1928

The 'Neumann Bottle', the first ever mass produced condenser microphone. Diameter: 9 cm, height: 40 cm, weight: 3 kg. Telefunken, a subsidiary of AEG, took on the marketing rights to this Neumann microphone.

1928

The AM 31 was the successor to Neumann’s first disk cutting lathe AM 29, which was still belt driven. The AM 31’s innovative oil-damped direct drive ensured an extremely even rotation.

1930

The R 21 was a portable disk recorder for electronic news gathering. While stationary disk cutting lathes engraved the signal in heavy wax disks, the R 21 used gelatine foil as its recording medium.

1933

Early on, Neumann also developed measuring equipment such as this Level Recorder, which was able to draw frequency response curves on wax paper.

1934

Neumann’s first measurement microphone. Its tube amplifier was based on the U 47’s, but instead of a large diaphragm capsule it used a tiny high-precision condenser capsule on a long neck to avoid reflections from the microphone body.

1949

The first switchable pattern condenser microphone. It has been used in countless famous recordings. Maybe the most popular Neumann microphone – A Legend.

1949

The M 49 was the first studio microphone with a continuously variable directional pattern. It used the same large diaphragm capsule as the U 47 and ranks among the most sought-after tube microphones of all time.

1951

The M 50 was instrumental in developing the Decca tree recording technique. The open mesh headbasket houses a small diaphragm capsule flush mounted in a small sphere. Its unique acoustic properties are ideally suited to orchestral recordings.

1951

Neumann’s first small diaphragm studio microphone. The KM 53 was a pressure transducer with an ultra-thin metal diaphragm. Like all microphones of its time, it operated with tube electronics.

1953

The KM 54 was the cardioid counterpart to the omnidirectional small diaphragm microphone KM 53, introduced the previous year. The KM 54 featured an ultra-thin metal diaphragm and tube electronics.

1954

The MM 3 was a high-precision measurement microphone, much like its predecessor, the MM 2, but with updated tube electronics.

1954

Neumann’s first small diaphragm microphone with selectable directional patterns (omni, cardioid, figure-8). Due to its complexity on a small footprint the KM 56 ranked among the most expensive microphones of its era.

1955

Neumann’s first stereo microphone. With its two independently switchable small diaphragm systems (omni, cardioid, figure-8) the SM 2 allowed for all kinds of coincidental stereo recording techniques.

1957

The U 48 was a special variant of Neumann’s flagship studio microphone, the U 47. Instead of cardiod and omni patterns the U 48 offered cardioid and figure-8.

1957

The MM 5 was an update on Neumann’s previous measurement microphones MM 2 and MM 3 with lower noise electronics, but still tube-based. The MM 5 was to remain the last measurement microphone produced by Neumann.

1959

A special version of the omnidirectional small diaphragm microphone KM 53 for the broadcast industry. For increased RF-immunity the KM 253 was fitted with a new, larger plug.

1960

A special version of the cardioid small diaphragm microphone KM 54 for the broadcast industry. For increased RF-immunity the KM 254 was fitted with a different plug.

1960

A special version of Neumann’s flagship small diaphragm microphone KM 56 with switchable patterns (omni, cardioid, figure-8). As requested by the broadcast industry, the KM 256 was fitted with a different plug for increased RF-immunity.

1960

The U 67 tube microphone was the quintessential studio workhorse throughout the formative years of modern music. Today, more than ever, its inimitably smooth sound continues to be in high demand.

1960

An updated version of Neumann’s stereo microphone SM 2. Like its predecessor the SM 23 has two small diaphragm systems with selectable polar patterns. The upper system may be rotated to allow for XY, MS, and Blumlein stereo techniques.

1961

The M 269 c was a special version of the U 67 for the German broadcast industry, which insisted on the use of the AC 701 tube (instead of the EF 86 used in the U 67).

1962

Between 1963 and 1993 Neumann manufactured a great deal of mixing consoles for radio and film studios, television, theatres, concert halls and the recording industry.

1963

The KM 64 was the successor to Neumann’s KM 54 small diaphragm cardioid microphone. It still used an AC 701 tube circuit, but its capsule was a new design with a Mylar diaphragm.

1964

Neumann’s first large diaphragm stereo microphone SM 69 was still tube based. Polar patterns were selectable for each capsule individually via the power supply.

1964

The U 64 was a variant of the KM 64 small diaphragm microphone. Instead of the Telefunken AC 701, which was not as easily available in non-European countries, the U 64 used a tiny nuvistor tube.

1964

A long neck stage microphone for speeches and presentations. The SRM 64 consisted of a cardioid condenser capsule and a tube amplifier, hidden in the lower part of the stand tube.

