One of the most varied applications is as a speaker’s microphone on a table. Usually the microphone should be placed so that it is inconspicuous or even invisible, especially in television, while delivering optimum signal quality. Moreover, body noise and wind noise should be suppressed effectively.

The preferred capsule for speech applications is the KK 184 cardioid, or, in rooms with strong refections, loud environments, or in case of table refections, the KK 185 hypercardioid. With the latter, it is also a question of whether the specific geometry (incident angle) of the table refections is such that the hypercardoid offers the best cancellation (± 120°).

The KK 145 »speech cardioid« is the right choice for extremely close distances (< 10 cm). This mic capsule has a frequency response that has been optimized to deliver balanced response even at extremely close distances.

To pick up several speakers at the same time, for example, in the context of a round-table discussion, the KK 143 wide-angle cardioid can be used to cover a wider angle or the KK 183 omnidirectional can be used to cover an omnidirectional eld. If there are only two speakers, then occasionally the bidirectional KK 120 with figure-eight characteristic, which completely suppresses sounds coming from the side, is set up between the two speakers.

If the microphone is positioned very close to the speaker, then windscreens and pop filters should be used.


A typical example for use of small setups is miking a television news anchor. The mic should be inconspicuous, and yet its directional pattern should reject noise and possible table reflections.


The simplest and most cost effective variant is to use the SG 21 bk clamp to mount the entire microphone on a table stand, for example, the MF 3 table stand.


In this combination the capsule with extension cable LC 4 is attached to
the SGE 100 stand mount. The MF 2 table stand rests on a shock-absorbing cellular rubber pad. Moreover, it incorporates rubber mount for additional suppression of body noise.


Stand-based solutions are con gurations in which a microphone used as a speaker’s microphone stands in an open space or at a lectern. However, this also includes setups for miking instruments in an orchestra, etc.


The rotatable head of the KVG... and KVG ... KA capsule extension also permits overhead miking by aiming the microphone at the instrument from above, as it is the usual practice with strings.


A unobtrusive setup for singers and speakers can be realized using the KVG 160 KA nx or KVG 1120 KA nx capsule extension. This is snapped onto a MZGE 8000 stand mount and mounted on a MZEF 8120 vertical bar.


Certain critical applications require increased operational reliability through doubled microphones. With the help of the MZGE 8002 double mount, two capsule extensions can be mounted parallel to one another. When miking instruments or multiple speakers, the capsules can also be oriented in varying directions and thus, for example, cover different sections of an orchestra.


The KM A/D system accessories make it possible to realize compact setups for all common stereo configurations. The accessories described below can simply be mounted to any stand, preferably with a shock-absorbing rubber pad. If necessary, the Z 26 mt shock mount can also be inserted to reduce body sound transmission even further.


The DS 120 double mount can also be used for (small) time based AB stereo setups. The microphones are mounted with the swivel mounts on the double mount with a definite spacing and any angle of the user’s choosing.


The easiest way to position two capsules coincidentally is by using the ‘XY clamps’ of the STH 100 stereo mount. This permits variation of the included angle between the two capsules within a range of 30° to 180°, while keeping the centers of the membranes always positioned ideally over and under one another. When mounted on a table stand, this is the smallest possible solution at all.

For complete microphones an XY confi guration is realized using the DS 120 double mount. The microphones in the SG 21 mt stand mount are snapped onto the double mount. The double mount, which is likewise adjustable over a large range of angles, is mounted on a table stand or stand. The capsules are positioned next to one another.



The »ORTF clamp« of the STH 100 stereo mount holds two capsules in the standard ORTF configuration with an included angle of 110° between membranes. The DS 120 double mount can be used for complete microphones.


The STH 120 stereo mount makes it possible to position two capsules in an »over/under« configuration and orient them in relation to the sound source using the ball joint on the mount.


The so-called Blumlein configuration is a special type of XY technique with two microphones with a figure-eight characteristic positioned above one another and an included angle of 90°. This is easy to realize with a DS 120 double mount attached to a horizontal boom. The two microphones or capsules are screwed onto the DS 120 in their swivel mounts.



Frequently it is necessary to position microphones as inconspicuously as possible without using a stand. Overhead variants in which the microphone is suspended from the ceiling are ideal in such situations. Thanks to their low weight, the miniature microphones of the KM A/D Serie series can be fastened by their own cables without any problems. The same holds true for the LC 4 cable (just 3.5 mm thick) used to connect the detached capsules to the output stage. Using an additional thread, it is possible to attain precise and stable positioning of the microphone(s).

Especially in concert halls and theaters, suspended microphones are frequently used as permanent installations, both above the orchestra and for miking the reverberations in the hall and the audience.


The MNV 21 mt auditorium hanger holds the complete microphone and swivels to permit adjustment. The microphone cable is held by a clamp device, and the entire setup is suspended from the ceiling.


A capsule is connected to the output stage using the LC 4 cable. The plug end of the cable snaps into the MNV 100 auditorium hanger. The clamp swivels to permit adjustment of the capsule. The cable is held in place by the clamp of the MNV 100 and the entire setup is suspended from the ceiling.


If additional mechanical decoupling from the ceiling is required, then the microphone can also be suspended from the ceiling in an elastic suspension. On the one hand, any accessory can be screwed onto the 1/2« threaded neck of the MNV 87 mt auditorium hanger, while on the other hand, the entire setup can be suspended from its own cable. For example, a complete microphone in an EA 2124 A mt elastic suspension can be mounted on the MNV 87 and suspended from the ceiling on its own cable.


The MNV 87 mt auditorium hanger also makes it possible to connect the STH 100 (for XY and ORTF stereophony) or STH 120 stereo mount (for MS stereophony) to the microphone cable. This makes it possible to suspend a nearly invisible stereo setup right from the ceiling and swivel it into the correct orientation.
Of course, it is also possible to suspend the DS 120 double swivel mount.


Not only in outdoor work, but also in indoor work with close miking, unexpected low-frequency noise may occur due to the rustling of manuscript pages right in front of the microphone, fishpole movement, air conditioning, etc. Then effective pop screens or windscreens are indispensable.

Note: Due to physics, pressure transducers (KK 131, KK 183) are considerably less prone to wind and popping noise than pressure gradient transducers. Thus microphones of the first type are preferable for use in such situations.


The WNS 100 windscreen is included with every output stage. This is sufficient protection against light winds and popping, with minimal effection frequency response, and that only in the very highest frequencies.

WNS 110

Compared to the WNS 100, the WNS 110’s attenuation of wind noise is increased by 3 dB, while high frequencies are damped even less.

WS 100

The WS 100 windscreen, which measures 9 cm in diameter, provides a markedly better protection against stronger wind than the WNS 100 does, but also has more of an effect on high frequencies. Additionally, a foam windscreen always has some effect on the directional characteristics, causing them to shift somewhat toward an omnidirectional pattern.