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The Neumann TLM 103 D microphone showcases the award winning qualities of the TLM 103 and incorporates the finest
A/D converter, available only from Neumann.
Features
The high sound quality you expect from the TLM 103
Optimal recording levels guaranteed via integrated, extremely fast peak limiter
Built-in A/D converter, designed by Neumann specifically for Solution-D microphones
No external converter or pre-amp necessary
Minimal self noise makes the TLM 103 D perfect for any application
The Neumann TLM 103 D delivers the time, space and money savings that today’s economy requires by
eliminating external needs such as: conversion, pre-amplification, pre- and post-production time to adjust gain, etc. This makes the TLM103 D a wise investment for home applications to professional studios and everything in between.
Solution-D: A Microphone Technology Milestone
Neumann has repeatedly set new standards in the field of analog microphone technology. The first condenser microphone, switchable directional characteristics, the first stereo microphone and 48 V phantom power were all developed by Neumann, introducing new dimensions to the field of microphone and recording technology.
With the digital Solution-D microphone system, Neumann has now succeeded in bringing the dynamic range and signal fidelity of the best analog studio microphones into the digital realm. This means that, for the first time, the whole audio production signal chain is entirely digital.
Optimal A/D conversion, especially developed synchronization technology and the capability of controlling standard microphone parameters and various integrated signal processing functions remotely ensure that Solution-D meets the most demanding professional audio production requirements. The basic technological principle is to permit recording with no “bottlenecks” associated with loss of signal quality.
The comprehensive features provided by Solution-D make it possible to achieve excellent quality with small digital productions – with only a single microphone and a recording device.
The Solution-D digital microphone system is comprised of the following components: A digital microphone (available at the moment are the D-01 and TLM 103 D large-diaphragm microphones and the KM D small-diaphragm microphone), the DMI-2 digital microphone interface and the RCS remote control software, which operates and remotely controls the microphone. A PC or Mac can serve as the control computer, which of course can simultaneously be used to operate the actual recording system, for instance.
The signal and data transmission of the microphone conform to the new AES 42 standard. The introduction of this standard governing the transmission of output signals, the supply of power and the remote control of microphones with digital outputs provided the necessary preconditions for the development of digital microphone technology. Neumann made a decisive contribution to the drafting of the AES 42 standard.
Instead of being used with the DMI-2, the KM D small-diaphragm microphones and the TLM 103 D large-diaphragm microphone can alternatively be connected to the AES/EBU or S/PDIF interface of a recording system by means of a Connection Kit. However, if a Connection Kit is used, it is not possible to control the microphone functions remotely. Thus a control computer is not required. In this case, if it is necessary to synchronize several microphones, a sample rate converter must be used.
All of the possible Solution-D system configurations are illustrated here and here.
The Starter Sets, comprised of a KM 184 D or TLM 103 D and a Connection Kit, provide an economically attractive entry into the world of digital microphones. If the user later wishes to take advantage of additional switchable parameters and remotely controlled functions, the system can be expanded at any time by acquiring a separate DMI-2.
Any audio engineer who is familiar with digital technology can begin production with Solution-D immediately, without extensive training. The additional features provided by digital microphones open up new possibilities for production.
Remote control of standard microphone parameters
With the DMI-2 digital microphone interface, familiar microphone settings such as the directional characteristic, pre-attenuation and low-cut filter can be controlled remotely. Changing the settings of microphone parameters is greatly simplified, which facilitates rapid testing of different settings so as to optimize the sound quality. It is no longer necessary to make handwritten records of all of the settings.
Integrated digital audio signal processing
An A/D converter developed by Neumann, especially optimized for the capsule signal conditions, receives the output signal directly from the microphone capsule. Level matching required for subsequent devices is performed digitally, in the microphone itself. Analog components such as preamplifiers and A/D converters are thus no longer required, resulting in significant cost savings.
The immediate conversion of the analog signal results in a significant improvement in the dynamic range. This is perceptible throughout the entire signal chain, making level adjustments less critical.
Mixing console functions such as mute and phase reverse, which affect the microphone signal, are likewise integrated into the microphone. For the D-01, even commands such as “On Air” (red light) are executed by means of remotely controlled microphone LEDs. A particularly significant feature is the transient limiter function. For the first time, this function can be applied at the most effective point, at the signal source, in order to reduce harmful transients. In the case of analog microphones, in the subsequent signal path a great deal of headroom must be provided for such signals, which are very short but which have a large amplitude.