1964

Neumann’s first solid state microphone. The KTM was a small diaphragm microphone using the same capsule as the KM 64. The KTM was soon replaced with the KM 74, which was almost identical except for a smaller body diameter.

1965

The KM 73 was an omnidirectional small diaphragm microphone with solid state electronics. It was powered via T-power, P48 phantom power had not yet been invented.

1966

The KM 74 the successor to the KTM, Neumann’s first transistorized microphone. It used the same cardioid capsule as the KM 64 and KM84, but the grounding scheme of its T-powered circuit necessitated a different capsule head design.

1966

The KM 75 was a cardioid microphone for short distances, e.g. in speech applications. Its capsule had a built-in low cut to compensate for the proximity effect. Like all KM 70 microphones, the KM 75 was T-powered.

1966

The KM 66 was a small diaphragm microphone with switchable patterns similar to the KM 56 but with two cardioid capsules with mylar diaphragms. The KM 66 was to remain Neumann’s last tube microphone design for almost 30 years.

1966

The KM 83 was the omnidirectional model of the KM 80 series, which introduced a technology, which, due to its many advantages, soon became the new standard: P48 phantom power.

1966

The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. Its even frequency response and consistent pickup pattern make it a sought-after microphone for all genres.

1966

The KM 85 was a cardioid microphone like the KM 84 but with a low cut built into the capsule to compensate for the proximity effect. The KM 85 was thus optimized for short distances as are typical in speech applications.

1966

Neumann’s first Lavalier microphone. Its solid state amplifier could be battery powered and used with wireless transmitters of the day, such as the Sennheiser SK 1007.

1966

The KM 76 was the solid state successor to the KM 66 small diaphragm tube microphone. The KM 76 offered switchable patterns (omni, cardioid, figure-8) and operated T-powered.

1967

The Neumann U 87 is probably the best-known and most frequently used studio microphone the world over. Its smooth and refined sound is as iconic as its elegant exterior design. The U 87 is the standard microphone for speech and vocals.

1967

Like the KM 76, the KM 86 was a transistorized successor to the KM 66 small diaphragm tube microphone. The KM 86, however, was developed for P48 phantom power, introduced a few years earlier by Neumann – and soon the world standard.

1968

The KMA (not to be confused with today’s KM A modular microphone system!) was an improved Lavalier microphone with an omnidirectional capsule and a detached amplifier. It ran on batteries or phantom power.

1968

Like the U 87, the U 77 was a solid state successor to Neumann’s classic tube microphone U 67. But instead of phantom power – which was not yet a studio standard – the U 77 operated on T-power.

1968

The KM 88 was a multipattern small diaphragm microphone (omni, cardioid, figure-8) with FET electronics, similar to the KM 86. However, it used the same nickel capsules previously found in the KM 56 tube microphone.

1969

With the beginning of the new decade, Neumann’s large diaphragm stereo microphone SM 69, too, was converted to solid state electronics. Nonetheless it still required a dedicated power supply due to its remote pattern control.

1970

Neumann’s first handheld vocal microphone had an unusual shape, but it proved that clever engineering could render condenser microphones stage-ready.

1971

The successor to the SRM 64 long neck stage microphone. Instead of a tube amplifier the SRM 84 had a solid state circuit hidden in the lower part of the stand tube.

1971

By the early 70s Neumann’s tube microphone U 47 was legendary among seasoned engineers, and many wished for a direct solid state successor. The U 47 fet never quite filled those giant footprints, but was eventually (re)discovered as a classic in its own right.

1972

In the early 70s people began to think beyond stereo. Neumann’s first dummy head microphone KU 80 was able to capture a realistic, three-dimensional sound image for headphone playback.

1973

In the mid-70s quadraphonic sound became popular among hi-fi enthusiasts. The Neumann QM 69 was a variant of the SM 69 fet with four separate outputs for each half of the two dual diaphragm capsules.

1974

A microphone specially made for the French broadcasting network ORTF. The U 497 featured a K47 capsule and a sophisticated solid state circuit, similar to that of the U 47 fet, but adapted to French radio’s 12V-powering system.

1975

Neumann’s second attempt at a stage microphone looked considerably more handsome than the KMS 85 introduced a few years earlier. The KMS 84 used the same capsule as the KM 84 in a newly designed headbasket with excellent pop protection.

1977

Neumann’s first shotgun microphone was designed with great attention to an even off-axis response to minimize unwanted sound coloration. The KMR 82 i is still in production!

1978

Disc cutting lathe for vinyl. For many decades, Neumann was the world market leader for record cutting machines.

1978

The USM 69 i is an updated version of Neumann’s large diaphragm stereo microphone SM 69 fet. Thanks to its integrated pattern controls the USM 69 i does not require a dedicated power supply anymore but can be run off phantom power.

