Product History
CMV 3
First Condenser Microphone

The 'Neumann Bottle', the first ever mass produced condenser microphone. Diameter: 9 cm, height: 40 cm, weight: 3 kg. Telefunken, a subsidiary of AEG, took on the marketing rights to this Neumann microphone.
発見する1928
What else happendAM 31
Recording Machine For Wax

The AM 31 was the successor to Neumann’s first disk cutting lathe AM 29, which was still belt driven. The AM 31’s innovative oil-damped direct drive ensured an extremely even rotation.
1930
What else happendR 21
Portable Recording Machine

The R 21 was a portable disk recorder for electronic news gathering. While stationary disk cutting lathes engraved the signal in heavy wax disks, the R 21 used gelatine foil as its recording medium.
1933
What else happendLevel Recorder
Logarithmic Level Recorder

Early on, Neumann also developed measuring equipment such as this Level Recorder, which was able to draw frequency response curves on wax paper.
1934
What else happendMM 2
Measuring Microphone

Neumann’s first measurement microphone. Its tube amplifier was based on the U 47’s, but instead of a large diaphragm capsule it used a tiny high-precision condenser capsule on a long neck to avoid reflections from the microphone body.
発見する1949
What else happendU 47
Switchable Condenser Microphone

The first switchable pattern condenser microphone. It has been used in countless famous recordings. Maybe the most popular Neumann microphone – A Legend.
発見する1949
What else happendM 49
Remote Switchable Condenser Microphone

The M 49 was the first studio microphone with a continuously variable directional pattern. It used the same large diaphragm capsule as the U 47 and ranks among the most sought-after tube microphones of all time.
発見する1951
What else happendM 50
Condenser Microphone (omni)

The M 50 was instrumental in developing the Decca tree recording technique. The open mesh headbasket houses a small diaphragm capsule flush mounted in a small sphere. Its unique acoustic properties are ideally suited to orchestral recordings.
発見する1951
What else happendKM 53
Miniature Microphone

Neumann’s first small diaphragm studio microphone. The KM 53 was a pressure transducer with an ultra-thin metal diaphragm. Like all microphones of its time, it operated with tube electronics.
発見する1953
What else happendKM 54
Miniature Microphone

The KM 54 was the cardioid counterpart to the omnidirectional small diaphragm microphone KM 53, introduced the previous year. The KM 54 featured an ultra-thin metal diaphragm and tube electronics.
発見する1954
What else happendMM 3
Measuring Microphone

The MM 3 was a high-precision measurement microphone, much like its predecessor, the MM 2, but with updated tube electronics.
発見する1954
What else happendKM 56
Switchable Miniature Microphone

Neumann’s first small diaphragm microphone with selectable directional patterns (omni, cardioid, figure-8). Due to its complexity on a small footprint the KM 56 ranked among the most expensive microphones of its era.
発見する1955
What else happendSM 2
Stereo Microphone

Neumann’s first stereo microphone. With its two independently switchable small diaphragm systems (omni, cardioid, figure-8) the SM 2 allowed for all kinds of coincidental stereo recording techniques.
発見する1957
What else happendU 48
Switchable Condenser Microphone

The U 48 was a special variant of Neumann’s flagship studio microphone, the U 47. Instead of cardiod and omni patterns the U 48 offered cardioid and figure-8.
発見する1957
What else happendMM 5
Measuring Microphone

The MM 5 was an update on Neumann’s previous measurement microphones MM 2 and MM 3 with lower noise electronics, but still tube-based. The MM 5 was to remain the last measurement microphone produced by Neumann.
発見する1959
What else happendKM 253
Miniature Microphone (HF proof)

A special version of the omnidirectional small diaphragm microphone KM 53 for the broadcast industry. For increased RF-immunity the KM 253 was fitted with a new, larger plug.
発見する1960
What else happendKM 254
Miniature Microphon (HF proof)

A special version of the cardioid small diaphragm microphone KM 54 for the broadcast industry. For increased RF-immunity the KM 254 was fitted with a different plug.
発見する1960
What else happendKM 256
Miniature Microphone (HF proof)

A special version of Neumann’s flagship small diaphragm microphone KM 56 with switchable patterns (omni, cardioid, figure-8). As requested by the broadcast industry, the KM 256 was fitted with a different plug for increased RF-immunity.
発見する1960
What else happendU 67 (1960)
Switchable Condenser Microphone

The U 67 tube microphone was the quintessential studio workhorse throughout the formative years of modern music. Today, more than ever, its inimitably smooth sound continues to be in high demand.
発見する1960
What else happendSM 23 c
Stereo Microphone

An updated version of Neumann’s stereo microphone SM 2. Like its predecessor the SM 23 has two small diaphragm systems with selectable polar patterns. The upper system may be rotated to allow for XY, MS, and Blumlein stereo techniques.
発見する1961
What else happendM 269 c
Switchable Condenser Microphone

The M 269 c was a special version of the U 67 for the German broadcast industry, which insisted on the use of the AC 701 tube (instead of the EF 86 used in the U 67).
発見する1962
What else happendAK 3
Mixing Console

Between 1963 and 1993 Neumann manufactured a great deal of mixing consoles for radio and film studios, television, theatres, concert halls and the recording industry.
1963
What else happendKM 64
Miniature Microphone

The KM 64 was the successor to Neumann’s KM 54 small diaphragm cardioid microphone. It still used an AC 701 tube circuit, but its capsule was a new design with a Mylar diaphragm.
発見する1964
What else happendSM 69
Stereo Microphone

Neumann’s first large diaphragm stereo microphone SM 69 was still tube based. Polar patterns were selectable for each capsule individually via the power supply.
発見する1964
What else happendU 64
Miniature Microphone

The U 64 was a variant of the KM 64 small diaphragm microphone. Instead of the Telefunken AC 701, which was not as easily available in non-European countries, the U 64 used a tiny nuvistor tube.
発見する1964
What else happendSRM 64
Long Neck Stage Microphone

A long neck stage microphone for speeches and presentations. The SRM 64 consisted of a cardioid condenser capsule and a tube amplifier, hidden in the lower part of the stand tube.
発見する1964
What else happendKTM
Transistor Microphone for Modulation Lead Powering

Neumann’s first solid state microphone. The KTM was a small diaphragm microphone using the same capsule as the KM 64. The KTM was soon replaced with the KM 74, which was almost identical except for a smaller body diameter.
発見する1965
What else happendKM 73
Miniature Microphone for Modulation Lead Powering

The KM 73 was an omnidirectional small diaphragm microphone with solid state electronics. It was powered via T-power, P48 phantom power had not yet been invented.
発見する1966
What else happendKM 74
Miniature Microphone for Modulation Lead Powering

The KM 74 the successor to the KTM, Neumann’s first transistorized microphone. It used the same cardioid capsule as the KM 64 and KM84, but the grounding scheme of its T-powered circuit necessitated a different capsule head design.
発見する1966
What else happendKM 75
Miniature Microphone for Modulation Lead Powering

