The Miniature Clip Mic MCM System raises the bar of electret capsules. And as a true Neumann, picks the typical sound from all acoustic instruments in live applications. It redefines the standard in natural sound, practicality, reliable mounting, and longevity. The system includes nine instrument-specific mounting clips for a wide variety of acoustic instruments. The modular construction allows for easy replacements and guarantees a superior low cost of ownership.

THE CAPSULE: 8 PARTS OF PERFECTION

A new level of tonal balance, more body, especially in the bass and mid-range, and transparency in the treble: The newly developed capsules KK 13 (omni) and KK 14 (cardioid) overcome former limitations of the electret principles and catches the signature sound of a wide range of acoustic sources. To achieve this, Neumann developed a layer-based design. Each of the capsulesʼ eight key components are designed for optimal performance, manufactured independently, and assembled by hand later on. The strict quality control also guarantees an unheard level of tonal consistency. Each capsule sounds exactly the same and delivers the neutral Neumann-style sound, saving time during setup and EQ tuning especially when running multiple microphones simultaneously.

With ultra-low self-noise of 23 dBA and an extremely high maximum sound level of 153 dB SPL, the KK 14 delivers perfect results from both very quiet and very loud instruments.

The titanium housing is road tough and protects the more sensitive parts for years to come.

CONNECTIVITY

The MCM System includes interchangeable cable options with 3.5 mm jack, Lemo, 4-pin mini-XLR, and MicroDot connectors – no adapter needed. The microphone can also work with a wired connection using the MCM 100 high-end output stage and the 3.5 mm jack cable.

MOUNTING OPTIONS

A fundamental part of the MCM System is an exhaustive palette of mounting options that allow for simple and reliable microphone positioning on any instrument. Their mechanics are gentle to even the most sensitive surfaces and make mounting a matter of seconds, requiring only one hand for most instruments. The gooseneck holder rotates along one or two axes and locks in 45° increments to allow for precise adjustment.

The M 150 Tube is a unique small diaphragm condenser microphone for orchestral recordings, based on the legendary Neumann M 50. The M 150 uses a titanium capsule flush mounted in a small sphere to create an omni pattern which becomes directional at higher frequencies. An innovative transformer less tube circuit ensures a vivid sound with low noise.

TRULY UNIQUE – UNIQUELY TRUE

The M 150 is a unique tube microphone in the tradition of the legendary Neumann M 50 of the 1950s, often quoted as the ultimate microphone for orchestral recording. The M 150 offers the same phenomenal transient response and unique directional characteristic as its ancestor, updated with 21st century technology and improved performance.

CONSTRUCTION

Like its predecessor, the M 150 uses a 12 mm small diaphragm capsule, flush mounted in a 40 mm sphere. The capsule itself is a pressure transducer, but the sphere modifies its omnidirectional pattern to become gradually more directional at higher frequencies. The M 150’s condenser transducer is extraordinary in other respects, too: Its ultra-thin diaphragm is made of titanium, a light yet rigid metal, and spaced only 10 microns from the backplate, also made of titanium. The result is a sound transducer with unparalleled transient response. This delicate capsule is protected by an acoustically open headgrille – shaped just like that of the venerable M 50.

The capsule signal is amplified by a tube circuit using a subminiature triode, specially selected for optimal transmission characteristics and lowest self-noise of only 15 dB-A. Unlike its ancestor developed in the 1950s, however, the M 150 does not use an output transformer which might color the sound. Instead, the M 150 relies on an ultra-transparent transformerless output stage ensuring a clear low end, even at highest levels, and a wide dynamic range of 119 dB. Moreover, this state of the art output stage allows for long cable runs of up to 300 m without transmission losses.

A –10 dB switch allows to attenuate the microphone signal at the output for use with low headroom preamps. Another switch activates a 40 Hz rumble filter; in the LIN position, the low cut filter is not entirely deactivated but shifted to 16 Hz in order to protect the console input from sub-audio noise as the capsule’s low frequency response is virtually unlimited.