1979

Designed as a successor to the U 87, the U 89 was eventually recognized as a classic Neumann microphone in ist own right. The U 89 sports an all-new dual diaphragm capsule with a consistently linear sound in five pickup patterns.

1980

Direct Metal Mastering (DMM) disk cutter with SX 82 disk writer and SAL82 writer drive logic.

1981

A miniature microphone with a detached amplifier. Its visually unobtrusive cardioid capsule had a diameter of only 17 mm. The KMF 4 i could operate on phantom power or batteries.

1982

While older dummy head microphones created a stunningly realistic sound image when played back over headphones, loudspeaker playback was unsatisfactory. The KU 81 cured this with capsules equalized for the diffuse-field.

1982

A short shotgun microphone, primarily designed for film dialogue. Like its longer sibling, the KMR 82 i, the KMR 81 i is still in production!

1983

With the TLM 170 Neumann brought the first transformerless microphone onto the market. The absence of transformers makes the sound more transparent and open.

1983

Compared to the U 87 i, the U 87 Ai has minor changes in the electronics: higher operating safety, increased transmission factor, improved S/N ratio, omitted internal battery supply.

1986

A stereo shotgun microphone with external matrix box. The RSM 190 i was a mid/side microphone with the shotgun part delivering the M-component and a second figure-8 capsule system, angled 90 degrees, providing the S-component.

1987

The KM 130 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 130 combines the KM 100 output stage with the diffuse-field equalized omni capsule AK 30.

1988

The KM 131 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 131 combines the KM 100 output stage with the free-field equalized omni capsule AK 31.

1988

The KM 140 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 140 combines the KM 100 output stage with the cardioid capsule AK 40.

1988

The KM 143 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 143 combines the KM 100 output stage with the wide cardioid capsule AK 43.

1988

The KM 145 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 145 combines the KM 100 output stage with the cardioid capsule AK 45, whose built-in low cut compensates the proximity effect.

1988

The KM 150 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 150 combines the KM 100 output stage with the hypercardioid capsule AK 50.

1988

Slightly modified version of the RSM 190. The matrix box got smaller additional features.

1988

Neumann’s first and only boundary layer microphone. The GFM 132 was designed using computer simulations: The unique shape of the base plate avoids comb filter effects.

1990

The TLM 50 revived the unique capsule technology of the classic Neumann M 50 of the 1950s and combined it with a cutting edge transformerless head amplifier for lowest noise and distortion.

1990

A handheld condenser microphone for pristine vocals on stage. The KMS 140 (cardioid) was the precursor to today’s very successful KMS 104.

1991

A handheld condenser microphone for pristine vocals on stage. The KMS 150 (hypercardioid) was the precursor to today’s very successful KMS 105.

1991

The spherical surface microphone KFM 100 had two omni capsules flush mounted in a sphere. It worked similar to a dummy head stereo microphone, but was optimized for loudspeaker playback. Although technically excellent, it never caught on.

1992

The new and improved dummy head microphone KU 100 offers a truely immersive sound experience for music and audio drama productions. It is also used for industrial applications.

1992

By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. The N7000 had comprehensive computer automation while the signal path remained analog.

1992

By the time the N7000 series was introduced, Neumann had already built mixing consoles for almost 30 years. The N7000 had comprehensive computer automation while the signal path remained analog.

1993

Ten years after its initial release the TLM 170 was updated with Neumann’s new remote switching technology. In the ‚R’ setting the directional pattern may be controlled from the PSU with no special multipin cables required.

1993

By focusing on the essential features that are important for most home recording users, Neumann was able to offer the TLM 193, a cardioid microphone for smaller budgets in this increasingly larger area.

1993

A reference class small diaphragm microphone with a consistent cardioid pattern, independent of frequency. The KM 184 is the successor to the classic KM 84 and can handle much higher SPLs, thanks to its transformerless output stage.

1994

A stereo shotgun microphone for broadcast, film, and on-location applications. Like its predecessor the RSM 191 A operates in mid/side technique; the corresponding new MTX 191 A matrix box offered significantly enhanced features.

1994

Neumann’s first tube microphone after an almost 30-year-hiatus. The M 149 received a TEC Award for its innovative combination of a (surprisingly low noise) tube circuit with a state-of-the-art transformerless output stage.

1995

The KM 120 was part of the KM 100 series, Neumann’s first modular small diaphragm microphone system. The KM 120 combines the KM 100 output stage with the figure-8 capsule AK 20.

1997

Conceived as an affordable alternative to the venerable U 87, the TLM 103 has since become a modern studio standard. With a self-noise of only 7 dB-A the TLM 103 is one of the quietest microphones available.