Data transmitted by the microphone
Information transmitted by the microphone includes the name of the manufacturer, the model, the serial number, the software version installed in the microphone, and a list of remotely controlled functions supported by the microphone. Status indicators such as certain warning functions and operating readiness are also transmitted.
During production, the audio engineer can continuously monitor the status of the microphones, since all the important parameters, including signal levels, are displayed on the screen. In addition, a text input field is provided, allowing a channel name to be assigned, e.g. indicating the sound source. All of the microphone settings can be stored in configuration files and retrieved as required.
Why digital signal processing?
The digitization of audio data began many years ago, at the end of the signal processing chain, with the development of the first digital recording equipment. Almost all audio signal processing components are now available in digital form.
It is well-known that digital signals provide the necessary preconditions for mathematically precise calculations and processing, permitting signals to be modified, copied, transmitted and stored as desired, with no loss of quality.
In contrast, analog signal processing is characterized by limited precision, error accumulation, a lack of redundant signal information, and the use of error correction procedures. Each analog signal processing step is thus associated with a degradation of signal quality.
This results in a gradual decrease in the dynamic range, due to the introduction of noise voltages and nonlinear distortion.
In addition, digital processing permits the performance of functions that are difficult or impossible to execute via analog signal processing. This applies particularly to functions that are based on intermediate data storage.
A/D conversion
Despite continuing improvements, integrated circuits available on the market still constitute a limiting factor in the conversion of audio data from analog to digital form.
For instance, the best delta-sigma A/D converters currently available as integrated circuits provide a dynamic range of 115 dB to 120 dB (A-weighted), for a theoretical word length of 24 bits.
This can be compared with the dynamic range of up to 130 dB exhibited by a high-quality analog condenser microphone. In order to prevent the addition of noise to the signal, a significantly improved A/D converter is therefore required. The conversion process must simultaneously be optimized for the signal levels and source impedance found in the microphone.
When A/D conversion is carried out in a mixing console or other equipment, as a rule, loss of signal quality is to be expected, since the conversion occurs after level matching has already been performed. As a result, the dynamic range is affected by headroom considerations and by the characteristics of the microphone preamplifier and the A/D converter.
The development goal was thus to effect high-quality digitization of the capsule signal directly in the microphone, so as to permit level matching and other processing steps to be performed digitally. This is the only way of preserving the signal quality that is generated by the microphone.
Synchronization
The AES 42 standard describes two modes of synchronizing the microphone with the receiver (e.g. a mixing console or DMI-2 digital microphone interface):
Mode 1: The microphone operates asynchronously, using the sampling rate of its internal quartz oscillator. In this case, a sample rate converter is required at the receiver. However, this mode of operation should be used only if mode 2 synchronization is not possible, since conventional sample rate converters will impair the signal quality, for instance in terms of dynamic range and latency time.
Mode 2: The microphone is synchronized with a master word clock, which can be either an external word clock or the internal word clock of the DMI-2. In this case, a frequency/phase comparison of the microphone signal with the master word clock is carried out in the AES 42 receiver (DMI-2). A control signal is then generated that is transmitted via the remote control data stream to the microphone, where it controls the frequency of the internal quartz oscillator.
Via the BNC output of the DMI-2, the internal word clock generator can be used to synchronize additional DMI-2s and subsequent processing equipment, such as a mixing console.
TLM 103 D digital large-diaphragm microphone
The TLM 103 D, available immediately, is the digital version of a classic mic for home recording and project studios.
In the microphone, the Neumann A/D converter which has been extensively proven in the D-01 receives the output signal directly from the capsule. With a dynamic range exceeding that of the capsule, the converter permits optimal utilization of the capsule qualities. This ensures that the capsule signal is made available to the recording system without any coloration, with a hitherto unknown transparency.
If required, the DSP functions integrated into the microphone can be configured and controlled remotely via the DMI-2 digital microphone interface and the RCS remote control software. These functions include gain setting, a compressor/limter with an additional de-esser function, and a peak limiter. The digital concept proves particularly beneficial here. The peak limiter, which receives the output signal almost directly from the capsule, acts as an automatic “safety valve”, permitting safe exploitation of the entire available dynamic range even in stressful recording situations.
