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The nickel KMS 104 Digital Vocal Microphone from Neumann is the transition of the KMS 104 analog microphones into the digital domain. Based on the AES42 standard, this microphone is a suitable choice for live and on-stage applications.
It provides all of the features of its analog counterpart. Additionally, it offers 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. You can use one of the DMI (Digital Microphone Interfaces) together with the RCS (Remote Control Software) that permits pre-programmed settings to be stored in the microphone.
The has been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage. It has a condenser microphone capsule with a cardioid directional characteristic which provides possible suppression of sounds originating from behind the microphone. It comes equipped with a matching stand clamp, and is supplied in an attractive padded nylon bag that is sufficiently durable for touring.
The high acoustic resolution and smooth frequency response of the microphone ensure that the musician has optimal control of the stage performance at all times. Especially due to its low self-noise and crosstalk behavior which is free of coloration, the microphone is suitable for use with in-ear monitoring systems. It has a condenser microphone capsule with a cardioid directional characteristic which provides possible suppression of sounds originating from behind the microphone.
The included black SG 105 Stand Clamp is designed for use with this vocalist microphone. The clamp can be swiveled and has a 5/8”-27 threads, plus a thread adapter to connect to 1/2” and 3/8” stands.
Acoustic
The studio condenser capsule used in the microphone provides the basis for transmitting all the nuances of the human voice. In comparison with other handheld microphones, which operate mostly with dynamic capsules, it has a particularly high acoustic transparency, a wide frequency range and a fine resolution of transients.
In this microphone, carefully adjusted acoustic filter and transformerless impedance converter that can handle very high sound pressure levels prevent the microphone from being overloaded even by strong plosive sounds.
In spite of enhanced pop protection, sibilants and S sounds are transmitted with their natural accentuation, as is possible only with condenser microphones. Furthermore, the acoustic filter is designed so that the distinctive directional characteristics of the capsule are preserved even in the bass range. The filter thus ensures a very high level of feedback protection for this vocal microphone when it is used with a stage sound system.
Electrical
Since vocal microphones are typically addressed at close range, for the bass frequency response, electronic compensation is used for the proximity effect in the respective capsules.
In addition, the microphone has an invariable, built-in high-pass filter with a cut-off frequency of 120 Hz (-3 dB, measured in a free sound field). The dynamic range of the microphone is 132 dB, and the maximum sound pressure level is 150 dB.
The low self-noise level of only 18 dBA permits the microphone to be used at high gain levels without the risk of additional noise. Even at large distances, the microphone thus operates 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.
Mechanical
Designed for use on stage, this microphone has thick-walled metal housing, which also provides effective protection against handling noise.
The microphone head grilles are made of hardened steel. If required, they can easily be unscrewed to permit cleaning of the interior acoustic filters.
Applications
For vocals and speech on stage
For announcer’s mic for broadcasting/dubbing
Especially suited for in-ear monitoring
For environments susceptible to feedback
Additional
Neumann sound on stage
High transparency for vocals/speech
Cardioid / supercardioid polar pattern with enhanced feedback rejection
Without off-axis coloration
Effective pop shielding without any side effects
The pure Neumann capsule sound in the digital realm
The satisfaction of recording the uncolored original, with no bottlenecks between the capsule and the recording system
A/D converter
Anti-clipping processing ensures handling safety and reduces stress
Reduced time requirements and personnel costs, particularly due to faster post production processing
Separate A/D converters and preamps are no longer needed, saving space and weight (e.g., in the OB van)
Power supply (phantom power complying with AES42)
Neumann A/D conversion process, 28-bit internal word length
Fixed-point digital signal processing, variable internal word length 28 to 60-bits
Remote controlled functions include parametric compressor/limiter (including de-esser function), independent peak limiter avoiding any clipping, switch functions (soft muting, phase reverse, signal lights), signal lights (Red and blue LEDs), system functions, firmware download, and polar pattern
