KM 100
Application Guide

INTRODUCTION
Foreword
The KM 100 miniature microphonesystem debuted in 1988; down throughthe years, it has been expanded with accessories, turning it into a universal,
modular system that adapts well to individual requirements. This “Applica-

The Foundations of the Modular System

Electrical Connection Possibilities of the Microphone

The most important prerequisite for the modularity of this miniature
microphone system is the ability to separate the microphone capsulefrom the so-called output stage. Electronics built right into the microphone – placed right after the capsule – ensure optimum decoupling of
all subsequent accessories or cables, so that they have no influence on
audio signal quality.

In the simplest case, an active capsule is connected directly to the output stage of the KM 100. This results in a compact miniature microphone that measures 92 mm in length – for example, the KM 140:

Because of the electronics that they contain, these capsules are known
as active capsules (AK). There are seven different active capsules withvarying directional characteristics: AK 20, AK 30, AK 31, AK 40, AK 43,
AK 45 and AK 50.

tion Guide”, which is intended as asupplement to the KM 100 productcatalog, explains the modular construc-

+
AK 40

=
KM 100

KM 140In many situations, especially for spoken voice applications, it is advisable to filter out low-frequency noise electrically. This is done with thehelp of the KM 100 F filter output stage, which can be used instead of
the normal KM 100 output stage and has a slide switch permitting selection of an 80 Hz or 120 Hz cutoff frequency.

tion of these microphones and numerous sample applications.

+This brochure lays no claim to exhausAK ...

KM 100 F

tiveness – the possibilities inherent in
Active Capsules
this modular system are simply too varied for that.

Numerous strictly passive, mechanical accessories can be inserted between the capsule and the output stage.

The required level of miniaturization was achieved through the use ofhighly advanced hybrid components that permit a very high packaging
density.

Many combinations have been develThe flexibility of the KM 100 system isdue especially to numerous electricallypassive accessories that can be connected between the capsule and the output
stage, and an extensive range of mechanical accessories for mounting and positioning.

oped by our customers themselves inpractical settings. Some of these ideas
have since found their way “into series”
and are presented in this brochure.
Think of it as a source of inspiration foryour own approach to using the KM 100
system creatively.
As a supplement to the standard accessories available, Neumann can also manufacture variants and special parts
according to customer request, thus

Section of Capsule with
Hybrid Module Visible

For the most part, Neumann accessories
are freely combinable, since they are provided with both a 5/8” internal thread (USstandard) and 3/8” and 1/2” internal
threads (EU). This adaptation is made using a reversible adaptor that screws into the5/8” threads. (Exception: The SGE 100
has only a 3/8” thread and an M6 bolt respectively).

KVF ... KA

SG-AK

+

+
LC 3 KA

AK ...

KM 100 (F)SMK ... KAFirst, however, let us consider the various
electrical connection possibilities available.

additionally expanding the range of applications for this system.

MF-AK
There are also various ways of connecting the microphone to the mixing
console.

2

3

INTRODUCTION
Connecting to a Mixing Console with Phantom PowerAt the XLR connector, the KM 100 and KM 100 F output stages havethe same outer diameter as an XLR plug. In the simplest case, the output stage is plugged directly into the XLR input jack on the mixing console:+
AK ...

+
KM 100 (F)Mixing Console

AK ... + KM 100 (F) + Mixing Console
or connected via an XLR microphone cable:
AK ... + KM 100 (F) + XLR 3 Cable + Mixing Console

Connecting to a Mixing Console without
Phantom Power / Power Supplies++
AK ...

+

KM 100 (F)XLR 3 Cable

Mixing Console

If phantom power is unavailable, then an external power supply unit isinserted between mic capsule and mixing console. The following power
supply units are available:
N 48 i-2:
BS 48 i:
BS 48 i-2:

Plug-in mains unit, two-channel, 3-pin XLR connectors
9 V battery operation, one-channel, 3-pin XLR connectors
9 V battery operation, two-channel, 5-pin XLR connectors

The complete signal path then looks like this:+AK ...