For the purpose of clear identification, information concerning the name of the manufacturer, model, serial number and installed software version is transmitted by the microphones to the connected receiver.
The microphones are equipped with a 3-pin XLR connector for transmission of a bi-directional signal conforming to the AES 42 standard. This signal includes the balanced digital microphone output signal, the phantom power supply, and a remote control data stream that also contains a signal for synchronizing the microphone with a master clock.
Two versions of the TLM 103 D are available: Classic nickel, and black finish. All standard sampling frequencies are supported, from 44.1 kHz to 192 kHz.
Emotion conveyed with technical perfection. This is the ideal which the Neumann microphones in the Broadcast Line have been designed to fulfill. The fine-tuning to the requirements of professional broadcast studios and the individual, functionally optimized design* ensure that these are microphones of character. With its large-diaphragm condenser capsule and cardioid directional characteristic, the Neumann BCM 104 is ideal for the faithful reproduction of speech and music. This is due, for instance, to the frequency response that is flat up to 3 kHz and then gradually boosted in the higher frequencies. If required, internal switches can be used to compensate for the proximity effect and to reduce the sensitivity by 14 dB. The versatility of the BCM 104 can be seen in its wide range of applications, from news, to round-table discussions, to radio plays, to musical recordings.Mechanical Features The microphone headgrille twists off easily for quick cleaning. Neumann offers optional color-coded headgrilles so that, for reasons of hygiene, each announcer can use his or her individual headgrille. In front of the capsule, mounted on a frame holder, a fine gauze serves as a built-in popscreen. The microphones of the Broadcast Line have an elastic mount against structure-borne noise, that is compatible with standard broadcast-segment microphone arms.Acoustic features The microphone headgrille houses the K 04 large-diaphragm capsule, which has a flat frequency response up to 3 kHz. Higher frequencies have an increased presence up to 2 dB. Since the above-mentioned microphone characteristics are obtained without the use of resonance effects, the microphone features excellent transient response and transmits all transient phenomena of music and speech without any coloration.The integrated Pop Screen A pop screen not only prevents the occurrence of plosive pop noises in vocal recordings, but also efficiently prevents unwanted particles, from respiratory moisture, nicotine, to food remnants, from settling on the diaphragm. The pop screen can be removed for cleaning without the use of tools.Electrical features Instead of a transformer to couple the microphone output to the supply voltage, the BCM 104 has an electronic circuit which, like a transformer, provides for good common mode rejection. Interference induced in the balanced modulation line is thus suppressed effectively. With a very low self-noise of 7 dB(A), and an overload capability extending to 138 dB SPL, the BCM 104 has a dynamic range of 131 dB (A-weighted).Filter and Preattenuation The BCM 104 amplifier has a linear operation down to 20 Hz. An active filter efficiently suppresses signals below this frequency. In order to compensate for the proximity effect, an electronic high-pass filter, activated by a switch, is built into the microphone. This filter reduces frequencies below 100 Hz by 12 dB/octave. A 14-dB preattenuation switch is provided in order to adjust the sensitivity, if necessary, to circuits designed for dynamic microphones. But this will increase the self noise accordingly. Both switches are located inside the microphone housing, since they will normally be operated only once, when the broadcasting facility is set up.Mounting The preferred mode of operation is to suspend the BCM 104 or BCM 705 from a standard studio boom arm. A thread adapter to fit different connector threads is included. In order to provide protection from structure-borne noise, both the capsule and the microphone in its mount are elastically suspended. The optional SG 5 swivel mount allows additional angling of the microphone by +/-90 degrees.
Neumann BCM 104
Broadcast microphone with a condenser capsule and a functionally optimized design, featuring integrated pop protection, suppression of structure-borne noise and a cardioid directional characteristic.
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The Neumann EA 1 is designed for the TLM 103, TLM 127, TLM 193, and M 147 Tube microphones. It has a swivel mount with a 5/8" female thread that can be fastened to tripods. Included is a threaded adapter to connect to 1/2" and 3/8" studs.
The "Series 180" consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications.
Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the "Series 180" is predestined for economy-minded production and home recording studios.
The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All "Series 180" microphones are available with either matte black or nickel finish.
They come in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR-connector.
Applications
Their slender shapes and the transmission characteristics described below make the "Series 180" especially suitable for a very wide range of tasks in the radio and television sector.
