Neumann KMS 105
our rating
4.9
(out of 5)
Specs
- Frequency Response – 20 Hz to 20 kHz
- Polar Patterns – Supercardioid
- Sensitivity – 4.5 mV/Pa
- Self-noise – 18 dB(A)
- Max SPL– 150 dB
- Impedance – 50 ohms
- Weight – 300 g
- Attenuation Pad – none
- Onboard Filter – Always-on high-pass filter, attenuates frequencies below 120 Hz to manage low-frequency noise and proximity effect; Always-on proximity effect compensating EQ
Pros
- Fantastic natural, warm sound
- Durable Build
- Excellent Feedback Rejection
- Versatility: Works well with live vocals, acoustic instruments, amplifiers, and spoken word applications.
- Low Handling Noise
Cons
- Pricey
- Not ideal for general-purpose applications or capturing ambient sound.
- Requires Phantom Power
Bottom Line:
A gem for live vocals. Hard not to love.
Check Price:
Introducing the Neumann KMS 105
The Neumann KMS 105, first introduced in 1999, is a handheld condenser microphone designed specifically for live vocal applications. The KMS 105 is Neumann’s attempt to bring studio-quality sound to the stage.
Handheld condensers are a specialist breed. They offer the precision and clarity of a condenser capsule in a durable design suited for live use. We got our hands on this mic to check if it does what it says it does and see how it holds up to the competition.
Who is this mic for?
The Neumann KMS 105 is designed for vocalists and performers who require studio-quality sound and precise off-axis rejection in live performance settings.
Recommended Applications
The Neumann KMS 105 is recommended for the following applications:
- Live Vocals
- Podcasting, Broadcasting, Voice-over, Streaming
- Close-miked acoustic stringed instruments
- Guitar amps
- Bass amps
Alternatives to the Neumann KMS 105
An excellent mic for live vocals with the feel and low-handling noise of a dynamic mic and all the benefits of a large-diaphragm condenser.
Check Price:
Beyerdyamic M88
One of the best handheld dynamic mics out there. With quick transients, detail, and thicker lower-mids, the result is silky and full.
Check Price:
An elite dynamic mic for live vocals. Its huge diaphragm and high output bring vocals to the front and center of any mix.
Check Price:
Who is this mic NOT for?
The Neumann KMS 105 is not ideal for applications requiring multiple polar pattern options, as it has a fixed supercardioid pattern.
Additionally, this microphone may not be the best choice for budget-conscious users or those seeking a general-purpose mic for instruments or non-vocal sources, as it is specifically tailored for vocal performance.
Check out our gear category page for more on vocal microphones and other audio gear.
What’s in the box?
The Neumann KMS 105 box arrived with the following:
- Neumann KMS 105 Microphone
- SG 105 Stand Clamp: A microphone clamp compatible with standard microphone stands
- Padded Nylon Bag.
Build / Design
The KMS 105 has an all-metal 300 gram body that has a nice heft in the hand. The grille consists of multiple layers of metal mesh that protect its K50 condenser capsule. The double mesh reduces plosives nicely and gives the mic a tank-like construction.
The mic’s capsule has an 18mm diaphragm and is based on the capsule of its predecessor, the KMS 105. The circuit of the KMS 105 is transformerless (hence, the red Neumann logo).
Of course, being a condenser mic, the KMS 105 requires phantom power to operate. The internal shock mount for the capsule further aids in reducing mechanical vibrations and handling noise. In fact, in our tests, handling noise was never an issue. The grille can easily be unscrewed for cleaning.
Built-in Filters: Specialized for Live Vocals
The Neumann KMS 105 features a built-in high-pass filter that is always active and cannot be switched off. The switch cuts -3dB below 120 Hz, minimizing handling rumble and stage vibrations.
In addition, the KMS 105 is further specialized for live vocals, employing a fixed internal EQ that subtly compensates for proximity effect (increase in bass frequencies that occurs when a mic is close to the sound source).
You can hear in our spoken word test below, there is very little proximity effect with this mic. The EQ compensation is also always on and does a nice job of balancing a natural sound, even when you are very close to the microphone.
Polar Pattern
The fixed supercardioid pattern, with a tighter pickup area than standard cardioid mics, provides more off-axis rejection and minimizes feedback from stage monitors.
In our tests, we found that the KMS 105 remains consistent across its entire 20 Hz – 20 kHz frequency range, and rear rejection effectively isolates the primary sound source in live environments.
Sensitivity, Maximum SPL, and Self-Noise
The microphone has a relatively low sensitivity of 4.5 mV/Pa for a condenser, which again makes it a specialist mic for live vocals. Its maximum sound pressure level (SPL) of 150 dB makes it nearly as good with loud performances as a dynamic mic.
The microphone operates at a self-noise level of 18 dB(A), which is low enough to avoid introducing noticeable hiss or background noise in live environments.
Neumann KMS 105 Tests – Audio Clips
We used a Universal Audio Apollo Solo Interface recorded with Logic Pro X. There is no EQ or compression applied to any of the audio clips here. We adjusted the gain from the audio interface to taste. As a reminder, we test everything on this site ourselves.
We include the results from spoken word tests, sung vocals, and acoustic instruments here as they reveal the subtleties of the mics most clearly. The guitar is a Martin steel-string acoustic (SP000-16TR)
We acknowledge that there is not one way to use a microphone. Mic placement, how you play or sing, not to mention EQ, compression, Impedance, and preamp settings can all have dramatic effects on the final result.