The KM 75 was a cardioid microphone for short distances, e.g. in speech applications. Its capsule had a built-in low cut to compensate for the proximity effect. Like all KM 70 microphones, the KM 75 was T-powered.
発見する1966
What else happendKM 66
Switchable Miniature Microphone

The KM 66 was a small diaphragm microphone with switchable patterns similar to the KM 56 but with two cardioid capsules with mylar diaphragms. The KM 66 was to remain Neumann’s last tube microphone design for almost 30 years.
発見する1966
What else happendKM 83
Miniature Microphone for Phantom Powering

The KM 83 was the omnidirectional model of the KM 80 series, which introduced a technology, which, due to its many advantages, soon became the new standard: P48 phantom power.
発見する1966
What else happendKM 84
Miniature Microphone for Phantom Powering

The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. Its even frequency response and consistent pickup pattern make it a sought-after microphone for all genres.
発見する1966
What else happendKM 85
Miniature Microphone for Phantom Powering

The KM 85 was a cardioid microphone like the KM 84 but with a low cut built into the capsule to compensate for the proximity effect. The KM 85 was thus optimized for short distances as are typical in speech applications.
発見する1966
What else happendKML
Clip-on Microphone

Neumann’s first Lavalier microphone. Its solid state amplifier could be battery powered and used with wireless transmitters of the day, such as the Sennheiser SK 1007.
発見する1966
What else happendKM 76
Switchable Miniature Microphone

The KM 76 was the solid state successor to the KM 66 small diaphragm tube microphone. The KM 76 offered switchable patterns (omni, cardioid, figure-8) and operated T-powered.
発見する1967
What else happendU 87 i
Switchable Studio Microphone

The Neumann U 87 is probably the best-known and most frequently used studio microphone the world over. Its smooth and refined sound is as iconic as its elegant exterior design. The U 87 is the standard microphone for speech and vocals.
発見する1967
What else happendKM 86
Switchable Miniature Microphone

Like the KM 76, the KM 86 was a transistorized successor to the KM 66 small diaphragm tube microphone. The KM 86, however, was developed for P48 phantom power, introduced a few years earlier by Neumann – and soon the world standard.
発見する1968
What else happendKMA (1968)
Clip-on Microphone

The KMA (not to be confused with today’s KM A modular microphone system!) was an improved Lavalier microphone with an omnidirectional capsule and a detached amplifier. It ran on batteries or phantom power.
発見する1968
What else happendU 77
Switchable Studio Microphone (Mod. Lead Powering)

Like the U 87, the U 77 was a solid state successor to Neumann’s classic tube microphone U 67. But instead of phantom power – which was not yet a studio standard – the U 77 operated on T-power.
発見する1968
What else happendKM 88
Switchable Miniature Microphone

The KM 88 was a multipattern small diaphragm microphone (omni, cardioid, figure-8) with FET electronics, similar to the KM 86. However, it used the same nickel capsules previously found in the KM 56 tube microphone.
発見する1969
What else happendSM 69 fet
Stereo Microphone (Transistor)

With the beginning of the new decade, Neumann’s large diaphragm stereo microphone SM 69, too, was converted to solid state electronics. Nonetheless it still required a dedicated power supply due to its remote pattern control.
発見する1970
What else happendKMS 85
Handheld Microphone

Neumann’s first handheld vocal microphone had an unusual shape, but it proved that clever engineering could render condenser microphones stage-ready.
発見する1971
What else happendSRM 84
Long Neck Stage Microphone

The successor to the SRM 64 long neck stage microphone. Instead of a tube amplifier the SRM 84 had a solid state circuit hidden in the lower part of the stand tube.
発見する1971
What else happendU 47 fet (1972)
Studio Microphone

By the early 70s Neumann’s tube microphone U 47 was legendary among seasoned engineers, and many wished for a direct solid state successor. The U 47 fet never quite filled those giant footprints, but was eventually (re)discovered as a classic in its own right.
発見する1972
What else happendKU 80
Dummy Head

In the early 70s people began to think beyond stereo. Neumann’s first dummy head microphone KU 80 was able to capture a realistic, three-dimensional sound image for headphone playback.
発見する1973
What else happendQM 69
Quadrophonic Microphone

In the mid-70s quadraphonic sound became popular among hi-fi enthusiasts. The Neumann QM 69 was a variant of the SM 69 fet with four separate outputs for each half of the two dual diaphragm capsules.
発見する1974
What else happendU 497
Studio Microphone

A microphone specially made for the French broadcasting network ORTF. The U 497 featured a K47 capsule and a sophisticated solid state circuit, similar to that of the U 47 fet, but adapted to French radio’s 12V-powering system.
発見する1975
What else happendKMS 84
Handheld Microphone

Neumann’s second attempt at a stage microphone looked considerably more handsome than the KMS 85 introduced a few years earlier. The KMS 84 used the same capsule as the KM 84 in a newly designed headbasket with excellent pop protection.
発見する1977
What else happendKMR 82 i
Shotgun Microphone

Neumann’s first shotgun microphone was designed with great attention to an even off-axis response to minimize unwanted sound coloration. The KMR 82 i is still in production!
発見する1978
What else happendVMS 80
Disc Cutting Machine

Disc cutting lathe for vinyl. For many decades, Neumann was the world market leader for record cutting machines.
1978
What else happendUSM 69 i
Stereo Microphone

The USM 69 i is an updated version of Neumann’s large diaphragm stereo microphone SM 69 fet. Thanks to its integrated pattern controls the USM 69 i does not require a dedicated power supply anymore but can be run off phantom power.
発見する1979
What else happendU 89 i
Studio Microphone

Designed as a successor to the U 87, the U 89 was eventually recognized as a classic Neumann microphone in ist own right. The U 89 sports an all-new dual diaphragm capsule with a consistently linear sound in five pickup patterns.
発見する1980
What else happendVMS 82
Disc Cutting Machine

Direct Metal Mastering (DMM) disk cutter with SX 82 disk writer and SAL82 writer drive logic.
1981
What else happendKMF 4 i
Miniature Microphone

A miniature microphone with a detached amplifier. Its visually unobtrusive cardioid capsule had a diameter of only 17 mm. The KMF 4 i could operate on phantom power or batteries.
発見する1982
What else happendKU 81
Dummy Head

While older dummy head microphones created a stunningly realistic sound image when played back over headphones, loudspeaker playback was unsatisfactory. The KU 81 cured this with capsules equalized for the diffuse-field.
発見する1982
What else happendKMR 81 i
Shotgun Microphone

A short shotgun microphone, primarily designed for film dialogue. Like its longer sibling, the KMR 82 i, the KMR 81 i is still in production!
発見する1983
What else happendTLM 170
Transformerless, switchable Studio Microphone