The "Series 180" consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications.
Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the "Series 180" is predestined for economy-minded production and home recording studios.
The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All "Series 180" microphones are available with either matte black or nickel finish.
They come in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR-connector.
Applications
Their slender shapes and the transmission characteristics described below make the "Series 180" especially suitable for a very wide range of tasks in the radio and television sector.
The "Series 180" consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications.
Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the "Series 180" is predestined for economy-minded production and home recording studios.
The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All "Series 180" microphones are available with either matte black or nickel finish.
They come in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR-connector.
Applications
Their slender shapes and the transmission characteristics described below make the "Series 180" especially suitable for a very wide range of tasks in the radio and television sector.
The "Series 180" consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications.
Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the "Series 180" is predestined for economy-minded production and home recording studios.
The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All "Series 180" microphones are available with either matte black or nickel finish.
They come in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR-connector.
Applications
Their slender shapes and the transmission characteristics described below make the "Series 180" especially suitable for a very wide range of tasks in the radio and television sector.
Description coming soon
The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model's now legendary predecessors, the U 47 and the M 49.
Following the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic.
The M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish.
The microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.
The Neumann M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule – well-known from the legendary U 47 and M 49 microphones – is followed by a tube functioning as an impedance converter. In contrast to earlier concepts – utilizing a transformer – the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration.
Two slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off frequency.
Applications
There are nine polar patterns to choose from, making this microphone an ideal choice for a wide range of recording situations.
As its ancestors, the M 149 Tube is a superb vocalist microphone, not only because of the capsule, but also due to its modern circuitry, characterized by extremely low noise level.
Acoustic features
The M 149 Tube is addressed from the front, marked with the Neumann logo. Also on the front is the switch for the selection of the polar patterns.
The capsule is mounted elastically inside the headgrille to eliminate structure borne noise. The surface below the capsule is shaped like a cone to disperse any reflected sound from the acoustic upper half space. This avoids any interference with the primary sound arriving at the capsule directly.
A large headgrille surrounds the capsule. It is acoustically very open and therefore increases the sonic realism.
Polar patterns
The polar pattern switch selects one of nine directional patterns: omnidirectional, wide-angle-cardioid, cardioid, hypercardioid, figure-8, and one additional intermediate pattern between each major position.
Electrical features
The circuit of the M 149 Tube microphone has been developed to exceed traditional designs. We have selected a modern tube (triode) and combined its exceptional transmission characteristics with the advantages of our proven transformerless output circuit.
The aim was to provide a more controlled environment for the audio signal on its path from the capsule to the output section.
The final stage is an integrated amplifier, especially designed for such applications. It features very low distortion (THD < 0.002 % at ± 10 V), very low self-noise, and high output current capability.
As a result, the tube circuit is completely decoupled from the microphone output and its characteristic response curve will be unaffected by very high signal levels or varying load conditions.
The lower output impedance and higher output current capability allow cable lengths up to 300 m (1000 feet) without any degradation of the audio signal.
The tube amplifier changes the high impedance of the capsule and adds 10 dB of gain to the audio signal, providing optimum operating specifications. The wide dynamic range is impressive, as peak output can be ±10 V, at 20 mA.
The ideal operating point of the tube is maintained throughout its entire life expectancy. Plate current and filament voltage are constantly regulated. A sensor circuit monitors and compensates for any voltage drop across the microphone cable. The tube is heated up slowly through inverse current limiting to guarantee long life. Optimum operating conditions are reached within a very short time.
Filter
A seven-position slide switch is located on the back of the microphone. It selects a high-pass filter, advancing in half-octave steps between 20 Hz and 160 Hz (-3dB). This filter is useful to suppress rumble from air-conditioning and in windy situations.
In addition, the filter provides an effective tool to control the audio signal when the microphone is used at close distance and therefore proximity effect alters the program material.
Delivery Range
The specifically designed N 149 A power supply unit feeds the M 149 Tube through an 8-core cable. The output connector for the audio signal is a 3-pin XLR. The output signal is balanced.
