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Pure Neumann sound in the digital domain, for use with AES/EBU,
AES 42 or S/PDIF. The signal is converted directly at the capsule. Difficult questions concerning the optimal preamp and A/D converter for a Neumann mic are thus a thing of the past.
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KK 120 + KM D
| MS-Stereo microphone, in combination with the KM 184 D |
| Two crossed KK 120s in Blumlein technique |
| Inconspicuous spot microphone with optimum attenuation of lateral sound sources |
| Single microphone for two speakers facing each other |
KK 131 + KM D
| For close miking of instruments when there is no need to attenuate extra-neous noise, and in a balanced acoustic environment to record acoustic guitar, wind instruments, strings, percussion, and drums |
| Flat frequency response for close miking, spot mic |
KK 133 + KM D = KM 133 D
| Its special acoustic properties make this an ideal mic for most classical recordings |
| Main mic, especially for capturing room acoustics |
| A superb AB stereo pair for perfect balance of direct and reverberant sound |
| Decca tree, setup with three microphones |
| Spot mic for piano, wind instruments, organ, choir |
KK 143 + KM D
| Polar response characteristic acts more like an omni. Therefore, it is an ideal tool to record larger instrument ensembles |
| As AB stereo pair, especially in rooms with less than ideal acoustics |
| As spot mic for strings, wind instruments, percussion, and Leslie speakers |
| Acts very neutral when used close up to bass instruments, such as double bass, bass amps, guitar amps |
KK 145 + KM D
| It naturally compensates for proximity effect |
| Very neutral tonal balance during close miking of speech, as in TV, movie and video, PA |
| Acts very neutral when used close up to bass instruments, such as double bass, bass amps, guitar amps, leslie speakers, toms |
KK 183 + KM D = KM 183 D
| For close miking of instruments when there is no need to attenuate extraneous noise, and in a balanced acoustic environment to record acoustic guitar, wind instruments, strings, percussion, drums |
| Ideal as AB stereo pair because of the flat frequency response in the diffuse sound field |
| Main mic, especially for capturing room acoustics |
| For stereo recordings with a baffle plate |
| Spot mic for piano, wind instruments, organ, choir |
KK 184 + KM D = KM 184 D
| For universal use, especially for recording situations when it is necessary to attenuate off-axis sound (mainly from the rear) from other nearby instruments. |
| As XY and ORTF stereo pair |
| Broadcasting mic for announcers |
| Spot mic and overhead |
| Close miking of strings, wind instruments, percussion, piano, Leslie speakers and guitar amps |
KK 185 + KM D = KM 185 D
| Especially for recording situations when it is necessary to attenuate off-axis (lateral and rear) sound from other nearby instruments. |
| As XY stereo pair |
| Overhead, toms |
| In situations that are susceptible to acoustic feedback |
| To attenuate unwanted sound of nearby instruments |
| Recording of speech, as in TV, movie and video productions, PA systems |
| Produces especially warm and bass supporting sound for artists who perform in proximity effect range |
These are just some of the most common applications. We recommend additional experimentation to gain maximum use from this microphone.
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