With the TLM 170 Neumann brought the first transformerless microphone onto the market. The absence of transformers makes the sound more transparent and open.
発見する1983
What else happendU 87 Ai
Studio Microphone

Compared to the U 87 i, the U 87 Ai has minor changes in the electronics: higher operating safety, increased transmission factor, improved S/N ratio, omitted internal battery supply.
発見する1986
What else happendRSM 190 i
First Stereo Shotgun Microphone

A stereo shotgun microphone with external matrix box. The RSM 190 i was a mid/side microphone with the shotgun part delivering the M-component and a second figure-8 capsule system, angled 90 degrees, providing the S-component.
発見する1987
What else happendKM 130
Miniature Microphone

The KM 130 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 130 combines the KM 100 output stage with the diffuse-field equalized omni capsule AK 30.
発見する1988
What else happendKM 131
Miniature Microphone

The KM 131 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 131 combines the KM 100 output stage with the free-field equalized omni capsule AK 31.
発見する1988
What else happendKM 140
Miniature Microphone

The KM 140 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 140 combines the KM 100 output stage with the cardioid capsule AK 40.
発見する1988
What else happendKM 143
Miniature Microphone

The KM 143 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 143 combines the KM 100 output stage with the wide cardioid capsule AK 43.
発見する1988
What else happendKM 145
Miniature Microphone

The KM 145 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 145 combines the KM 100 output stage with the cardioid capsule AK 45, whose built-in low cut compensates the proximity effect.
発見する1988
What else happendKM 150
Miniature Microphone

The KM 150 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 150 combines the KM 100 output stage with the hypercardioid capsule AK 50.
発見する1988
What else happendRSM 191-S
Stereo Shotgun Microphone

Slightly modified version of the RSM 190. The matrix box got smaller additional features.
1988
What else happendGFM 132
Boundary Layer Microphone

Neumann’s first and only boundary layer microphone. The GFM 132 was designed using computer simulations: The unique shape of the base plate avoids comb filter effects.
発見する1990
What else happendTLM 50
Pressure Microphone

The TLM 50 revived the unique capsule technology of the classic Neumann M 50 of the 1950s and combined it with a cutting edge transformerless head amplifier for lowest noise and distortion.
発見する1990
What else happendKMS 140
Handheld Micropohne

A handheld condenser microphone for pristine vocals on stage. The KMS 140 (cardioid) was the precursor to today’s very successful KMS 104.
発見する1991
What else happendKMS 150
Handheld Microphone

A handheld condenser microphone for pristine vocals on stage. The KMS 150 (hypercardioid) was the precursor to today’s very successful KMS 105.
発見する1991
What else happendKFM 100
Spherical-Surface Stereo Microphone

The spherical surface microphone KFM 100 had two omni capsules flush mounted in a sphere. It worked similar to a dummy head stereo microphone, but was optimized for loudspeaker playback. Although technically excellent, it never caught on.
発見する1992
What else happendKU 100
Dummy Head

The new and improved dummy head microphone KU 100 offers a truely immersive sound experience for music and audio drama productions. It is also used for industrial applications.
発見する1992
What else happendN 7000
Modular Mixing Console

By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. The N7000 had comprehensive computer automation while the signal path remained analog.
1992
What else happendStrategy 2002
Mixing Console

By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. The N7000 had comprehensive computer automation while the signal path remained analog.
1993
What else happendTLM 170 R
Studio Microphone

Ten years after its initial release the TLM 170 was updated with Neumann’s new remote switching technology. In the ‚R’ setting the directional pattern may be controlled from the PSU with no special multipin cables required.
発見する1993
What else happendTLM 193
Studio Microphone

By focusing on the essential features that are important for most home recording users, Neumann was able to offer the TLM 193, a cardioid microphone for smaller budgets in this increasingly larger area.
発見する1993
What else happendKM 184 (Series 180)
Miniature Microphone

A reference class small diaphragm microphone with a consistent cardioid pattern, independent of frequency. The KM 184 is the successor to the classic KM 84 and can handle much higher SPLs, thanks to its transformerless output stage.
発見する1994
What else happendRSM 191 A Set
Stereo Shotgun Microphone

A stereo shotgun microphone for broadcast, film, and on-location applications. Like its predecessor the RSM 191 A operates in mid/side technique; the corresponding new MTX 191 A matrix box offered significantly enhanced features.
発見する1994
What else happendM 149 Tube
Studio Tube Microphone

Neumann’s first tube microphone after an almost 30-year-hiatus. The M 149 received a TEC Award for its innovative combination of a (surprisingly low noise) tube circuit with a state-of-the-art transformerless output stage.
発見する1995
What else happendKM 120
Miniature Microphone

The KM 120 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 120 combines the KM 100 output stage with the figure-8 capsule AK 20.
発見する1997
What else happendTLM 103
Studio Microphone

Conceived as an affordable alternative to the venerable U 87, the TLM 103 has since become a modern studio standard. With a self-noise of only 7 dB-A the TLM 103 is one of the quietest microphones available.
発見する1997
What else happendM 147 Tube
Studio Tube Microphone

The M 147 Tube brings back the classic sound of Neumann’s famous tube microphones of the 1950s. It uses the same capsule as the legendary U 47 combined with an innovative transformerless tube circuit.
発見する1998
What else happendTechnical Grammy
Technical Grammy 1999

Neumann was the first microphone manufacturer to receive the prestigious Technical Grammy Award of the National Academy of Recording Arts & Sciences in 1999.
1999
What else happendKMS 105
Stage Microphone

The KMS 105 is a studio grade vocal microphone 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 supercardioid pattern.
発見する1999
What else happendKM 183 (Series 180)
Miniature Microphone

A reference class small diaphragm microphone with a consistent omni pattern, independent of frequency. The KM 183 is the successor to the classic KM 83 and can handle much higher SPLs, thanks to its transformerless output stage.
発見する1999
What else happendKM 185 (Series 180)
Miniature Microphone

A reference class small diaphragm microphone with a consistent hypercardioid pattern, independent of frequency. Its high directivity makes the KM 185 an excellent problem solver for demanding applications such as drum recording.
発見する1999
What else happendM 150 Tube
Studio Tube Microphone

A unique omnidirectional tube microphone, based on the legendary Neumann M 50 of the 1950s. Its titanium capsule is flush mounted in a small sphere to increase directivity at higher frequencies – ideal for DECCA Tree techniques.
発見する2000
What else happendKK 105 S
Microphone Head (SKM 5200/5000 N)

Neumann sound on stage – wireless! The capsule head KK 105 S uses a precision manufactured true condenser supercardioid capsule and is specially designed for Sennheiser SKM 5000/5200 handheld transmitters.
発見する2002
What else happendBCM 104
Broadcast Microphone

The state of the art broadcast microphone from Neumann, made to convey emotion with perfection. Its functionally optimized design features an integrated pop screen and a shock protected large diaphragm condenser capsule.
発見する2003
What else happendD-01
Digital Studio Microphone