APPLICATIONS

The M 150 is primarily designed to bring unprecedented detail and realism to orchestral recordings, e.g. of classical pieces and film scores. Due to its unique “directional omni” characteristic, its outstanding transient response, and a gradually rising sensitivity above 1 kHz, the Neumann M 150 is the perfect microphone for DECCA Tree techniques, including extended surround setups.

• Ideal for DECCA Tree stereo and surround recordings
• Modern version of the legendary Neumann M 50
• Unique all-titanium capsule
• Extended frequency response and unparalleled transient accuracy
• Tube circuit with transformerless output stage
• Very low self-noise

The M 147 Tube brings back the classic sound of Neumann’s famous tube microphones of the 1950s. The M 147 tube is a cardioid microphone using the same large diaphragm capsule as the legendary U 47 but combines it with an innovative tube circuit for lowest noise. Its transformer less output stage ensures superb performance at an attractive price.

VINTAGE SOUND WITH MODERN MUSCLE

With digital recording and ultra-clean processing, many engineers find themselves looking for tube microphones to reinstate a more “analogue” sound character. The Neumann M 147 is a tube microphone specially designed for 21st century recording chains. Its acoustic design is inspired by the legendary U 47, which revolutionized studio recording in the 1950s with its superior sound quality and is still used daily in top studios around the world. The head amplifier of the M 147 combines classic tube circuitry with an advanced solid state output stage for vintage sound with a modern punch.

The headgrille of the M 147 is more than a visual statement: It is a slightly more compact version of the iconic U 47 capsule head, partly responsible for its legendary sound. Even more importantly, it shares the same sound transducer, the classic K 47 large diaphragm condenser capsule, known for its exceptional combination of warmth and presence. The capsule signal is amplified by a classic tube circuit using a specially selected subminiature triode. While vintage microphones relied on large and expensive audio transformers for the final impedance conversion, the M 147 uses a state-of-the-art transformerless solid state output stage, which allows for long cable runs up to 300 m without transmission losses and ensures a very direct sound with unrestricted bass response.

APPLICATIONS

The M 147’s unique sound character with unsurpassed presence and a distinctive midrange focus is ideally suited for vocals, both male and female, as well as speech applications such as voice-over and film dubbing. The M 147 is also an excellent spot mic for any solo instruments. Unlike many other tube microphones, the M 147 can be used for quiet sources, due to its exceptionally low self-noise of only 12 dB-A. Although its max SPL figure of 114 dB appears low, the M 147 works well with louder sources, too, as distortion rises very slowly to 5% THD for 134 dB SPL. This behavior is intentional: The M 147 creates a sense of elevated loudness by means soft saturation – just like in the days of analog recording.

• Same K47 capsule design as the legendary Neumann U 47
• Cardioid pattern
• Classic sound with unmatched presence
• Tube circuit with extremely low self-noise
• Transformerless output stage
• Comes with power supply

The M 149 Tube is a modern version of Neumann’s famous M 49 microphone. Like its predecessor, it uses the classic K47/49 large diaphragm capsule in an acoustically open head grille. The M 149 is a universal studio microphone with 9 selectable polar patterns. Its innovative transformer less tube circuit ensures optimal sound with lowest self-noise.

CLASSIC NEUMANN SOUND WITH 21ST CENTURY PERFORMANCE

The M 149 is a universal studio microphone with tube electronics in the tradition of the legendary M 49, the large diaphragm condenser microphone that raised the standard of audio recording in the 1950s and has shaped the sound of countless jazz and pop albums ever since. The M 149 continues in this tradition, augmenting the timeless fidelity of its predecessor with updated technology and improved performance specs.

The M 149 uses the same sound transducer as its famous predecessor, the classic K 47/49 large diaphragm capsule, renowned for its supreme balance and unmatched presence. This delicate dual diaphragm capsule is housed in a large, acoustically open head grille, which minimizes internal reflections. The capsule signal is then amplified by a subminiature triode tube, specially selected for lowest noise and optimal transmission characteristics. The final stage is a high-precision, ultra-low distortion transformer less output stage, which preserves the full dynamics of the preceding tube circuit and is optimized for 21st century signal chains. The M 149 offers higher sensitivity and much lower noise than vintage tube microphones. And thanks its current sensing technology, which ensures optimal operating conditions for the tube, and its low output impedance, the M 149 can drive long cable runs of up to 300 m without transmission losses. It was this innovative combination of classic tube technology with state of the art Neumann engineering which earned the M 149 a prestigious TEC Award in 1997.