The microphone comes as a set in an attractive aluminium case, together with the 8-core microphone connecting cable, the N 149 A power supply with plug-in mains unit, the EA 170 full elastic microphone suspension and a dust cover
Since the 1950s, the Neumann M 50 has been heralded as the ideal microphone for orchestral recording and string scoring. With its phenomenal transient response and unique directional characteristic, this classic mic has endeared many fans, both in the control room and on the soundstage. The new Neumann M 150 Tube takes many of the features from the original M 50 and incorporates them in a very modern microphone. With low self noise, a Titanium membrane and capsule, transformerless tube amplifier and sophisticated power supply, the M 150 Tube is not a reissue but an entirely new microphone in its own right. Acoustical features The Titanium diaphragm of the pressure capsule is 12 mm in diameter and is exceedingly thin. Although Titanium has been known to have unique and desirable characteristics for some time, it has, until very recently, been very difficult to procure in the quality necessary for use in a microphone of this type. The headgrille is shaped just like that on the original M 50, as requested by various top engineers in the recording industry. Due to mounting the pressure capsule with the diaphragm flush to the surface of a small (40 mm) sphere, the directional characteristic of the M 150 Tube is entirely unique. At the lowest frequencies, this system is a pure omnipressure transducer with a perfectly circular polar pattern. However, in the mid- and upper frequencies, the pickup pattern becomes more narrow. The M 150 Tube is an ideal microphone for any stereo, 5.1 or 7.1 surround recording, particularly DECCA Tree technique. Electrical features The dynamic range of the M 150 Tube is 119 dB, allowing reproduction of the full musical expression, without restraint. With a low self noise of 15 dB-A, more gain can be used without risk of adding noise to the final product. The transformerless output circuit of this microphone allows for extremely fine reproduction of small signals and low frequency information. Also, long cable runs can be used with no loss of signal quality.
The Neumann KM 183 and KM 184 microphones are the successors of the well proven KM 83 and KM 84, which have been used since the seventies worldwide with great success. The KM 185 rounds out the series with a hypercardioid microphone. The KM 183 is a pressure transducer with a boost of approximately 7 dB at 10 kHz in the free field. In the diffuse sound field it has a flat frequency response. The pressure gradient transducers KM 184 and KM 185 feature very smooth frequency responses not only for the 0° axis, but also for lateral (off-axis) sound incidence. In typical usage, there is no coloration of sound over a wide pickup angle. Although the KM 184 has the same capsule as the KM 84, the microphone differs slightly on the 0° frequency response: The KM 184 has a gentle rise at about 9 kHz, a characteristic that was introduced very successfully with the KM 140. The result is a tonal balance that is fresher and livelier when compared to the KM 84 with its flat frequency response in that band. This difference was achieved with just a slight change of the capsule’s rear opening, and is not due to resonances. The KM 185 with its hypercardioid characteristic features attenuation of sound incidence from the side or rear of about 10 dB, with minimum sensitivity at an angle of 120°.Electrical features The "Series 180" microphones have the same transformerless circuitry as is used in the KM 100 system, resulting in excellent technical specifications: Compared to the KM 84 the dynamic range of the KM 184 increased by 24 dB mainly through the reduction of self-noise level to only 22 dB (CCIR) and an increased sound pressure handlingcapability of up to 138 dB. The microphones operate without any problems, even if the input of following equipment happens to be unbalanced, for example as in some DAT recorders. The output of the "Series 180", as in all Neumann microphones, is balanced and phantom (48V) powered.Economy The "Series 180" is a good choice for all users who look for a high-quality miniature microphone, but do not need the complex, modular KM 100 system, which continues to be part of the Neumann product range. The mechanical construction was simplified, for example, capsule and output stage cannot be separated from each other. For this reason the "Series 180" is an economical alternative without giving up the electroacoustic features the users expect from Neumann microphones.
At first glance, the Neumann D-01
appears similar to analog microphones. However, immediately following
the capsule is an A/D converter developed by Neumann, which is
especially optimized for the signal conditions of the microphone
capsule. The signal generated by the capsule is immediately converted
into a digital signal, resulting in an internal 28-bit signal with a
dynamic range of more than 130 dB (A-weighted, including the microphone
capsule). By means of a field programmable gate array (FPGA),
the digital signal is then processed further in the microphone itself.
