They provide all of the features of their analog counterparts. Additionally, they offer the advantages of the digital circuit technology, such as extended dynamic range, a more robust operation (EMC safe) and the avoidance of clipping as a result of the integrated peak limiter/ compressor.
Use of one of the digital microphone interfaces together with the Remote Control Software (RCS) permits pre-programmed settings to be stored in the microphones.
The KMS series has become the internationally acknowledged standard for first-class stage microphones.
The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times.
Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems.
The KMS 104 has a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone.
The user can thus select the version that is optimally suited to the specific application.
In KMS microphones, carefully adjusted acoustic filters and transformerless impedance converters that can handle very high sound pressure levels prevent the microphones from being overloaded even by strong plosive sounds.
In spite of excellent pop protection, sibilants and “S” sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the above-mentioned acoustic filters are designed so that the distinctive directional characteristics of the capsules are preserved even in the bass range. The filters thus ensure a very high level of feedback protection for the KMS 104 vocal microphones when they are used with a stage sound system.
In addition, the microphone has an invariable, built-in high-pass filter with a cutoff frequency of 120 Hz (–3 dB, measured in a free sound field). The maximum sound pressure level of the KMS microphones is 150 dB.
The low self-noise level of only 18 dB A permits the microphones to be used at high gain levels without the risk of additional noise. Even at large distances, the microphones thus operate with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist.
Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound.
The microphone headgrilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters.
- Neumann sound on stage
- Excellent transparency for vocals/speech
- Cardioid/Supercardioid polar pattern with excellent feedback rejection
- Without off-axis coloration
- Effective pop shielding without any side effects
- Set includes stand clamp
- The legendary Neumann sound in the digital realm. Pure Neumann capsule sound.
- The satisfaction of recording the uncolored original, with no "bottlenecks" between the capsule and the recording system.
- The guarantee of having one of the best A/D converters available.
- Anti-clipping processing ensures handling safety, and reduces stress.
- Reduced time requirements and personnel costs, particularly due to faster post production processing.
- Lower investment costs, since separate A/D converters and preamps are no longer needed. This also means space and weight savings (e.g. in the OB van).
Acoustic transducer: Pressure gradient transducer
General Specifications of the Solution-D microphones