TRULY UNIVERSAL

The M 149 offers nine directional characteristics – omni, wide cardioid, cardioid, hypercardioid, figure-8, plus four intermediate positions – as well as a 7-position low cut (20 to 160 Hz in half-octave steps). This flexibility along with an exceptionally low self-noise figure of only 13 dB-A (cardioid mode) makes the M 149 a truly universal studio microphone for all applications. Not only is the M 149 a superb microphone for vocalists in any genre; unlike many other modern tube microphones, it is also an amazingly versatile microphone for a wide range of instruments, such as piano, acoustic and electric guitar, upright bass, percussion, drums overheads, as well as solo strings, brass and woodwind instruments. The M 149 is a premium microphone which will satisfy even the most demanding users.

• Same capsule as the legendary Neumann M 49
• Classic sound in nine directional patterns
• Seven-position low cut switch
• Tube circuit with extremely low self-noise
• Transformerless output stage
• Comes with power supply

The KMR 82 i is a shotgun microphone for longer distances, e.g. in ENG and stage applications. With an acceptance angle of 45° and minimal off-axis coloration the KMR 82 i can be used to record individual instruments in an orchestra without problems. The KMR 82 i offers high sensitivity with low power consumption and is lightweight for easy handling.

CLEAR AND FOCUSED SOUND FROM A DISTANCE

The KMR 82 i is a shotgun microphone with a very high directivity for situations that require the microphone to be kept at a greater distance from the source. This is often the case in electronic news gathering (ENG) and in theaters, where microphones ought to remain invisible. The KMR 82 i can also be used to obtain a clear and focused sound in noisy environments.

Technically speaking, the KMR 82 i combines a pressure gradient condenser capsule with a long interference tube to achieve a very narrow acceptance angle of 45˚ and excellent rejection of unwanted sound. Unlike many other shotgun microphones, the Neumann KMR 82 i’s lobe shaped pickup pattern is frequency-independent. In other words, off-axis sound is picked up at reduced level but without unwanted coloration. The KMR 82 i therefore sounds uncommonly natural for a long shotgun microphone and is easy to combine with other microphones, without unwanted side effects.

Compared to other shotgun microphones, the Neumann KMR 82 i offers a superior sound balance. Its frequency response is highly linear up to 2 kHz, while a broad treble lift compensates for high frequency losses that occur when recording at greater distances. The KMR 82 i offers very low self-noise of only 12 dB-A and a high sensitivity of 21 mV/Pa. It can handle high SPLs of up to 128 dB without audible distortion. A high pass filter suppresses subsonic interference, such as wind and handling noise. For use at shorter distances, the filter frequency can be shifted to 120 Hz using the low cut switch to compensate for the proximity effect. To avoid sibilance problems in cases when the KMR 82 i is used for close speech, a second switch activates an electronic filter which compensates for the capsule’s treble boost.

APPLICATIONS

The KMR 82 i is an excellent microphone for theater and broadcast applications, such as stage dialogue, and for ENG in noisy environments. The KMR 82 i is very lightweight and has a balanced center of gravity, making it a pleasure to use, even after several hours. Due to its low power consumption and its low sensitivity to wind and handling noise, the KMR 82 i is perfect for on-location work. Thanks to its natural sound and excellent off-axis behavior, the KMR 82 i can also be used as a problem solver in critical recording situations, e.g. to pick up a soloist in front of an orchestra.

• Very high directivity with 45° recording angle
• Excellent rejection of unwanted sound
• Natural sound without off-axis coloration
• Low cut and treble response switches
• Lightweight (250 g)
• Low power consumption

The KMR 81 i is a shotgun microphone for medium distances, e.g. for film dialogue with a clear and focused sound while the microphone is placed outside the picture. Off-axis coloration is minimized to avoid sound change when actors are moving. The KMR 81 i offers high sensitivity with low power consumption and is lightweight for easy handling.