This means that parameters such as the polar pattern, pre-attenuation,
low-cut filter, gain and various switching functions can be set
digitally and controlled remotely. External components such as analog
preamplifiers and A/D converters are thus no longer required. For
identification purposes, the microphone transmits information such as
the name of the manufacturer, the model, the serial number and the
software version to the receiver. The microphone is equipped
with a 3-pin XLR connector. A bi-directional signal conforming to the
AES 42-2001 standard is transmitted, which contains the balanced digital
microphone output signal, the phantom power supply and a remote control
data stream. This data stream also includes a signal for synchronizing
the microphone with a master clock. DMI-2 Digital Microphone Interface Equipment
that supports the new AES 42-2001 standard can process the output
signal of the Solution-D microphone directly. Otherwise, the Neumann
DMI-2 Digital Microphone Interface must be used. This is a separate,
two-channel device which converts the AES 42-2001 data format of the
microphone into an AES/EBU signal. The DMI-2 is operated by
means of the Neumann Remote Control Software, which runs on a desktop or
laptop computer. The computer and the DMI-2 are connected via a USB
port and an interface converter (USB to RS 485). If a large number of
microphones is used, several DMI-2s can be cascaded, and each interface
can be addressed individually. In addition to a word clock input
and output, the DMI-2 also has an internal master word clock generator.
If no master word clock signal (e.g. from a mixing console) exists at
the input, the DMI-2 internal master is automatically used to
synchronize the two microphone channels and is connected to the word
clock output. External commands such as red light for “On Air” can be
controlled via a 9-pin user port. RCS Remote Control Software The
digital microphone is controlled via the Remote Control Software, a
component of the Solution-D system, which runs as an independent program
on desktop and laptop computers. All important parameters are
displayed on the screen and can be changed at any time. During
production, the sound engineer has complete control over the status and
parameters of all the microphones and can change settings quickly and
conveniently if necessary. The parameters displayed include the
polar pattern, pre-attenuation, low-cut filter, gain, various microphone
status indicators, command indicators, and mute and phase reverse
functions. It is also possible to monitor signal levels on the screen. Information
transmitted by the microphone, such as the name of the manufacturer,
the model and the serial number, is displayed and serves to identify the
microphone. In addition, it is possible to input additional
information, such as the name of the sound source. The parameters for
the complete microphone setup can of course be stored and retrieved as
desired.
At first glance, the Neumann D-01 appears similar to analog microphones. However, immediately following the capsule is an A/D converter developed by Neumann, which is especially optimized for the signal conditions of the microphone capsule. The signal generated by the capsule is immediately converted into a digital signal, resulting in an internal 28-bit signal with a dynamic range of more than 130 dB (A-weighted, including the microphone capsule).
By means of a field programmable gate array (FPGA), the digital signal is then processed further in the microphone itself. This means that parameters such as the polar pattern, pre-attenuation, low-cut filter, gain and various switching functions can be set digitally and controlled remotely. External components such as analog preamplifiers and A/D converters are thus no longer required.
For identification purposes, the microphone transmits information such as the name of the manufacturer, the model, the serial number and the software version to the receiver.
The microphone is equipped with a 3-pin XLR connector. A bi-directional signal conforming to the AES 42-2001 standard is transmitted, which contains the balanced digital microphone output signal, the phantom power supply and a remote control data stream. This data stream also includes a signal for synchronizing the microphone with a master clock.
DMI-2 Digital Microphone Interface
Equipment that supports the new AES 42-2001 standard can process the output signal of the Solution-D microphone directly. Otherwise, the Neumann DMI-2 Digital Microphone Interface must be used. This is a separate, two-channel device which converts the AES 42-2001 data format of the microphone into an AES/EBU signal.
The DMI-2 is operated by means of the Neumann Remote Control Software, which runs on a desktop or laptop computer. The computer and the DMI-2 are connected via a USB port and an interface converter (USB to RS 485). If a large number of microphones is used, several DMI-2s can be cascaded, and each interface can be addressed individually.
In addition to a word clock input and output, the DMI-2 also has an internal master word clock generator. If no master word clock signal (e.g. from a mixing console) exists at the input, the DMI-2 internal master is automatically used to synchronize the two microphone channels and is connected to the word clock output. External commands such as red light for “On Air” can be controlled via a 9-pin user port.