A new milestone: The D-01 digital microphone is the flagship of Neumann’s Solution D technology ensuring unprecedented fidelity and an enormous dynamic range of 130 dB. All functions may be remote controlled via the AES 42 interface.
発見する2003
What else happendTLM 127
Studio Microphone

Designed as the bigger brother of the popular TLM 103, the TLM 127 offered additional functions such as pad and low cut and even remote controllable patterns using the patented technology Neumann had introduced ten years earlier with the TLM 170 R.
発見する2003
What else happendKK 104 S
Microphone Head (SKM 5200/5000 N)

Neumann sound on stage – wireless! The capsule head KK 104 S uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 5000/5200 handheld transmitters.
発見する2004
What else happendBCM 705
Broadcast/Podcast Microphone

An affordable broadcast microphone from Neumann, made to convey emotion with perfection. Its functionally optimized design features an elastic suspension. Neumann’s first microphone with a dynamic capsule.
発見する2005
What else happendKMS 104
Stage Microphone

The KMS 104 is a studio grade vocal microphone 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.
発見する2006
What else happendTLM 49 Set
Studio Microphone

The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry. The TLM 49 uses the same capsule and the same iconic headgrille design as the legendary M 49. Like a tube microphone, the TLM 49 produces soft saturation at higher SPLs.
発見する2006
What else happendSystem KM A/D
Modular Miniature Microphone System

The System KM A/D is a modular microphone system for even the most demanding applications. Eight different small diaphragm capsules (KK 120 … KK 185) may be combined with either an analog output stage (KM A) or a digital AES 42 output stage (KM D).
2006
What else happendU 87 Anniversary Set
Studio Microphone

For its 40th anniversary the U 87 was offered as a special set in a unique retro style case. The microphone, its shock mount, and the exclusive 60s style pop shield featured an attractive combination of polished and matte nickel surfaces.
発見する2007
What else happendTLM 103 D
Digital Studio Microphone

The digital version of Neumann’s acclaimed TLM 103 large diaphragm condenser microphone. The TLM 103 D uses Neumann’s Solution D converter technology ensuring highest fidelity with an enormous dynamic range of 130 dB.
発見する2008
What else happendTLM 67
Studio Microphone

Inspired by Neumann’s classic tube microphone U 67, the TLM 67 produces a similar sound with trouble free FET circuity. Like its predecessor, the TLM 67 is a workhorse with three polar patterns while its circuit produces tube-like saturation at high SPLs.
発見する2008
What else happendKMS 104 plus
Stage Microphone

The KMS 104 plus is a special version of the popular KMS 104 cardioid stage microphone. A slight boost in the low frequencies gives the plus version more “warmth” and “weight”. The KMS 104 plus is particularly popular among female singers.
発見する2009
What else happendTLM 102
スタジオマイク

Big sound for small studios: The TLM 102 is Neumann’s most affordable large diaphragm condenser microphone to date. Nonetheless it offers true Neumann quality, made in Germany.
発見する2009
What else happendKH 120 A G
Two Way Nearfield Monitor

Starting with the KH 120 in 2010, Neumann offers his expertise in electro-acoustic transducer technologies to the studio monitoring market, and is now the perfect partner for both the front end and the back end of the audio signal path.
発見する2010
What else happendKMR 81 D
Digital Shotgun Microphone

The KMR 81 D is the digital version of Neumann’s shotgun microphone KMR 81 i for film dialog and broadcast applications with highest fidelity, thanks to Neumann’s Solution D technology. The KMR 81 D complies to the AES 42 standard for digital microphones.
発見する2010
What else happendKMS 104 D
Digital Stage Microphone

The KMS 104 D is the digital version of Neumann’s cardioid stage microphone KMS 104. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound.
発見する2010
What else happendKMS 105 D
Digital Stage Microphone

The KMS 105 D is the digital version of Neumann’s supercardioid stage microphone KMS 105. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound.
発見する2010
What else happendKH 810
Subwoofer with 7.1 Bass Management

The KH 810 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. Thanks to the latest amplifier and acoustical components, the KH 810 achieves distortion-free bass extension down to 18 Hz.
発見する2011
What else happendKH 870
Subwoofer with 7.1 Bass Management

The KH 870 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. It offers the same precision as the KH 810 but with additional power for distortion-free bass reproduction even at highest SPLs.
発見する2011
What else happendKK 204
Microphone Head (for Sennheiser wireless systems)

Neumann sound on stage – wireless! The capsule head KK 204 uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 2000/6000/9000 handheld transmitters and EW G4 300/500 wireless systems.
発見する2012
What else happendKH 310 A
Three Way Nearfield Monitor

A high-resolution tri-amplified near-field monitor for editing, mixing, and mastering with confidence and precision. The KH 310 A offers the fastest transient response in its class, outstanding midrange detail, and a pleasantly dry low frequency reproduction.
発見する2013
What else happendTLM 107
Studio Microphone

The new studio workhorse. The TLM 107 is a state-of-the-art large diaphragm microphone with high-definition sound in five directional patterns. Variable pad and low cut settings and an enormous dynamic range make it adaptable to any application.
発見する2014
What else happendKH 420
Three Way Midfield Monitor

A powerful tri-amplified midfield monitor for demanding engineers. The KH 410 combines enormous SPL capability with a low frequency reproduction that extends down to 26 Hz.
発見する2014
What else happendKH 120 D G
Two Way Nearfield Monitor

The digital Version of Neumann’s acclaimed KH 120 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs.
発見する2014
What else happendKH 310 D
Three Way Nearfield Monitor

The digital Version of Neumann’s high-resolution tri-amplified KH 310 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs.
発見する2014
What else happendU 47 fet i
Studio Microphone

Introduced as a successor to the legendary U 47 tube microphone, the U 47 fet became a Neumann classic in its own right. Its smooth yet defined character shaped the sound of the 70s. Since 2014 it is available again.
発見する2014
What else happendKH 805
Subwoofer with 2.0/0.1 Bass Management

A budget friendly stereo version of the reknowned KH 810 subwoofer. The KH 805 offers low frequency extension down to 18 Hz and features a bypassable 2.1/0.1 bass manager which enables it to be used in many different applications.
発見する2015
What else happendKH 80 DSP A G
Two Way Nearfield Monitor

Neumanns first DSP-controlled studio monitor. Despite its small size, the KH 80 DSP achieves reference class sound. Its DSP engine allows for FIR phase correction as well as a room alignment using the Neumann.Control App.
発見する2017
What else happendU 87 Rhodium Edition
Celebrating 50th Years of the Classic

Neumann celebrates the anniversary of this studio legend with the U 87 Rhodium Edition – a spectacular creation that gives the U 87 an extra special look to celebrate its timeless achievement.
2017
What else happendU 67 Set
Studio Tube Microphone