+++(XLR 3 Cable)

KM 100 (F)N 48 i-2 / BS 48 i+
XLR 3 Cable

Mixing Console

AK ... + KM 100 (F) + (XLR 3 Cable) + N 48 i-2 / BS 48 i +XLR 3 Cable + Mixing Consoleor
2x AK ... + 2x KM 100 (F) + AC 21 + BS 48 i-2 +AC 20 + Mixing Console+

All the necessary adapter cables for connecting to portable recording
equipment with 3.5 mm or 6.3 mm jacks are described in our accessories catalog.

+

+
+

+
2x AK ...

+++

2x KM 100 (F)AC 21

BS 48 i-2

AC 20

Mixing Console

Power and Matrixing
Highly compact, portable solutions are possible with the help of the
MTX 191 A matrix amplifier. It powers two active capsules directly,
using the AC 30 adapter cable, with no output stages required. The
MTX 191 A can be powered via phantom power or by an internal 9 Volt
battery. In addition, both signals can be matrixed from MS (= middle/side) to XY- (= left/right) format. Moreover, the MTX 191 A incorporates a switchable high-pass filter with cutoff frequencies of 80 and
160 Hz and a switchable 10 dB attenuation.

+
+

4

+

+

2x AK 20 + AC 30 + MTX 191 A + AC 20 + Mixing Console
For this application, too, there are numerous adapter cables for connection to portable recording equipment with 3.5 mm or 6.3 mm input jacks.

+

2x AK 20+
AC 30

MTX 191 A

AC 20

Mixing Console

5

TABLETOP APPLICATION
ne 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. For this reason, many variants are offered depending on the optical and acoustical requirements and budget.
The preferred capsule for speech applications is the AK 40 cardioid,or, in rooms with strong reflections, loud environments, or strong tablereflections, the AK 50 hypercardioid. With the latter, it is also a question of whether the specific geometry (incident angle) of the table reflections is such that the hypercardoid offers the best cancellation(± 120°).
The AK 45 “speech cardioid” is the right choice for extremely close
distances (< 10 cm). This mic capsule has a frequency response thathas 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 AK 43 wide-angle cardioid can beused to cover a wider angle or the AK 30 omnidirectional can be used
to cover an omnidirectional field. If there are only two speakers, thenoccasionally the bidirectional AK 20 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 (see “Pop Screens and Windscreens”).

The microphone stand rests on a soft cellular rubber disk that dampens body noise.
AK ... + MF-AK
The following combination, in which the active
capsule with extension cable LC 3 KA is attachedto the SGE 100 stand mount, is not much bigger. The MF 2 table stand has the same small
diameter as the MF-AK and also rests on a shockabsorbing cellular rubber pad. Moreover, it incorporates rubber mount for additional suppressionof body noise.
AK ... + SGE 100 + LC 3 KA + MF 2

The Flexible Variant
If a short gooseneck is desired in order to keep
the capsule away from table reflections while still
permitting a large range of angle adjustments, theSMK 100 KA gooseneck can be used. The cableruns through the inside of the gooseneck tothe base, where it exits from the side
above the MF 2 table stand.
AK ... + SMK 100 KA + MF 2

The Failsafe Variants
Small Setups
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 Smallest Variant
The simplest and most cost effective variant is to use the included
SG 21/17 mt clamp to mount the entire microphone on a table stand,for example, the MF 3 table stand.
KM ... + SG 21/17 mt + MF 3

The Simplest Variant
The smallest of all solutions is embodied by the MF-AK table stand.
The active capsule screws right onto the swiveling headpiece, is alignable in the horizontal and vertical planes, and connects to the KM 100
output stage via the permanently attached cable. The cable exits at theside or below, making it possible to run the cable through the table where
it is hidden by the stand itself.

6

If two microphones are needed in the sameplace or one is to serve as a “reserve”, it is sometimes desirable to double microphones. Special
mounts are also available for this.
The DS 21 mt double mount makes it possible
to mount two complete microphones on one table stand, for example, the MF 3. The MF 3 table stand also rests on a shock-absorbing cellularrubber pad.
2x KM ... + DS 21 mt + MF 3
The SMK 100-2 KA double gooseneck is offered for most flexible solutions.
2x AK ... + SMK 100-2 KA + MF 2
With the capsules aligned accordingly, this setup can even be used for speakers who are seatedopposite one another.