A PROBLEM SOLVER WITH A TOUCH OF CLASS

The KMR 81 i is a shotgun microphone with a high directivity for situations that require the microphone to be kept at a distance from the source. This is often the case in electronic news gathering (ENG) and film dialogue recording, where the microphone must remain invisible. The KMR 81 i can also be used to obtain a clear and focused sound in noisy environments.

Technically speaking, the KMR 81 i combines a pressure gradient condenser capsule with a medium-length interference tube to achieve a narrow acceptance angle of 90˚ and excellent rejection of unwanted sound. Unlike many other shotgun microphones, the Neumann KMR 81 i’s lobe shaped pickup pattern is frequency-independent. In other words, off-axis sound is picked up at reduced level but without unwanted coloration. This makes it easy to correct a misaligned microphone in postproduction.

Compared to other shotgun microphones, the Neumann KMR 81 i offers a more natural sound image. Its frequency response is highly linear up to 2 kHz while a broad treble lift compensates for high frequency losses that occur when recording at greater distances. The KMR 81 i offers very low self-noise of only 12 dB-A and a high sensitivity of 18 mV/Pa, which can be reduced by 10 dB to protect the microphone input from overload. The KMR 81 i can handle high SPLs of up to 128 dB without audible distortion (138 dB SPL with the preattenuation switch engaged). A second switch activates a 200 Hz low cut to compensate for the proximity effect when the KMR 81 i is use at short distances.

APPLICATIONS

The KMR 81 i is primarily designed for film and broadcast applications. It is an excellent microphone for movie dialogue both in the studio and on location. The KMR 81 i is very lightweight and has a balanced center of gravity, making it a pleasure to use, even after several hours. Due to its low power consumption and its low sensitivity to wind and handling noise, the KMR 81 i is excellently suited for on-location work. Thanks to its natural sound and excellent off-axis behavior, the KMR 81 i can also be used as a problem solver in critical recording situations, e.g. to pick up a soloist in front of an orchestra.

• High directivity with 90° recording angle
• Excellent rejection of unwanted sound
• Natural sound without off-axis coloration
• Low cut and pad switches
• Lightweight (145 g)
• Low power consumption

The KMS 105 is a studio grade vocal microphone for stage use. 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, and high feedback resistance, thanks to its tight super cardioid pattern.

STUDIO QUALITY FOR STAGE VOCALS

The KMS 105 brings studio sound quality to the stage. Unlike usual stage microphones, which use dynamic capsules, the KMS 105 is equipped with a true condenser microphone capsule offering the superior clarity that made Neumann studio microphones famous all over the world. At the same time, the KMS 105 possesses the ruggedness required of a stage mic, thus refuting the myth that condenser microphones must be “fragile”. The KMS 105 can stand enormous sound pressure levels of up to 150 dB without clipping, and its tight, frequency-independent supercardioid pattern ensures high gain before feedback. The KMS 105 has a much smoother frequency response than dynamic microphones and an airy top-end. Compared to dynamic microphones, the Neumann KMS 105 has a vastly superior transient response resulting in a more immediate, more emotional vocal sound. In practical terms: effortless intelligibility, without the usual EQ boosts – which further improves feedback resistance.

As a stage microphone, the KMS 105 is optimized for close miking; a fixed low cut filter compensates for the proximity effect and ensures clear bass, even if the singer’s lips touch the microphone. The headgrille is made of hardened steel and features a carefully designed multi-level pop filter made of wire gauze. Despite its effectiveness, this acoustic filter does not cause any sibilance problems or compromise the capsule’s directivity. The head amplifier is protected by a thick-walled housing. Its transformerless output minimizes electromagnetic interference, such as hum. Because of its low output impedance of only 50 ohms, the KMS 105 can drive very long cable runs of up to 300 m (1000 ft) without transmission losses.

