, the KMS 105 bk also suits percussion, saxophone, trumpet, trombone, harmonica, acoustic guitar and guitar cabinets, and is an excellent microphone for home recording and broadcast.

In the box

• KMS 105 bk microphone
• SG 105 stand clamp
• Padded nylon bag

NEUMANN KMS 105 bk: frequently asked questions

What polar pattern does the KMS 105 bk have?

A tight, frequency-independent supercardioid pattern without off-axis coloration, for high gain before feedback. It is addressed from the top (axial).

Does the KMS 105 bk need phantom power?

Yes. It is phantom powered at 48 V ± 4 V, 3.5 mA (P48, IEC 61938). Any P48 supply providing at least 3.5 mA per channel is suitable.

Can the KMS 105 bk be used for recording too?

Yes. Neumann describes it as an excellent microphone for home recording and broadcast: optimised for close placement, it picks up a dry sound with very little ambience, which suits untreated rooms.

How is the headgrille cleaned?

Unscrew the headgrille, take out the gauze cylinder or foam, clean them in water or mild solvents, let them dry and reassemble the microphone.

What is the difference between the KMS 105 bk and the KMS 105?

Only the finish: the KMS 105 bk (Cat. No. 008455) is black, the KMS 105 (Cat. No. 008454) is nickel. Both come with the SG 105 stand clamp and a padded nylon bag.

Where can I buy the NEUMANN KMS 105 bk in India?

The NEUMANN KMS 105 bk is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Lead vocals on stage

Singers and front-of-house engineers on live stages.

Connections

Setup

1. Fit the microphone in the SG 105 and connect it with a balanced XLR cable.
2. Switch on 48 V phantom power and wait a few seconds until the microphone is ready.
3. Sing close to the top of the microphone; keep the rear of the supercardioid pattern towards the floor monitors.
4. Set the gain with the loudest passage of the song.

Tip: The fixed low cut keeps the bass clear even with very close miking.

Workflow 2: Handheld vocals

Singers who move around the stage.

Connections

Setup

1. Take the microphone out of the clamp.
2. Hold it by the body, not by the headgrille.
3. Sing on axis into the top of the microphone.
4. Check the level during the sound check.

Tip: The thick-walled metal case strongly attenuates handling noise.

Workflow 3: Wind instruments and percussion

Live engineers miking saxophone, trumpet, trombone, harmonica or percussion.

Connections

Setup

1. Place the microphone close to the bell or the instrument.
2. No pre-attenuation is needed: up to 150 dB SPL.
3. Set the preamp gain so the input does not clip.
4. Use the pattern to keep neighbouring instruments out.

Tip: The wide dynamic range handles loud brass close up.

Workflow 4: Guitar cabinets and acoustic guitar

Bands and engineers on stage.

Connections

Setup

1. Place the microphone in front of the speaker or the guitar.
2. Adjust the distance for the right bass balance.
3. Set the gain.
4. Check for feedback at stage volume.

Tip: High gain before feedback suits acoustic guitars on loud stages.

Workflow 5: Home recording in untreated rooms

Singers and producers recording at home.

Connections

Setup

1. Mount the microphone on a stand with the SG 105.
2. Switch on phantom power.
3. Sing close to the microphone.
4. Record: the close placement gives a dry sound with very little ambience.

Tip: Close miking keeps room reflections out of the recording.

Workflow 6: Broadcast and wireless use

Presenters and live productions.

Connections

Setup

1. Connect to a console input with P48, or to a transmitter that supplies P48 (3.5 mA min.) with the signal on pin 2.
2. Check that the transmitter has sufficient dynamic range.
3. Speak close to the microphone.
4. Set the level and record or transmit.

Tip: The 50 Ω output drives cable runs of up to 300 m without losses.