7

TABLETOP APPLICATION
Small, Elastic Setups

The Elegant Variant

Apart from the acoustical quality of signal reproduction, the biggest problem in tabletop applications can be suppression of body noise. Thisshould have been taken into account already in the planning phase byusing a solid table construction with high internal damping. If this is not
the case, then elastic suspensions or other damping components are indispensable.

A more discrete solution is made possible by capsuleextensions, here, for example, the KVF 118 KA flexible capsule extension. It is mounted to the tabletop
stand using the SG 100 stand mount and makes it possible to position the capsule very close to the speaker.

The Simplest Variants
If only light body noise occurs, then it is sufficient to insert a Z 26 mt
shock mount between the microphone mount and the table stand.
KM ... + SG 21/17 mt + Z 26 mt + MF 3
If the microphone is mounted on the table stand in an EA 2124 A elastic suspension, even loud, low-frequency noise is suppressed effectively.
The double gooseneck joint at the base of the suspension makes it possible to point the microphone in any direction.

AK ... + KVF 118 KA + SG 100 + MF 3

The Invisible Variant
In order to keep the tabletop stand out of the picture,
the capsule extension can also be fastened underneaththe table. For this, the KVFF 148 KA capsule extension permits free alignment of the capsule. The capsule extension is mounted to a TF 221 c table flange
under the table using the SG 100 stand mount. In addition, the table flange incorporates a rubber metal connection for noise suppression.

KM ... + EA 2124 A + MF 3

The Invisible Variant
For work with cameras, the EA 2124 A elastic suspension should not
be visible. The elastic suspension can be mounted, for example, on atable flange, so that the microphone peeks out through a hole in thetable. To permit free vertical alignment of the capsule, the SG-AK swivel
joint is inserted between the active capsule and the output stage. Thus
it is easy to aim the capsule at the speaker.
AK ... + SG-AK + KM 100 F + EA 2124 A

Large Setups

The Upside Down Variant
In some studios, it is possible to suspend microphones
from above. This makes it possible to keep the tabletop
entirely free and decouple the microphone from the bodynoise of the table. Depending on the geometry of thisconfiguration, the microphone can be prevented frompicking up reflections from the tabletop by selecting acapsule with the appropriate directional characteristic.

Positioning the microphone closer to the speaker improves the signalto-noise ratio as well as cancelling table reflections. For non-camera work,e.g., in radio, the following variants are recommendable:

The STV stand extensions are fastened to the ceilingwith the help of a table flange. The long KVF 158 KA
capsule extension is held by the SG 100 stand mount,making it possible to position the capsule so that is very
close to the speaker. If necessary, a rotatable interme-

The Simplest Variant

diate piece can be inserted between the swivel mountand the stand extension.

The SMK 8 i gooseneck permits simple mounting of an entire microphone on a tabletop stand, for example, the MF 3. The gooseneck incorporates an XLR 3 connector; the cable runs through the inside andexits on the side above the tabletop stand.
KM ... + SMK 8 i + MF 3

8

AK ... + KVFF 148 KA +SG 100 + TF 221 C

AK ... + KVF 158 KA + SG 100 + STV 60
There is also a DS 100 double mount available for thecapsule extensions. Since this solution presents itself
above all for stand-based solutions, however, theDS 100 is presented in the next section.

9

POP SCREENS AND WINDSCREENS
ot only in outdoor work, but also in indoor work with close miking, unexpected low-frequency noise may occur due to the rustling ofmanuscript pages right in front of the microphone, fishpole movement,
air conditioning, etc. Then effective pop screens or windscreens areindispensable.
The WNS 100 windscreen is included with every microphone in the KM 100 series (KM 120: WNS 120). Thisis sufficient protection against light winds and popping,with minimal effect on frequency response, and that
only in the very highest frequencies.
WNS 100 + KM ... + SG 21 + MF 3
Note: Due to physics, pressure transducers (KM 130,
KM 131) are considerably less prone to wind and popping noise than pressure gradient transducers. Thus microphones of the first type are preferable for use in suchsituations.

