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The KM 75 was a cardioid microphone for short distances, e.g. Like its predecessor the RSM 191 A operates in mid/side technique; the corresponding new MTX 191 A matrix box offered significantly enhanced features. Holiday Special: 50% off All Sound Effect Libraries for 24hrs! Although it uses only two channels, its spatial depiction appears three dimensional and shockingly realistic. 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. Sonic State Studio :sound cards, software, digital desks the lot is listed here with specs,links and user reviews 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. It worked similar to a dummy head stereo microphone, but was optimized for loudspeaker playback. The R 21 was a portable disk recorder for electronic news gathering. The M 49 was the first studio microphone with a continuously variable directional pattern. Its functionally optimized design features an integrated pop screen and a shock protected large diaphragm condenser capsule. The KM 54 featured an ultra-thin metal diaphragm and tube electronics. The U 67 tube microphone was the quintessential studio workhorse throughout the formative years of modern music. The digital Version of Neumann’s acclaimed KH 120 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs. A microphone specially made for the French broadcasting network ORTF. It is purely a compilation of material sent by many people to the naturerecordists mailing list. The KU 100 is a dummy head microphone for a truly immersive binaural listening experience with headphones. With the TLM 170 Neumann brought the first transformerless microphone onto the market. NEUMANN KM100F Mic Body For KM-100 Series Mics!!! Neumann KU-81i Binaural Head Microphone. The KM 66 was to remain Neumann’s last tube microphone design for almost 30 years. Discover studio microphones, monitors and headphones made by Neumann. 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. A handheld condenser microphone for pristine vocals on stage. 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. Off-axis coloration is minimized to avoid sound change when actors are moving. The KM 88 was a multipattern small diaphragm microphone (omni, cardioid, figure-8) with FET electronics, similar to the KM 86. Manuals and User Guides for Neumann KU 100. A budget friendly stereo version of the reknowned KH 810 subwoofer. Transformerless, switchable Studio Microphone. The KU 81 cured this with capsules equalized for the diffuse-field. Rare is the recording – whether classical, rock or Pop, news broadcasts or radio dialogue – which doesn’t feature at least one Neumann microphone. It offers the same precision as the KH 810 but with additional power for distortion-free bass reproduction even at highest SPLs. 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). With the beginning of the new decade, Neumann’s large diaphragm stereo microphone SM 69, too, was converted to solid state electronics. It still used an AC 701 tube circuit, but its capsule was a new design with a Mylar diaphragm.

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