APPLICATIONS

The KMS 105 is primarily designed as a handheld vocal microphone but can be used for other stage applications as well, due to its high SPL capability and wide dynamic range. Examples include percussion, saxophone, trumpet, trombone, harmonica, acoustic guitar, and guitar cabinets. Thanks to its superior sound quality, the KMS 105 is also an excellent microphone for home recording and broadcast applications. Because it is optimized for close mic placement, the KMS 105 will pick up a dry sound with very little ambience, which is a big advantage in untreated rooms.

• Tight supercardioid pattern without off-axis coloration
• Unaffected by extreme sound pressure levels
• Rugged construction
• Feedback resistant
• Built-in pop screen
• Very low handling noise

The KMS 104 is a studio grade vocal microphone for stage use. 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, and high feedback resistance, thanks to its tight cardioid pattern.

STUDIO QUALITY FOR STAGE VOCALS

The KMS 104 brings studio sound quality to the stage. Unlike usual stage microphones, which use dynamic capsules, the KMS 104 is equipped with a true condenser microphone capsule offering the superior clarity that made Neumann studio microphones famous all over the world. At the same time, the KMS 104 possesses the ruggedness required of a stage mic, thus refuting the myth that condenser microphones must be “fragile”. The KMS 104 can stand enormous sound pressure levels of up to 150 dB without clipping, and its tight, frequency-independent cardioid pattern ensures high gain before feedback. The KMS 104 has a much smoother frequency response than dynamic microphones and an airy top-end. Compared to dynamic microphones, the Neumann KMS 104 has a vastly superior transient response resulting in a more immediate and more emotional vocal sound. In practical terms: effortless intelligibility, without the usual EQ boosts – which further improves feedback resistance.

As a stage microphone, the KMS 104 is optimized for close miking; a fixed low cut filter compensates for the proximity effect and ensures clear bass, even if the singer’s lips touch the microphone. The head grille is made of hardened steel and features a highly effective internal pop screen which also keeps moisture away from the capsule. Thanks to careful Neumann engineering, these acoustic filters do not cause any sibilance problems. The head amplifier is protected by a thick-walled housing. Its transformer less output minimizes electromagnetic interference, such as hum. Because of its low output impedance of only 50 ohms, the KMS 104 can drive very long cable runs of up to 300 m (1000 ft) without transmission losses.

APPLICATIONS

The KMS 104 is primarily designed as a handheld vocal microphone but can be used for other stage applications as well, due to its high SPL capability and wide dynamic range. Examples include percussion, saxophone, trumpet, trombone, harmonica, acoustic guitar, and guitar cabinets. Thanks to its superior sound quality, the KMS 104 is also an excellent microphone for home recording and broadcast applications. Because it is optimized for close mic placement, the KMS 104 will pick up a dry sound with very little ambience, which is a big advantage in untreated rooms.

• Tight cardioid pattern without off-axis coloration
• Unaffected by extreme sound pressure levels
• Rugged construction
• Feedback resistant, high rejection of rearward sound (180°)
• Built-in pop screen
• Very low handling noise

The BCM 705 is a cost effective microphone for broadcast and podcast applications. Its entire construction is functionally optimized to convey emotion with technical perfection. Its dynamic capsule is voiced for a smooth yet clear sound with excellent speech intelligibility. The hyper cardioid pattern along with the internal shock mount and pop filter minimize extraneous noises.

EMOTION WITH PERFECTION

Broadcast and streaming are much more immediate ways to reach your audience than studio recording. That’s why we decided to develop a line of microphones that specifically addresses the needs and working conditions of radio DJs, podcast and talk show hosts, announcers, newscasters, and all those who guide us through the day with their stories, good vibes, and the latest information.

The BCM 705 is designed to convey emotion with perfection. Its characteristic shape is functionally optimized for use with industry standard microphone boom arms. Thanks to its elastic microphone mount and a newly designed internal capsule suspension, the BCM 705 is doubly protected against rumble. An internal foam screen protects the capsule from “pops” as well as dirt, moisture and nicotine. For increased hygiene, the head grille twists off easily for quick cleaning.