Pop Screens
The most frequent type of noise in spoken-word recordings are so-called“popping consonants”, which are caused in particular by plosives in spoken language. They can be prevented very effectively by acoustic usinga PS 10 pop screen that remains completely transparent for the usefulsignal. The PS 10 can be mounted on a separate stand or on the microphone itself. For optimum effect, a minimum distance of 3 ... 5 cm
should be maintained between the pop screen and the microphone.
All pop screens are provided with a 3/8” threaded nut that makes it
possible to attach the pop screen to any other accessory.

The Smallest Variant
If the active capsule is operated on a KVF ... capsule extension, then the
pop screen can be screwed onto the SGE 100 stand mount and its clamp
can be slid from the cable over the capsule extension to the capsule.

KM ... + PS 10 + SG 21 on SG 17 + MF 3
In order to cover a larger angle in front of the microphone, the PS 20 pop screen can be used.

AK 20 + AK ... + DA-AK + 2x LC 3 KA + WKD-AK
w/o fig.: KM 120 + KM ... + DA-KM + WKD-KM

The Most Effective Variant
Windscreens
If strong winds or major microphone pans with the fishpole are anticipated, then additional precautions should
be taken.
Note: For pressure transducers (KM 130, KM 131),
foam windscreens are the optimal solution. The following remarks apply to pressure gradient transducers.

In addition, the WJ-AK and WJ-KM windjammers areavailable for use in extremely high winds. These are fur
covers that can be pulled on over the WKD-AK and
WKD-KM windscreens.
AK 20 + AK ... + DA-AK + AC 30 (oder 2x LC 3 KA) +WKD-AK + WJ-AK
w/o fig.: KM 120 + KM ... + DA-KM + WKD-KM + WJ-KM

The Simplest Variant
The WS 100 windscreen, which measures 9 cm in diameter, provides a markedly better protection against
wind than the WNS 100 does, but also has more of aneffect on high frequencies. Additionally, a foam windscreen always has some effect on the directional characteristics, causing them to shift somewhat toward an
omnidirectional pattern.
WS 100 + KM ... + SG 21 + MF 3

The Effective Variant
As seen in numerous outdoor applications, windscreensprovide outstanding protection against wind noise. For
best results, the enclosed volume surrounding the microphone should be maximized. The WKD-AK and
WKD-KM windscreens are offered to fit the light, elastic double suspensions for active capsules and/or complete miniature microphones. See the section “Microphone Fishpoles”.

AK ... + PS 10 + KVF 118 KA + SGE 100 (Top) + SG 100 + MF 3

The Simplest Variants
A PS 10 pop screen can be fastened with an MKV quick-release tilting clamp directly to the microphone.
KM ... + PS 10 + MKV on SG 21 + MF 3
If the complete microphone is fastened to the XLR connector using thelittle clamp always enclosed with the SG 21/17 mt stand mount, thenthe pop screen can also be snapped directly onto the microphone using
a second stand mount. The SG 21/17 mt stand mount is included withall of our miniature microphones, but is also available separately.

10

11

STAND-BASED SOLUTIONS
tand-based solutions are for cases in which it is necessary to position the microphone capsule further awayfrom the floor. Microphone configurations for podiums
are discussed in the Tabletop Applications section.
Thus stand-based solutions are configurations 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 extremely flexible gooseneck of the KVF... capsule extension also permits overhead miking by aiming
the microphone at the instrument from above, as it is
the usual practice with strings. See “Suspended Variants and Overhead Miking”.

The Concealed Variant

The Elegant Variant

The Failsafe Variant

The setup in the first example can also be used if planscall for the whole setup to be concealed in a lectern ortable. To this end, the capsule extension is guided
through a hole drilled in the lectern or table, or the standtube is placed inside a ring of tables. Thus it is ideallydecoupled from the tabletop, since the base of the microphone stand rests on the floor.