Spoken Vocals Tests
Neumann KMS 105
Sung Vocals Test
Neumann KMS 105
Acoustic Guitar Test
Neumann KMS 105
Conclusions about the sound: Neumann KMS 105
After testing, I’m a big fan of this mic. For live vocals, it’s a gem. But also, the KMS 105 offers more versatility than its reputation might suggest.
Despite its tailored features for stage use—built-in proximity effect compensation, always-on high-pass filter, handheld design, and supercardioid polar pattern—this microphone proved capable in our tests in other areas beyond live vocal performances.
We loved it with acoustic guitar close-miking. For loud guitar and bass amps, the KMS 105’s 150 max SPL means it can handle these sources with ease. And, there’s no reason this can’t work as a luxurious hi-hat/tom/snare mic.
Performance on Stage and in the Studio
You can hear in the tests below that the KMS 105 is optimized for close-miking. It delivers a consistent and balanced frequency response when used at close range (around 2 inches from the sound source).
Its sensitivity is lower than typical condenser microphones, aligning it more closely with the range often associated with ribbon microphones. Despite this low output, its performance in capturing detail is outstanding.
The microphone’s largely neutral frequency response, combined with its ability to handle high sound pressure levels, makes it totally workable for studio use. It is well-suited to close-miking vocals, acoustic instruments, or amplifiers. In fact, this is one of our favorite mics for recording vocals due to its versatility on the stage and in the studio.
Vocal Clarity and Spoken Word Applications
The microphone has a gentle brightness in the high frequencies, peaking around 12 kHz, which gives clarity and presence to vocals without sibilance.
With a neutral response, it’s not going to overly color your sound. For this reason, it suits a broad range of vocal styles.
These qualities also make it a strong contender for spoken word applications, where intelligibility and a clean sound are key. The integrated pop filter further enhances performance by reducing plosives.
Noise Rejection
As you can hear in our tests, the microphone’s tight and well-defined polar response ensures that sensitivity falls away rapidly with increasing distance from the sound source.
The sweet spot is large enough that a singer can use it without discoloration at a 45 degree angle. You can hear in our spoken word test below that the rear rejection is fantastic. (You can barely hear me say ‘I’m speaking from the rear of the mic’.)
Proximity Effect
The microphone’s design accounts for the bass boost caused by proximity effect during close-miking. At close distances, the frequency response remains largely flat, ensuring a balanced output without excessive low-end buildup.
As the distance increases, the proximity effect naturally diminishes, with the bass frequencies rolling off smoothly below 200 Hz.
Neumann KMS 105 Frequency Response Diagram
Final Thoughts: Is the Neumann KMS 105 Worth It?
As you might expect from Neumann, this is a fantastic mic. Our tests revealed a handheld condenser with a natural, detailed sound, low handling noise, and very little proximity effect, along with minimal issues with clipping or sibilance.
You wouldn’t want to use this for capturing ambient rooms or ensembles, but it also proves to be a versatile studio mic for close-miked applications (especially vocals).
Although the price is high, in this case, you’re getting what you pay for. Good alternatives for live vocals would be the Beyerdynamic M88 and Heil Sound PR35 (see our full review of the PR35) or Shure Nexadyne (full review) for dynamic mic options, or the Sennheiser e965 for a handheld condenser alternative.
I would choose the KMS 105 over the Sennheiser e965 due to its natural, yet warm sound quality. The e965 is also a great mic handheld condenser for the stage, but it provides more colored, silkier results.
I’m reluctant to send the KMS 105 back after reviewing. It’s difficult not to love.
Neumann KMS 105
Check Price:
Questions or Comments?
Join the discussion here on Facebook.
FAQ
Is the KMS 105 suitable for all vocal types?
The KMS 105 has a transparent sound with a neutral response and a slight presence boost. This makes it suitable for many vocal types. It enhances clarity and presence while avoiding overemphasis on sibilance. Its natural, uncolored sound ensures accurate and clear vocal reproduction.
What’s the difference between the Neumann KMS 104 and KMS 105?
The KMS 104 and KMS 105 are nearly identical microphones, with the main difference being their polar patterns. The KMS 104 has a cardioid pattern that captures sound from the front with a wider pickup area.
The KMS 105, on the other hand, uses a supercardioid pattern, which provides a narrower pickup area and better feedback rejection, making it ideal for louder or more demanding stage settings.
How does the KMS 105 compare to dynamic microphones like the Shure SM58?
The KMS 105, a condenser microphone, offers better clarity and transient response compared to dynamic microphones like the Shure SM58. However, it is more sensitive to handling noise and requires phantom power, which dynamic microphones do not need.
How Do large-diaphragm condenser Microphones Work?
At the heart of a condenser mic is a capsule containing an extremely thin metal diaphragm attached to a solid metal backplate. This pairing is known as a ‘capacitor’. (Brits often call condenser mics ‘capacitor mics’)
As sound waves hit the capsule, the diaphragm moves slightly in relation to the backplate. This shift is measured and transformed into an electrical signal. To capture this movement accurately, condenser mics require an electrostatic charge, which comes from a power source.
The overall tone of a condenser mic is shaped by its capsule and internal circuit. While the capsule is the primary factor influencing sound, the circuit adds harmonic coloration.
The diaphragm size affects its response to various frequencies; large-diaphragm condensers, with enhanced mids and lows, are typically favored for vocals, drum overheads, and guitar amps. They also tend to have lower self-noise than their small-diaphragm counterparts.
For a deeper dive on how large-diaphragm condenser microphones work, see our guide 3 Types of Microphones and How They Work.