The TLM 103 is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget. By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear. The TLM 103 is available in satin nickel and matte black. Delivery includes an SG 1 metal swivel mount and a wooden jeweler's box. Applications Due to the universal cardioid pattern, straightforward handling, extremely low self-noise level, and finally, the price, the TLM 103 is predestined for all demanding applications from home recording to professional broadcasting and commercial recording studios. Polar pattern The TLM 103 is equipped with a large diaphragm capsule with cardioid pattern. By focusing on this pattern – used in most recording situations – the attenuation of unwanted rear sound has been optimized. Off-axis sounds are rendered naturally while isolation is increased. This also leads to a high feedback suppression when the microphone is used in live situations or where loudspeaker playback is a factor. Acoustic features The TLM 103 is addressed from the front, marked with the red Neumann logo on the microphone body. The K 103 large diaphragm capsule is based on the K 87, well known from the U 67 / U 87 microphones.The capsule has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost. The large wire mesh headgrille protects the capsule from plosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response and reproduces the finest details of music and speech without coloration. Electrical features With just 7 dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced basically noise-free. As it is capable of handling sound pressure levels up to 138 dB without distortion, the TLM 103 provides a dynamic range of 131 dB, according to DIN/IEC 651.The letters TLM stand for "transformerless microphone". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.
The Neumann TLM 103 is the ideal
large diaphragm microphone for all professional and semi-professional
applications requiring the utmost in sound quality on a limited budget. By
utilizing the tried and true transformerless circuit found in numerous
Neumann microphones, the TLM 103 features yet unattained low self-noise
and the highest sound pressure level transmission. The capsule, derived
from that used in the U 87, has a cardioid pattern, is acoustically
well-balanced and provides extraordinary attenuation of signals from the
rear. The TLM 103 is available in satin nickel and matte black.
Delivery includes an SG 1 metal swivel mount and a wooden jeweler's
box. Applications Due to the universal cardioid
pattern, straightforward handling, extremely low self-noise level, and
finally, the price, the TLM 103 is predestined for all demanding
applications from home recording to professional broadcasting and
commercial recording studios. Polar pattern The TLM
103 is equipped with a large diaphragm capsule with cardioid pattern. By
focusing on this pattern – used in most recording situations – the
attenuation of unwanted rear sound has been optimized. Off-axis sounds
are rendered naturally while isolation is increased. This also leads to a
high feedback suppression when the microphone is used in live
situations or where loudspeaker playback is a factor. Acoustic features The
TLM 103 is addressed from the front, marked with the red Neumann logo
on the microphone body. The K 103 large diaphragm capsule is based on
the K 87, well known from the U 67 / U 87 microphones.The capsule has a
flat frequency response up to about 5 kHz, and above that, a wide flat 4
dB presence boost. The large wire mesh headgrille protects the
capsule from plosive sounds and effectively prevents pop noises. These
characteristics are achieved without resorting to corrective resonance
effects. Therefore, the microphone maintains an excellent
impulse response and reproduces the finest details of music and speech
without coloration. Electrical features With just 7
dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced
that even the smallest signals are reproduced basically noise-free. As
it is capable of handling sound pressure levels up to 138 dB without
distortion, the TLM 103 provides a dynamic range of 131 dB, according to
DIN/IEC 651.The letters TLM stand for "transformerless microphone".
With TLM technology the usual output transformer is replaced by an
electronic circuit. As with traditional transformers, it ensures good
common mode rejection, and prevents RF interference that may influence
the balanced audio signal.
The TLM 103 is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget. By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear. The TLM 103 is available in satin nickel and matte black. Delivery includes an SG 1 metal swivel mount and a wooden jeweler's box. Applications Due to the universal cardioid pattern, straightforward handling, extremely low self-noise level, and finally, the price, the TLM 103 is predestined for all demanding applications from home recording to professional broadcasting and commercial recording studios. Polar pattern The TLM 103 is equipped with a large diaphragm capsule with cardioid pattern. By focusing on this pattern – used in most recording situations – the attenuation of unwanted rear sound has been optimized. Off-axis sounds are rendered naturally while isolation is increased. This also leads to a high feedback suppression when the microphone is used in live situations or where loudspeaker playback is a factor. Acoustic features The TLM 103 is addressed from the front, marked with the red Neumann logo on the microphone body. The K 103 large diaphragm capsule is based on the K 87, well known from the U 67 / U 87 microphones.The capsule has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost. The large wire mesh headgrille protects the capsule from plosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response and reproduces the finest details of music and speech without coloration. Electrical features With just 7 dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced basically noise-free. As it is capable of handling sound pressure levels up to 138 dB without distortion, the TLM 103 provides a dynamic range of 131 dB, according to DIN/IEC 651.The letters TLM stand for "transformerless microphone". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.