A very unobtrusive setup for singers and speakers canbe realized using the KVF 158 KA capsule extension.
This is snapped onto a SG 100 stand mount andmounted on any stand. An elegant setup with virtuallycontinuous height adjustment can be attained by screwing a stand extension, for example, the STV 60 standextension, onto a MF 4 table stand.

Certain critical applications require increased operationalreliability through doubled microphones. With the helpof the DS 100 double mount, two capsule extensions
can be mounted parallel to one another.

AK ... + SR 100 + KA 100 + MF 4

AK ... + KVF 158 KA + SG 100 +STV 60 + MF 4

When miking instruments or multiple speakers, the active capsules can also be oriented in varying directions
and thus, for example, cover different sections of an orchestra.
2x AK ... + 2x KVF 158 KA + DS 100 +STV 60 + MF 4

The conditions for all of these applications resemble
those for tabletop applications, but with the advantagethat the setup is mechanically decoupled from the table or lectern. Except in situations with highly resonant
floors, body noise is negligible. The graceful capsule extensions, which are made of tubing measuring only approx. 6 mm in diameter, are both inconspicuous and elegant.

The Simplest Variant
The SR 100 stand tube constitutes an already almost
complete system for applications at lecterns or withstanding speakers or singers. It contains an adjustableheight capsule extension (see KVF 158 KA), that is
guided inside a stable tube. The tube is screwed onto atable stand (see MF 4) that rests on a rubber ring forthe purpose of decoupling body noise. Once an active
capsule is screwed onto the capsule extension, it canbe positioned at heights ranging from 95 to 145 cm andaligned at a specific angle.
The cable of the SR 100, which exits laterally at thebase of the stand, ends in a Lemo plug. A KA 100 cable adapter is required in order to connect it to the
output stage.
AK ... + SR 100 + KA 100 + MF 4

12

13

STEREO APPLICATIONS
he KM 100 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 shockabsorbing rubber pad. If necessary, the Z 26 mt shock mount can also
be inserted to reduce body sound transmission even further.

2x KM ... + 2x SG 21 + (DS 110 /) DS 120
w/o fig.: 2x AK ... + 2x LC 3 KA + 2x SG 21 +DS 110 / DS 120

AB Configuration
MS Configuration
The STH 120 stereo mount makes it possible to position two active
capsules in an “over/under” configuration and orient them in relation to
the sound source using the ball joint on the mount.
AK 20 + AK ... + 2x LC 3 KA + STH 120
If the active capsules or microphones are to be mounted in elastic
mounts, this can be done using the DA-AK and DA-KM elastic suspensions. See the section “Microphone Fishpoles”.
The MTX 191 A matrix amplifier is designed to power and matrix thetwo active capsules specifically in applications like this one. See thesection “Introduction/Power and Matrixing”.

XY Configuration

2x KM ... + 2x SG 21 + DS 120
w/o fig.: 2x AK ... + 2x SG 21 + 2x LC 3 KA + DS 120

ORTF Configuration
The “ORTF clamp” of the STH 100 stereo mountholds two active capsules in the standard ORTF configuration with an included angle of 110° and a distanceof 17.5 cm between membranes.
2x AK ... + 2x LC 3 KA + STH 100

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.
2x AK ... + 2x LC 3 KA + STH 100
For complete microphones, or even active capsules, an
XY configuration is realized using the DS 110 or
DS 120 double mount. The microphones in the
SG 21/17 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.

14

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

The DS 120 double mount can be used for complete
microphones or active capsules.
w/o fig.: 2x AK ... + 2x SG 21+ 2x LC 3 KA + DS 120
w/o fig.: 2x KM ... + 2x SG 21 + DS 120

Blumlein Configuration
The so-called Blumlein configuration is a special typeof XY technique with two microphones with a figureeight characteristic positioned above one another andan included angle of 90°. This is easy to realize with a
DS 120 double mount attached to a horizontal boom.
The two microphones or active capsules are screwed
onto the DS 120 in their swivel mounts.
2x KM 120 with SG 21 + DS 120 on horiz. boom
w/o fig.: 2x AK 20 + 2x LC 3 KA + SG 21 +DS 120 on horiz. boom

15

SUSPENDED VARIANTS AND OVERHEAD MIKING

into the MNV 100 auditorium hanger. The clamp
swivels to permit adjustment of the active capsule. The
cable is held in place by the clamp of the MNV 100
and the entire setup is suspended from the ceiling.