The tube microphone that defined the sound of the 1960s. The original is back!
発見する2018
What else happendKH 750 DSP
Subwoofer with 2.0/0.1 Bass Management

Compact DSP-controlled closed cabinet subwoofer. It is the ideal choice for smaller rooms and smaller studio monitors, such as the KH 80 DSP.
発見する2019
What else happendNDH 20
Studio Headphone

The first Neumann Headphone – A premium quality closed-back studio headphone for monitoring, editing, and mixing.
発見する2019
What else happendV 402
TEST JA デュアルチャンネルマイクプリアンプ

A state-of-the-art microphone preamplifier with integrated headphone monitoring.
発見する2020
What else happend


























































































































The Beginning
Company founded by Georg Neumann

CMV 3
First Condenser Microphone

The 'Neumann Bottle', the first ever mass produced condenser microphone. Diameter: 9 cm, height: 40 cm, weight: 3 kg. Telefunken, a subsidiary of AEG, took on the marketing rights to this Neumann microphone.
発見するAM 31
Recording Machine For Wax

The AM 31 was the successor to Neumann’s first disk cutting lathe AM 29, which was still belt driven. The AM 31’s innovative oil-damped direct drive ensured an extremely even rotation.
R 21
Portable Recording Machine

The R 21 was a portable disk recorder for electronic news gathering. While stationary disk cutting lathes engraved the signal in heavy wax disks, the R 21 used gelatine foil as its recording medium.
Level Recorder
Logarithmic Level Recorder

Early on, Neumann also developed measuring equipment such as this Level Recorder, which was able to draw frequency response curves on wax paper.
MM 2
Measuring Microphone

Neumann’s first measurement microphone. Its tube amplifier was based on the U 47’s, but instead of a large diaphragm capsule it used a tiny high-precision condenser capsule on a long neck to avoid reflections from the microphone body.
発見するU 47
Switchable Condenser Microphone

The first switchable pattern condenser microphone. It has been used in countless famous recordings. Maybe the most popular Neumann microphone – A Legend.
発見するM 49
Remote Switchable Condenser Microphone

The M 49 was the first studio microphone with a continuously variable directional pattern. It used the same large diaphragm capsule as the U 47 and ranks among the most sought-after tube microphones of all time.
発見するM 50
Condenser Microphone (omni)

The M 50 was instrumental in developing the Decca tree recording technique. The open mesh headbasket houses a small diaphragm capsule flush mounted in a small sphere. Its unique acoustic properties are ideally suited to orchestral recordings.
発見するKM 53
Miniature Microphone

Neumann’s first small diaphragm studio microphone. The KM 53 was a pressure transducer with an ultra-thin metal diaphragm. Like all microphones of its time, it operated with tube electronics.
発見するKM 54
Miniature Microphone

The KM 54 was the cardioid counterpart to the omnidirectional small diaphragm microphone KM 53, introduced the previous year. The KM 54 featured an ultra-thin metal diaphragm and tube electronics.
発見するMM 3
Measuring Microphone

The MM 3 was a high-precision measurement microphone, much like its predecessor, the MM 2, but with updated tube electronics.
発見するKM 56
Switchable Miniature Microphone

Neumann’s first small diaphragm microphone with selectable directional patterns (omni, cardioid, figure-8). Due to its complexity on a small footprint the KM 56 ranked among the most expensive microphones of its era.
発見するSM 2
Stereo Microphone

Neumann’s first stereo microphone. With its two independently switchable small diaphragm systems (omni, cardioid, figure-8) the SM 2 allowed for all kinds of coincidental stereo recording techniques.
発見するU 48
Switchable Condenser Microphone

The U 48 was a special variant of Neumann’s flagship studio microphone, the U 47. Instead of cardiod and omni patterns the U 48 offered cardioid and figure-8.
発見するMM 5
Measuring Microphone

The MM 5 was an update on Neumann’s previous measurement microphones MM 2 and MM 3 with lower noise electronics, but still tube-based. The MM 5 was to remain the last measurement microphone produced by Neumann.
発見するKM 253
Miniature Microphone (HF proof)

A special version of the omnidirectional small diaphragm microphone KM 53 for the broadcast industry. For increased RF-immunity the KM 253 was fitted with a new, larger plug.
発見するKM 254
Miniature Microphon (HF proof)

A special version of the cardioid small diaphragm microphone KM 54 for the broadcast industry. For increased RF-immunity the KM 254 was fitted with a different plug.
発見するKM 256
Miniature Microphone (HF proof)

A special version of Neumann’s flagship small diaphragm microphone KM 56 with switchable patterns (omni, cardioid, figure-8). As requested by the broadcast industry, the KM 256 was fitted with a different plug for increased RF-immunity.
発見するU 67 (1960)
Switchable Condenser Microphone

The U 67 tube microphone was the quintessential studio workhorse throughout the formative years of modern music. Today, more than ever, its inimitably smooth sound continues to be in high demand.
発見するSM 23 c
Stereo Microphone

An updated version of Neumann’s stereo microphone SM 2. Like its predecessor the SM 23 has two small diaphragm systems with selectable polar patterns. The upper system may be rotated to allow for XY, MS, and Blumlein stereo techniques.
発見するM 269 c
Switchable Condenser Microphone

The M 269 c was a special version of the U 67 for the German broadcast industry, which insisted on the use of the AC 701 tube (instead of the EF 86 used in the U 67).
発見するAK 3
Mixing Console

Between 1963 and 1993 Neumann manufactured a great deal of mixing consoles for radio and film studios, television, theatres, concert halls and the recording industry.
KM 64
Miniature Microphone

The KM 64 was the successor to Neumann’s KM 54 small diaphragm cardioid microphone. It still used an AC 701 tube circuit, but its capsule was a new design with a Mylar diaphragm.
発見するSM 69
Stereo Microphone

Neumann’s first large diaphragm stereo microphone SM 69 was still tube based. Polar patterns were selectable for each capsule individually via the power supply.
発見するU 64
Miniature Microphone

The U 64 was a variant of the KM 64 small diaphragm microphone. Instead of the Telefunken AC 701, which was not as easily available in non-European countries, the U 64 used a tiny nuvistor tube.
発見するSRM 64
Long Neck Stage Microphone

A long neck stage microphone for speeches and presentations. The SRM 64 consisted of a cardioid condenser capsule and a tube amplifier, hidden in the lower part of the stand tube.
発見するKTM
Transistor Microphone for Modulation Lead Powering

Neumann’s first solid state microphone. The KTM was a small diaphragm microphone using the same capsule as the KM 64. The KTM was soon replaced with the KM 74, which was almost identical except for a smaller body diameter.
発見するKM 73
Miniature Microphone for Modulation Lead Powering

The KM 73 was an omnidirectional small diaphragm microphone with solid state electronics. It was powered via T-power, P48 phantom power had not yet been invented.
発見するKM 74
Miniature Microphone for Modulation Lead Powering

