Neumann digital mics
QUIETLY MAKING A MARK
Neumann’s heritage in world-class microphone design technology has been integrated into its Digital Microphone series. Combining leading-edge A/D conversion with optimised synchronisation technology, Neumann digital mics offer electroacoustic and operational advantages, including lower self-noise, a wider dynamic range and very high immunity to electromagnetic interference. This is complemented by features that enable the control of standard microphone parameters and various integrated signal processing functions remotely.
An A/D converter receives the signal directly from the capsule, and is optimised for the specific signal and impedance parameters of the capsule. This ensures that the full quality of the microphone signal is captured, so that level matching and other processing steps can be carried out in the digital realm. A peak limiter function is also located at the signal source of the mic, enabling it to reproduce the highest sound quality possible by reducing transient peaks as the level reaches 0 dBFS, when distortion would normally be inevitable in analogue microphones. The result is that the signal generated by the capsule is converted directly into a digital signal with 24 bits and a dynamic range up to 130 dB, in the case of the D-01.
click for more Neumann Digital Mics record Mozart Requiem for Linn Records
Neumann K 133D and D-01 digital mics were used on the critically acclaimed recordings of Mozart’s Requiem Mass in D Minor by baroque ensemble The Dunedin Consort in Edinburgh’s Greyfriars Kirk for Linn Records. The Scottish Independent label is committed to releasing high fidelity recordings and tracks everything at 192kHz. Phillip Hobbs, chief producer at Linn Records comments:
“ I tried the K 133Ds about 18 months ago and was astonished by the
reach, clarity and sheer lack of noise,” he says. “They are perfect for a building like Greyfriars Kirk, where the reverb tail is about six
seconds. Their lack of noise means you can hear precisely when the sound stops and then hear right to the far end of the reverb tail.
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Simon Bishop on Neumann Digital for sound location recording Renowned sound location recording engineer Simon Bishop has discovered several
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“By dint of the signal between mic and recorder/mixer being digital, the cables will pick up no induced hums or buzzes from electrical equipment or cables around the set. This is a great advantage on a TV or Film shoot, where the HMI head cables in particular can make nasty buzzes on analogue mic cables.
Better yet, if you are rigging audience mics in a big arena for a gig or live show, and your cabling is to be routed next to lighting cables in the hung trusses,
digital mics are an absolute hit. I have done gigs with analogue mics where five out of eight audience mics have some amount of buzz or hum.”
The Pro Audio Report
advantages to digital microphones that may not be immediately obvious after employing a pair of Neumann’s KMR81D shotguns as his go-to boom mics for TV drama:
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