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 Simplest Variant
The MNV 21 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.
KM ... + MNV 21 + XLR Cable

The Smallest Variant
An active capsule is connected to the output stage using the LC 3 KA cable. The plug end of the cable snaps

16

AK ... + MNV 100 + LC 3 KA

The Elastic Variant
If additional mechanical decoupling from the ceiling isrequired, 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
miniature microphone in an EA 2124 A elastic suspension can be mounted on the MNV 87 and suspended
from the ceiling on its own cable.
KM ... + MNV 87 mt + EA 2124 A + XLR Cable

Stereo Setups
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 rightfrom the ceiling and swivel it into the correct orientation.
2x AK ... + MNV 87 mt + STH 100 (/ STH 120) +2x LC 3 KA

Of course, it is also possible to suspend the DS 110
and DS 120 double swivel mounts.
w/o fig.: 2x KM ... + DS 110 / DS 120 +MNV 87 mt + XLR Cable

Overhead Miking
The KVF 158 KA capsule extension can also be usedwith an SG 100 stand mount for inconspicuous miking of instruments, etc. Thanks to the gooseneck, theactive capsule can be aimed from above at the soundsource. The STV… stand extension, when mounted
on the MF 4 table stand or a floor stand, makes it possible to reach virtually any height.

Photo courtesy of the Sydney Opera House Trust, Australia 2001

requently it is necessary to position microphones asinconspicuously as possible without using a stand. Overhead variants in which the microphone is suspended
from the ceiling are ideal in such situations. Thanks totheir low weight, the miniature microphones of theKM 100 series can be fastened by their own cables without any problems. The same holds true for the LC 3 KA
cable (just 3.5 mm thick) used to connect the detached active capsules to the output stage. Using an
additional thread, it is possible to attain precise and stable positioning of the microphone(s).

AK ... + KVF 158 KA + SG 100 + STV 60 + MF 4
The DS 100 double mount is offered for stereo applications or miking two different areas.
w/o. fig.: 2x AK ... + 2x KVF 158 KA + DS 100
STV 60 + MF 4

17

MICROPHONE FISHPOLES
n film and TV shooting, a microphone fishpole is often used to get the microphone as close to the speakeras possible in a given situation. Shotgun microphones
are frequently used for this. But miniature microphones– for example, ones with a hypercardioid pattern – produce comparable directivity indices. When working insmall spaces with microphones placed near sound-reflecting walls, the cardioid pattern can be very advantageous, since it does the best job of minimizing theamount of backward reflection picked up.
For use with windscreens, etc., see the section “Pop
Screens and Windscreens”.

Mono Applications

capsule is used for the middle signal and combined withthe diagonal figure-eight characteristic of the AK 20.

Very small and flexible combinations are offered formono applications.

For other coincident or semi-coincident techniques,
see the section “Stereo Applications”.

The Smallest Variants

The Smallest Variant

The lightest solution is to mount the active capsule on
the upper part of the SGE 100 stand mount. Together, the capsule and the swivel mount weigh approx. just45 g.

The two active capsules are mounted on the rotatable,
swiveling STH 120 stereo mount and result in an MS
system with a total weight of just 150 g.
AK 20 + AK ... + 2x LC 3 KA + STH 120 + MA

AK ... + LC 3 KA + SGE 100 (Top) + MA
Alternatively, the same flexibility can be achieved withthe enclosed SG-AK swivel joint. This solution weighs
160 g.
KM ... + SG-AK + MA

The Elastic Variant
Interference through body noise cannot be avoided entirely when there are fast movements of the microphone
fishpole. Then the EA 2124 A elastic suspension included with our microphone fishpole should be used.
KM ... + EA 2124 A + MA