The KM 74 the successor to the KTM, Neumann’s first transistorized microphone. It used the same cardioid capsule as the KM 64 and KM84, but the grounding scheme of its T-powered circuit necessitated a different capsule head design.
発見するKM 75
Miniature Microphone for Modulation Lead Powering

The KM 75 was a cardioid microphone for short distances, e.g. in speech applications. Its capsule had a built-in low cut to compensate for the proximity effect. Like all KM 70 microphones, the KM 75 was T-powered.
発見するKM 66
Switchable Miniature Microphone

The KM 66 was a small diaphragm microphone with switchable patterns similar to the KM 56 but with two cardioid capsules with mylar diaphragms. The KM 66 was to remain Neumann’s last tube microphone design for almost 30 years.
発見するKM 83
Miniature Microphone for Phantom Powering

The KM 83 was the omnidirectional model of the KM 80 series, which introduced a technology, which, due to its many advantages, soon became the new standard: P48 phantom power.
発見するKM 84
Miniature Microphone for Phantom Powering

The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. Its even frequency response and consistent pickup pattern make it a sought-after microphone for all genres.
発見するKM 85
Miniature Microphone for Phantom Powering

The KM 85 was a cardioid microphone like the KM 84 but with a low cut built into the capsule to compensate for the proximity effect. The KM 85 was thus optimized for short distances as are typical in speech applications.
発見するKML
Clip-on Microphone

Neumann’s first Lavalier microphone. Its solid state amplifier could be battery powered and used with wireless transmitters of the day, such as the Sennheiser SK 1007.
発見するKM 76
Switchable Miniature Microphone

The KM 76 was the solid state successor to the KM 66 small diaphragm tube microphone. The KM 76 offered switchable patterns (omni, cardioid, figure-8) and operated T-powered.
発見するU 87 i
Switchable Studio Microphone

The Neumann U 87 is probably the best-known and most frequently used studio microphone the world over. Its smooth and refined sound is as iconic as its elegant exterior design. The U 87 is the standard microphone for speech and vocals.
発見するKM 86
Switchable Miniature Microphone

Like the KM 76, the KM 86 was a transistorized successor to the KM 66 small diaphragm tube microphone. The KM 86, however, was developed for P48 phantom power, introduced a few years earlier by Neumann – and soon the world standard.
発見するKMA (1968)
Clip-on Microphone

The KMA (not to be confused with today’s KM A modular microphone system!) was an improved Lavalier microphone with an omnidirectional capsule and a detached amplifier. It ran on batteries or phantom power.
発見するU 77
Switchable Studio Microphone (Mod. Lead Powering)

Like the U 87, the U 77 was a solid state successor to Neumann’s classic tube microphone U 67. But instead of phantom power – which was not yet a studio standard – the U 77 operated on T-power.
発見するKM 88
Switchable Miniature Microphone

The KM 88 was a multipattern small diaphragm microphone (omni, cardioid, figure-8) with FET electronics, similar to the KM 86. However, it used the same nickel capsules previously found in the KM 56 tube microphone.
発見するSM 69 fet
Stereo Microphone (Transistor)

With the beginning of the new decade, Neumann’s large diaphragm stereo microphone SM 69, too, was converted to solid state electronics. Nonetheless it still required a dedicated power supply due to its remote pattern control.
発見するKMS 85
Handheld Microphone

Neumann’s first handheld vocal microphone had an unusual shape, but it proved that clever engineering could render condenser microphones stage-ready.
発見するSRM 84
Long Neck Stage Microphone

The successor to the SRM 64 long neck stage microphone. Instead of a tube amplifier the SRM 84 had a solid state circuit hidden in the lower part of the stand tube.
発見するU 47 fet (1972)
Studio Microphone

By the early 70s Neumann’s tube microphone U 47 was legendary among seasoned engineers, and many wished for a direct solid state successor. The U 47 fet never quite filled those giant footprints, but was eventually (re)discovered as a classic in its own right.
発見するKU 80
Dummy Head

In the early 70s people began to think beyond stereo. Neumann’s first dummy head microphone KU 80 was able to capture a realistic, three-dimensional sound image for headphone playback.
発見するQM 69
Quadrophonic Microphone

In the mid-70s quadraphonic sound became popular among hi-fi enthusiasts. The Neumann QM 69 was a variant of the SM 69 fet with four separate outputs for each half of the two dual diaphragm capsules.
発見するU 497
Studio Microphone

A microphone specially made for the French broadcasting network ORTF. The U 497 featured a K47 capsule and a sophisticated solid state circuit, similar to that of the U 47 fet, but adapted to French radio’s 12V-powering system.
発見するKMS 84
Handheld Microphone

Neumann’s second attempt at a stage microphone looked considerably more handsome than the KMS 85 introduced a few years earlier. The KMS 84 used the same capsule as the KM 84 in a newly designed headbasket with excellent pop protection.
発見するKMR 82 i
Shotgun Microphone

Neumann’s first shotgun microphone was designed with great attention to an even off-axis response to minimize unwanted sound coloration. The KMR 82 i is still in production!
発見するVMS 80
Disc Cutting Machine

Disc cutting lathe for vinyl. For many decades, Neumann was the world market leader for record cutting machines.
USM 69 i
Stereo Microphone

The USM 69 i is an updated version of Neumann’s large diaphragm stereo microphone SM 69 fet. Thanks to its integrated pattern controls the USM 69 i does not require a dedicated power supply anymore but can be run off phantom power.
発見するU 89 i
Studio Microphone

Designed as a successor to the U 87, the U 89 was eventually recognized as a classic Neumann microphone in ist own right. The U 89 sports an all-new dual diaphragm capsule with a consistently linear sound in five pickup patterns.
発見するVMS 82
Disc Cutting Machine

Direct Metal Mastering (DMM) disk cutter with SX 82 disk writer and SAL82 writer drive logic.
KMF 4 i
Miniature Microphone

A miniature microphone with a detached amplifier. Its visually unobtrusive cardioid capsule had a diameter of only 17 mm. The KMF 4 i could operate on phantom power or batteries.
発見するKU 81
Dummy Head

While older dummy head microphones created a stunningly realistic sound image when played back over headphones, loudspeaker playback was unsatisfactory. The KU 81 cured this with capsules equalized for the diffuse-field.
発見するKMR 81 i
Shotgun Microphone

A short shotgun microphone, primarily designed for film dialogue. Like its longer sibling, the KMR 82 i, the KMR 81 i is still in production!
発見するTLM 170
Transformerless, switchable Studio Microphone

With the TLM 170 Neumann brought the first transformerless microphone onto the market. The absence of transformers makes the sound more transparent and open.
発見するU 87 Ai
Studio Microphone

Compared to the U 87 i, the U 87 Ai has minor changes in the electronics: higher operating safety, increased transmission factor, improved S/N ratio, omitted internal battery supply.
発見するRSM 190 i
First Stereo Shotgun Microphone