DYNAMIC

While its sibling, the red badged BCM 104, is a condenser microphone, the BCM 705 is a dynamic microphone with a moving coil capsule, indicated by a green Neumann logo. Dynamic capsules are quite sturdy, and while they sound less natural than condenser transducers, carefully designed specimens – such as this – exhibit a distinctive appeal which has become associated with “the sound of FM”, especially in the United States with its long standing tradition of private radio.

The BCM 705 is particularly well suited for local radio stations and small studios as well as demanding streaming and podcast applications. Its hyper cardioid pattern and close-speech optimized capsule help to keep extraneous noises off the air, even if the sound-proofing is less than perfect. The BCM 705’s frequency response is specifically tailored for the human voice. A gentle presence boost above 2 kHz enhances speech intelligibility, while a soft bass roll-off compensates for the proximity effect, creating a low-end which is full but never bloomy. The BCM 705 does not require phantom power and is extremely easy to setup: Simply connect it to a microphone input, and you’re ready go on air!

Although the BCM 705 is primarily designed for speech applications in broadcast and podcast environments, it wouldn’t be a Neumann microphone, if it couldn’t be used in the recording studio, too. Being a dynamic microphone, the BCM 705 can handle high SPLs with ease, which makes it an excellent choice for screaming vocalists, bright brass instruments, and loud guitar cabinets.

• Functionally optimized design
• Specially designed dynamic capsule
• Optimized for close speech
• Hyper cardioid pattern
• Integrated pop screen and shock mount
• Head grille twists off easily for quick cleaning

The BCM 104 is a dedicated broadcast microphone for radio announcers and DJs, designed to convey emotion with Neumann perfection. Its functionally optimized design features an integrated pop screen and a shock protected large diaphragm condenser capsule, specially developed for speech. Transformerless circuitry ensures a direct, noise-free sound.

YOU SPEAK – THE WORLD LISTENS

Broadcast is a much more immediate way to reach the listeners than studio recording. That’s why Neumann decided to develop a microphone that specifically addresses the needs and working conditions of radio DJs, announcers, newscasters, talk show hosts, and all those who guide us through the day with their stories, good vibes, and the latest information.

The BCM 104 is designed to convey emotion with perfection. Its characteristic shape is functionally optimized for use with industry standard microphone boom arms. Thanks to its elastic mount, the BCM 104 is well protected against structure borne noise. An integrated pop screen behind the headgrille protects the capsule from air blasts and plosives. For increased hygiene, the headgrille twists off easily for quick cleaning.

The large diaphragm condenser capsule of the BCM 104 captures each nuance of your voice without coloration or unwanted artifacts. The BCM 104’s electronic circuit has an extremely low self-noise of only 7 dB-A and can handle enormous sound pressure levels of up to 138 dB without distortion. Its balanced output operates transformerless to ensure minimal hum interference and high common mode rejection against extraneous signals e.g. from computer screens. A subsonic filter suppresses frequencies below 20 Hz. For close speech operation, an optional 100 Hz low cut is available to compensate for the proximity effect. A second switch activates a –14 dB preattenuation to reduce the BCM 104’s output level for use with equipment designed for dynamic microphones (which typically have a much lower sensitivity than condenser microphones). Both switches are hidden inside the microphone as the low cut and preattenuation options are usually selected only once, at setup.

DESIGNED FOR THE HUMAN VOICE

The BCM 104 has a fixed cardioid pattern with excellent rejection of rearward sound. Its frequency response is very linear with a gentle presence boost around 4 kHz and a slight treble lift above 10 kHz for enhanced speech intelligibility. Due to its outstanding transient response, the BCM 104 captures each nuance of the human voice with stunning detail. Because of its wide frequency response, the BCM 104 can be used for much more than speech applications, e.g. sung vocals and a wide variety of instruments.

• Functionally optimized design
• Specially designed large diaphragm condenser capsule
• Tight cardioid pattern
• Integrated pop screen and shock mount
• Headgrille twists off easily for quick cleaning
• Internal pad and low cut switches