Stereo Applications

The Elastic Variants
If the microphones are supposed to be elastically suspended, the DA-AK and DA-KM elastic suspensions
provide solutions both for active capsules with capsuleextension and for complete miniature microphones.
AK 20 + AK ... + 2x LC 3 KA + DA-AK + MA
KM 120 + KM ... + DA-KM + MA
Windscreens and windjammers are available for suchapplications. (See the section “Pop Screens and Windscreens”)
Note: Two active capsules can be powered and matrixed by the MTX 191 A matrix amplifier, see the section “Introduction/Power and Matrixing”.

The MS stereo configuration is usually used for stereo
setups on the microphone fishpole. In this arrangement,
usually a cardioid (AK 40) or hypercardoid (AK 50)

18

19

ACCESSORIES
Accessories*

AK 20, Active capsule
Catalog No.: 08416

AK 30, Active capsule
Catalog No.: 07057

AK 31, Active capsule
Catalog No.: 07063

AK 40, Active capsule
Catalog No.: 07045

AK 43, Active capsule
Catalog No.: 07117

DS 21 mt, Double mount
Catalog No.: 06798

DS 110, Double mount
Catalog No.: 07342

EA 2124 A mt,
Elastic suspension
Catalog No.: 08433

MNV 21 mt, Auditorium hanger
with clamp for KM ...
Catalog No.: 06802

MNV 87 mt, Auditorium hanger(with threaded adapter)
Catalog No.: 06806

AK 45, Active capsule
Catalog No.: 07074

AK 50, Active capsule
Catalog No.: 07081

SBK 130, Sound diffraction sphere
for dia. 22 mm, Catalog No.: 07371

KM 100, Output stage
Catalog No.: 07395

KM 100 F, Output stage
Catalog No.: 07376

MNV 100, Auditorium hanger(with clamp for AK ...)
Catalog No.: 06811

SG 21/17 mt Swivel mount(with 21 mm and 17 mm clamp)
Catalog No.: 06149

SGE 100, Swivel mount for MF 2
(with rubber mounted thread
for AK ...) Catalog No.: 06742

MF-AK Table Stand(with Swivel Joint)
Catalog No.: 08453

SMK 100 KA, Gooseneck(with cable, 160 mm)
Catalog No.:08413

SG-AK Swivel Mount
Catalog No.: 08452

Stand extension
STV 4, Catalog No.: 06190
STV 20 , Catalog No.: 06187
STV 40, Catalog No.: 06188
STV 60, Catalog No.: 06189

MF 4, Table standCatalog No.: 07337

Windscreen, 45 mm
WNS 100 blk., Cat. No.: 07323
WNS 100 red, Cat. No.: 07324
WNS 100 grn, Cat. No.: 07325
WNS 100, yel, Cat. No.: 07326
WNS 100, blu, Cat. No.: 07327

N 48 i-2, Power supply
230 V: Catalog No.: 06500
117 V: Catalog No.: 06502

KVF 118 KA, Capsule extension(with gooseneck, 300 mm)
Catalog No.: 08410

BS 48 i, Battery supply
Catalog No.: 06494

KVF 158 KA, Capsule extension(with gooseneck, 700 mm)
Catalog No.: 08411

BS 48 i-2, Battery supply
Catalog No.: 06496

KVFF 148 KA, Capsule extension(with double gooseneck, 700 mm)
Catalog No.: 08412

DS 100, Double swivel mount(for KVF ... extension tubes)
Catalog No.: 07318

MKV, Quick release clamp
Catalog No.: 07199*) Detailed descriptions of all accessories are contained in the accessories catalog.

20

SG 100, Swivel mount (for KVF ...)
Catalog No.: 06688

DS 120, Double mount
Catalog No.: 07343

SMK 100-2 KA, Double gooseneck(with cable, 160 mm)
Catalog No..: 08414

TF 221 c, Table flange(with rubber mounted thread)
Catalog No.: 07278

SMK 8 i, Gooseneck
Catalog No.: 06181

MF 2, Table stand(with rubber mounted thread)
Catalog No.: 07266

STH 100, Stereo mount(for 2xAK ... with LC 3)
Catalog No.: 07315

MF 3, Table standCatalog No.: 07321*) Detailed descriptions of all accessories are contained in the accessories catalog.