The Neumann TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range. Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked "R", the directional patterns can be controlled remotely with the N 48 R-2 power supply. There is no special cable necessary for this purpose. The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise. . . Applications The Neumann TLM 170R condenser microphone is a large diaphragm microphone with multiple polar patterns. Its sound has a very transparent characteristic, in contrast to some of our other microphones that have a distinct personality. Therefore, this microphone is used for many diverse applications in professional recording studios, in broadcasting, film and television, and for semiprofessional productions. The polar patterns can be selected either at the microphone itself, or controlled remotely through the special N 48 R-2 power supply. Acoustic features The microphone is addressed from the front, marked with the Neumann logo. The large diaphragm capsule inside the headgrille has a very smooth frequency response for all polar patterns over a wide acceptance angle. The curves are flat and parallel to the 0° frequency curve up to 10 kHz within an angle of ± 100°. As a result the TLM 170 R has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment, as more reflections arrive at the microphone from different directions. The acoustic information is not affected in its tonal quality when recorded by the microphone. This characteristic is achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response reproducing all transient phenomena of music and speech without any coloration. The capsule is elastically mounted to avoid any structure borne noise that could interfere with its operation. Polar patterns In addition to the usual directional polar patterns: omnidirectional, cardioid, and figure-8, we have added a hypercardioid and wide-angle cardioid characteristic. When compared to the standard cardioid pattern, the hypercardioid characteristic suppresses sound from the side more efficiently. The wide-angle polar pattern is especially useful to record large sound sources. Remote control The N 48 R-2 controls the polar pattern remotely by varying the phantom voltage. The range is ± 3 V of the nominal 48 V value. (According to DIN standard a range of ± 4 V is permissible.) The rotary switch on the microphone must be in the position R (= remote control). In this switch position the TLM 170 R microphone analyses the absolute value of the phantom power and selects the corresponding polar pattern. A standard 3-pin microphone cable is used, similar to the microphone's conventional operation. Cable lengths may be up to 300 m (1000 feet). Electrical features The letters TLM stand for "transformerless microphone". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference, that may influence the balanced audio signal.
The Neumann TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range. Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked "R", the directional patterns can be controlled remotely with the N 48 R-2 power supply. There is no special cable necessary for this purpose. The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise. . . Applications The Neumann TLM 170R condenser microphone is a large diaphragm microphone with multiple polar patterns. Its sound has a very transparent characteristic, in contrast to some of our other microphones that have a distinct personality. Therefore, this microphone is used for many diverse applications in professional recording studios, in broadcasting, film and television, and for semiprofessional productions. The polar patterns can be selected either at the microphone itself, or controlled remotely through the special N 48 R-2 power supply. Acoustic features The microphone is addressed from the front, marked with the Neumann logo. The large diaphragm capsule inside the headgrille has a very smooth frequency response for all polar patterns over a wide acceptance angle. The curves are flat and parallel to the 0° frequency curve up to 10 kHz within an angle of ± 100°. As a result the TLM 170 R has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment, as more reflections arrive at the microphone from different directions. The acoustic information is not affected in its tonal quality when recorded by the microphone. This characteristic is achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response reproducing all transient phenomena of music and speech without any coloration. The capsule is elastically mounted to avoid any structure borne noise that could interfere with its operation. Polar patterns In addition to the usual directional polar patterns: omnidirectional, cardioid, and figure-8, we have added a hypercardioid and wide-angle cardioid characteristic. When compared to the standard cardioid pattern, the hypercardioid characteristic suppresses sound from the side more efficiently. The wide-angle polar pattern is especially useful to record large sound sources. Remote control The N 48 R-2 controls the polar pattern remotely by varying the phantom voltage. The range is ± 3 V of the nominal 48 V value. (According to DIN standard a range of ± 4 V is permissible.) The rotary switch on the microphone must be in the position R (= remote control). In this switch position the TLM 170 R microphone analyses the absolute value of the phantom power and selects the corresponding polar pattern. A standard 3-pin microphone cable is used, similar to the microphone's conventional operation. Cable lengths may be up to 300 m (1000 feet). Electrical features The letters TLM stand for "transformerless microphone". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference, that may influence the balanced audio signal.
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