A stereo shotgun microphone with external matrix box. The RSM 190 i was a mid/side microphone with the shotgun part delivering the M-component and a second figure-8 capsule system, angled 90 degrees, providing the S-component.
発見するKM 130
Miniature Microphone

The KM 130 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 130 combines the KM 100 output stage with the diffuse-field equalized omni capsule AK 30.
発見するKM 131
Miniature Microphone

The KM 131 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 131 combines the KM 100 output stage with the free-field equalized omni capsule AK 31.
発見するKM 140
Miniature Microphone

The KM 140 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 140 combines the KM 100 output stage with the cardioid capsule AK 40.
発見するKM 143
Miniature Microphone

The KM 143 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 143 combines the KM 100 output stage with the wide cardioid capsule AK 43.
発見するKM 145
Miniature Microphone

The KM 145 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 145 combines the KM 100 output stage with the cardioid capsule AK 45, whose built-in low cut compensates the proximity effect.
発見するKM 150
Miniature Microphone

The KM 150 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 150 combines the KM 100 output stage with the hypercardioid capsule AK 50.
発見するRSM 191-S
Stereo Shotgun Microphone

Slightly modified version of the RSM 190. The matrix box got smaller additional features.
GFM 132
Boundary Layer Microphone

Neumann’s first and only boundary layer microphone. The GFM 132 was designed using computer simulations: The unique shape of the base plate avoids comb filter effects.
発見するTLM 50
Pressure Microphone

The TLM 50 revived the unique capsule technology of the classic Neumann M 50 of the 1950s and combined it with a cutting edge transformerless head amplifier for lowest noise and distortion.
発見するKMS 140
Handheld Micropohne

A handheld condenser microphone for pristine vocals on stage. The KMS 140 (cardioid) was the precursor to today’s very successful KMS 104.
発見するKMS 150
Handheld Microphone

A handheld condenser microphone for pristine vocals on stage. The KMS 150 (hypercardioid) was the precursor to today’s very successful KMS 105.
発見するKFM 100
Spherical-Surface Stereo Microphone

The spherical surface microphone KFM 100 had two omni capsules flush mounted in a sphere. It worked similar to a dummy head stereo microphone, but was optimized for loudspeaker playback. Although technically excellent, it never caught on.
発見するKU 100
Dummy Head

The new and improved dummy head microphone KU 100 offers a truely immersive sound experience for music and audio drama productions. It is also used for industrial applications.
発見するN 7000
Modular Mixing Console

By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. The N7000 had comprehensive computer automation while the signal path remained analog.
Strategy 2002
Mixing Console

By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. The N7000 had comprehensive computer automation while the signal path remained analog.
TLM 170 R
Studio Microphone

Ten years after its initial release the TLM 170 was updated with Neumann’s new remote switching technology. In the ‚R’ setting the directional pattern may be controlled from the PSU with no special multipin cables required.
発見するTLM 193
Studio Microphone

By focusing on the essential features that are important for most home recording users, Neumann was able to offer the TLM 193, a cardioid microphone for smaller budgets in this increasingly larger area.
発見するKM 184 (Series 180)
Miniature Microphone

A reference class small diaphragm microphone with a consistent cardioid pattern, independent of frequency. The KM 184 is the successor to the classic KM 84 and can handle much higher SPLs, thanks to its transformerless output stage.
発見するRSM 191 A Set
Stereo Shotgun Microphone

A stereo shotgun microphone for broadcast, film, and on-location applications. Like its predecessor the RSM 191 A operates in mid/side technique; the corresponding new MTX 191 A matrix box offered significantly enhanced features.
発見するM 149 Tube
Studio Tube Microphone

Neumann’s first tube microphone after an almost 30-year-hiatus. The M 149 received a TEC Award for its innovative combination of a (surprisingly low noise) tube circuit with a state-of-the-art transformerless output stage.
発見するKM 120
Miniature Microphone

The KM 120 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 120 combines the KM 100 output stage with the figure-8 capsule AK 20.
発見するTLM 103
Studio Microphone

Conceived as an affordable alternative to the venerable U 87, the TLM 103 has since become a modern studio standard. With a self-noise of only 7 dB-A the TLM 103 is one of the quietest microphones available.
発見するM 147 Tube
Studio Tube Microphone

The M 147 Tube brings back the classic sound of Neumann’s famous tube microphones of the 1950s. It uses the same capsule as the legendary U 47 combined with an innovative transformerless tube circuit.
発見するTechnical Grammy
Technical Grammy 1999

Neumann was the first microphone manufacturer to receive the prestigious Technical Grammy Award of the National Academy of Recording Arts & Sciences in 1999.
KMS 105
Stage Microphone

The KMS 105 is a studio grade vocal microphone 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 supercardioid pattern.
発見するKM 183 (Series 180)
Miniature Microphone

A reference class small diaphragm microphone with a consistent omni pattern, independent of frequency. The KM 183 is the successor to the classic KM 83 and can handle much higher SPLs, thanks to its transformerless output stage.
発見するKM 185 (Series 180)
Miniature Microphone

A reference class small diaphragm microphone with a consistent hypercardioid pattern, independent of frequency. Its high directivity makes the KM 185 an excellent problem solver for demanding applications such as drum recording.
発見するM 150 Tube
Studio Tube Microphone

A unique omnidirectional tube microphone, based on the legendary Neumann M 50 of the 1950s. Its titanium capsule is flush mounted in a small sphere to increase directivity at higher frequencies – ideal for DECCA Tree techniques.
発見するKK 105 S
Microphone Head (SKM 5200/5000 N)

Neumann sound on stage – wireless! The capsule head KK 105 S uses a precision manufactured true condenser supercardioid capsule and is specially designed for Sennheiser SKM 5000/5200 handheld transmitters.
発見するBCM 104
Broadcast Microphone

The state of the art broadcast microphone from Neumann, made to convey emotion with perfection. Its functionally optimized design features an integrated pop screen and a shock protected large diaphragm condenser capsule.
発見するD-01
Digital Studio Microphone

A new milestone: The D-01 digital microphone is the flagship of Neumann’s Solution D technology ensuring unprecedented fidelity and an enormous dynamic range of 130 dB. All functions may be remote controlled via the AES 42 interface.
発見するTLM 127
Studio Microphone

Designed as the bigger brother of the popular TLM 103, the TLM 127 offered additional functions such as pad and low cut and even remote controllable patterns using the patented technology Neumann had introduced ten years earlier with the TLM 170 R.
発見するKK 104 S
Microphone Head (SKM 5200/5000 N)

Neumann sound on stage – wireless! The capsule head KK 104 S uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 5000/5200 handheld transmitters.
発見するBCM 705
Broadcast/Podcast Microphone

An affordable broadcast microphone from Neumann, made to convey emotion with perfection. Its functionally optimized design features an elastic suspension. Neumann’s first microphone with a dynamic capsule.
発見するKMS 104
Stage Microphone