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ACCESSORIES
Accessories

Application Hints

KM 145For recording situations where the microphonemust remain “invisible”.

• It naturally compensates for proximity effect

KM 120• MS-Stereo microphone, as a combination of
the AK 20 with the AK 40 cardioid capsule oranother AK ...
• Two crossed AK 20s in Blumlein technique• Inconspicuous spot microphone with optimum
attenuation of lateral sound sources
WS 100, Windscreen, 90 mm
Catalog No.: 06751

PS 10, Pop screen
Catalog No.: 07345• Single microphone for two speakers
facing each otherPS 20, Pop screen
Catalog No.: 07346

KM 130• Ideal as AB stereo pair in the diffuse sound field
because of the flat frequency response• As a main mic, especially for capturing room
acoustics• For stereo recordings with a baffle plate• As a spot mic for piano, wind instruments,organ, and choir

KM 131
Microphone cable
LC 3 KA, 5 m, Catalog No.: 08408
LC 3 KA, 10 m, Catalog No.: 08409

IC 3 mt, Microphone cable
Catalog No.: 06543

KA 100, Cable adapter
Catalog No.: 07330

MA, Microphone fishpole
Catalog No.: 06771

SR 100, Stand tube
Catalog No.: 07336 andKA 100, Catalog No.: 07330• For close miking of instruments when there
is no need to attenuate extraneous noise,
and in a balanced acoustic environment torecord acoustic guitar, wind instruments,
strings, percussion, and drums• Very neutral tonal balance during close mikingof 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

KM 150• 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 andvideo productions, PA systems• Produces especially warm and bass
supporting sound for artists who perform in
proximity effect range• We recommend using an additional windscreen to minimize the effects of high windvelocity, and plosive sounds
These are just some of the most common
applications. We recommend additional
experimentation to gain maximum use fromthis microphone.

• Flat frequency response for close miking, spot mic

Special Accessories for AK 20 and Stereo-Applications

KM 140• Universal usage, especially in situations
when it is necessary to attenuate soundcoming from adjacent instruments• As XY and ORTF stereo pair
• Announcer’s mic for broadcasting• Spot mic, overhead• Close miking of strings, wind instruments,
percussion, piano, Leslie speakers,
guitar amps

DA-AK, Elastic suspension
for two AK ...
Catalog No.: 08419

DA-KM, Elastic suspension
for two KM ...
Catalog No.: 08420

WKD-AK, Windscreen
for DA-AK
Catalog No.: 08423

WKD-KM, Windscreen
for DA-KM
Catalog No.: 08424

STH 120, Stereo mountfor AK 20 and e.g. AK 40
Catalog No.: 08422• We recommend using an additional
windscreen to minimize the effects
of high wind velocity

KM 143• 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

WJ-AK, Windjammer
for WKD-AK
Catalog No.: 08425

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WJ-KM, Windjammer
for WKD-KM
Catalog No.: 08426

WNS 120, Windscreen
for AK 20
Catalog No.: 08427

AC 30, Adapter cable for connection of 2 AK ... with MTX 191 (A),
Catalog No.: 08418

MTX 191 A,
Matrix amplifier
Catalog No.: 07331• Acts very neutral when used close up
to bass instruments, such as
double bass, bass amps, guitar amps

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Copyright 2001 Georg Neumann GmbH, Berlin.
Multiple reproduction or republication of any material of thisnewsletter requires the permission of Neumann, Berlin.
Errors excepted, subject to changes.
Printed in Germany Publ. 06/2001

Georg Neumann GmbH, Berlin • Ollenhauerstr. 98 • 13403 Berlin • Germany • Tel.: +49 (30) 417724-0 • Fax: +49 (30) 417724-50
E-Mail: sales@neumann.com, engineering@neumann.com, catalog-info@neumann.com • Website: www.neumann.com