The KMS 104 is a studio grade vocal microphone 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.
発見するTLM 49 Set
Studio Microphone

The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry. The TLM 49 uses the same capsule and the same iconic headgrille design as the legendary M 49. Like a tube microphone, the TLM 49 produces soft saturation at higher SPLs.
発見するSystem KM A/D
Modular Miniature Microphone System

The System KM A/D is a modular microphone system for even the most demanding applications. Eight different small diaphragm capsules (KK 120 … KK 185) may be combined with either an analog output stage (KM A) or a digital AES 42 output stage (KM D).
U 87 Anniversary Set
Studio Microphone

For its 40th anniversary the U 87 was offered as a special set in a unique retro style case. The microphone, its shock mount, and the exclusive 60s style pop shield featured an attractive combination of polished and matte nickel surfaces.
発見するTLM 103 D
Digital Studio Microphone

The digital version of Neumann’s acclaimed TLM 103 large diaphragm condenser microphone. The TLM 103 D uses Neumann’s Solution D converter technology ensuring highest fidelity with an enormous dynamic range of 130 dB.
発見するTLM 67
Studio Microphone

Inspired by Neumann’s classic tube microphone U 67, the TLM 67 produces a similar sound with trouble free FET circuity. Like its predecessor, the TLM 67 is a workhorse with three polar patterns while its circuit produces tube-like saturation at high SPLs.
発見するKMS 104 plus
Stage Microphone

The KMS 104 plus is a special version of the popular KMS 104 cardioid stage microphone. A slight boost in the low frequencies gives the plus version more “warmth” and “weight”. The KMS 104 plus is particularly popular among female singers.
発見するTLM 102
スタジオマイク

Big sound for small studios: The TLM 102 is Neumann’s most affordable large diaphragm condenser microphone to date. Nonetheless it offers true Neumann quality, made in Germany.
発見するKH 120 A G
Two Way Nearfield Monitor

Starting with the KH 120 in 2010, Neumann offers his expertise in electro-acoustic transducer technologies to the studio monitoring market, and is now the perfect partner for both the front end and the back end of the audio signal path.
発見するKMR 81 D
Digital Shotgun Microphone

The KMR 81 D is the digital version of Neumann’s shotgun microphone KMR 81 i for film dialog and broadcast applications with highest fidelity, thanks to Neumann’s Solution D technology. The KMR 81 D complies to the AES 42 standard for digital microphones.
発見するKMS 104 D
Digital Stage Microphone

The KMS 104 D is the digital version of Neumann’s cardioid stage microphone KMS 104. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound.
発見するKMS 105 D
Digital Stage Microphone

The KMS 105 D is the digital version of Neumann’s supercardioid stage microphone KMS 105. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound.
発見するKH 810
Subwoofer with 7.1 Bass Management

The KH 810 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. Thanks to the latest amplifier and acoustical components, the KH 810 achieves distortion-free bass extension down to 18 Hz.
発見するKH 870
Subwoofer with 7.1 Bass Management

The KH 870 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. It offers the same precision as the KH 810 but with additional power for distortion-free bass reproduction even at highest SPLs.
発見するKK 204
Microphone Head (for Sennheiser wireless systems)

Neumann sound on stage – wireless! The capsule head KK 204 uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 2000/6000/9000 handheld transmitters and EW G4 300/500 wireless systems.
発見するKH 310 A
Three Way Nearfield Monitor

A high-resolution tri-amplified near-field monitor for editing, mixing, and mastering with confidence and precision. The KH 310 A offers the fastest transient response in its class, outstanding midrange detail, and a pleasantly dry low frequency reproduction.
発見するTLM 107
Studio Microphone

The new studio workhorse. The TLM 107 is a state-of-the-art large diaphragm microphone with high-definition sound in five directional patterns. Variable pad and low cut settings and an enormous dynamic range make it adaptable to any application.
発見するKH 420
Three Way Midfield Monitor

A powerful tri-amplified midfield monitor for demanding engineers. The KH 410 combines enormous SPL capability with a low frequency reproduction that extends down to 26 Hz.
発見するKH 120 D G
Two Way Nearfield Monitor

The digital Version of Neumann’s acclaimed KH 120 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs.
発見するKH 310 D
Three Way Nearfield Monitor

The digital Version of Neumann’s high-resolution tri-amplified KH 310 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs.
発見するU 47 fet i
Studio Microphone

Introduced as a successor to the legendary U 47 tube microphone, the U 47 fet became a Neumann classic in its own right. Its smooth yet defined character shaped the sound of the 70s. Since 2014 it is available again.
発見するKH 805
Subwoofer with 2.0/0.1 Bass Management

A budget friendly stereo version of the reknowned KH 810 subwoofer. The KH 805 offers low frequency extension down to 18 Hz and features a bypassable 2.1/0.1 bass manager which enables it to be used in many different applications.
発見するKH 80 DSP A G
Two Way Nearfield Monitor

Neumanns first DSP-controlled studio monitor. Despite its small size, the KH 80 DSP achieves reference class sound. Its DSP engine allows for FIR phase correction as well as a room alignment using the Neumann.Control App.
発見するU 87 Rhodium Edition
Celebrating 50th Years of the Classic

Neumann celebrates the anniversary of this studio legend with the U 87 Rhodium Edition – a spectacular creation that gives the U 87 an extra special look to celebrate its timeless achievement.
U 67 Set
Studio Tube Microphone

The tube microphone that defined the sound of the 1960s. The original is back!
発見するKH 750 DSP
Subwoofer with 2.0/0.1 Bass Management

Compact DSP-controlled closed cabinet subwoofer. It is the ideal choice for smaller rooms and smaller studio monitors, such as the KH 80 DSP.
発見するNDH 20
Studio Headphone

The first Neumann Headphone – A premium quality closed-back studio headphone for monitoring, editing, and mixing.
発見するV 402
TEST JA デュアルチャンネルマイクプリアンプ

A state-of-the-art microphone preamplifier with integrated headphone monitoring.
発見する1928年以来、世界最高の音質を誇るノイマン
1928年以来、ノイマンは完璧なサウンド、先駆的な研究開発、妥協のない品質の代名詞となっています。
クラシック、ロック、ポップス、ニュース放送、ラジオのセリフなど、どのようなレコーディングでも、ノイマンのマイクが少なくとも1つも採用されていないことは稀です。
2010年からノイマンはまた、それによってテレビやラジオ放送、録音、ライブサウンドとポストプロダクション全体でクライアントに最適なソリューションを提供し、スタジオモニタリング市場のためのプロフェッショナルなサウンドソリューションを提供してきました。2019年からはヘッドフォンも製品ポートフォリオに含まれています。ノイマン本社はベルリンにあり、2018年には創立90周年を迎えました。
ノイマン製のスタジオマイク、モニター、ヘッドホンをご覧ください。