1997

The M 147 Tube brings back the classic sound of Neumann’s famous tube microphones of the 1950s. It uses the same capsule as the legendary U 47 combined with an innovative transformerless tube circuit.

1998

Neumann was the first microphone manufacturer to receive the prestigious Technical Grammy Award of the National Academy of Recording Arts & Sciences in 1999.

1999

The KMS 105 is a studio grade vocal microphone with all the virtues of a rugged stage microphone: excellent pop protection, low handling noise, enormous SPL capability, and high feedback resistance, thanks to its tight supercardioid pattern.

1999

A reference class small diaphragm microphone with a consistent hypercardioid pattern, independent of frequency. Its high directivity makes the KM 185 an excellent problem solver for demanding applications such as drum recording.

1999

A reference class small diaphragm microphone with a consistent omni pattern, independent of frequency. The KM 183 is the successor to the classic KM 83 and can handle much higher SPLs, thanks to its transformerless output stage.

1999

A unique omnidirectional tube microphone, based on the legendary Neumann M 50 of the 1950s. Its titanium capsule is flush mounted in a small sphere to increase directivity at higher frequencies – ideal for DECCA Tree techniques.

2000

Neumann sound on stage – wireless! The capsule head KK 105 S uses a precision manufactured true condenser supercardioid capsule and is specially designed for Sennheiser SKM 5000/5200 handheld transmitters.

2002

The state of the art broadcast microphone from Neumann, made to convey emotion with perfection. Its functionally optimized design features an integrated pop screen and a shock protected large diaphragm condenser capsule.

2003

A new milestone: The D-01 digital microphone is the flagship of Neumann’s Solution D technology ensuring unprecedented fidelity and an enormous dynamic range of 130 dB. All functions may be remote controlled via the AES 42 interface.

2003

Designed as the bigger brother of the popular TLM 103, the TLM 127 offered additional functions such as pad and low cut and even remote controllable patterns using the patented technology Neumann had introduced ten years earlier with the TLM 170 R.

2003

Neumann sound on stage – wireless! The capsule head KK 104 S uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 5000/5200 handheld transmitters.

2004

An affordable broadcast microphone from Neumann, made to convey emotion with perfection. Its functionally optimized design features an elastic suspension. Neumann’s first microphone with a dynamic capsule.

2005

The KMS 104 is a studio grade vocal microphone with all the virtues of a rugged stage microphone: excellent pop protection, low handling noise, enormous SPL capability, and high feedback resistance, thanks to its tight cardioid pattern.

2006

The sound of Neumann’s vintage classics, recreated with trouble free FET circuitry. The TLM 49 uses the same capsule and the same iconic headgrille design as the legendary M 49. Like a tube microphone, the TLM 49 produces soft saturation at higher SPLs.

2006

The System KM A/D is a modular microphone system for even the most demanding applications. Eight different small diaphragm capsules (KK 120 … KK 185) may be combined with either an analog output stage (KM A) or a digital AES 42 output stage (KM D).

2006

For its 40th anniversary the U 87 was offered as a special set in a unique retro style case. The microphone, its shock mount, and the exclusive 60s style pop shield featured an attractive combination of polished and matte nickel surfaces.

2007

The digital version of Neumann’s acclaimed TLM 103 large diaphragm condenser microphone. The TLM 103 D uses Neumann’s Solution D converter technology ensuring highest fidelity with an enormous dynamic range of 130 dB.

2008

Inspired by Neumann’s classic tube microphone U 67, the TLM 67 produces a similar sound with trouble free FET circuity. Like its predecessor, the TLM 67 is a workhorse with three polar patterns while its circuit produces tube-like saturation at high SPLs.

2008

The KMS 104 plus is a special version of the popular KMS 104 cardioid stage microphone. A slight boost in the low frequencies gives the plus version more “warmth” and “weight”. The KMS 104 plus is particularly popular among female singers.

2009

Big sound for small studios: The TLM 102 is Neumann’s most affordable large diaphragm condenser microphone to date. Nonetheless it offers true Neumann quality, made in Germany.

2009

Starting with the KH 120 in 2010, Neumann offers his expertise in electro-acoustic transducer technologies to the studio monitoring market, and is now the perfect partner for both the front end and the back end of the audio signal path.

2010

The KMR 81 D is the digital version of Neumann’s shotgun microphone KMR 81 i for film dialog and broadcast applications with highest fidelity, thanks to Neumann’s Solution D technology. The KMR 81 D complies to the AES 42 standard for digital microphones.

2010

The KMS 104 D is the digital version of Neumann’s cardioid stage microphone KMS 104. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound.

2010

The KMS 105 D is the digital version of Neumann’s supercardioid stage microphone KMS 105. Neumann’s Solution D technology ensures highest fidelity for a pristine studio grade vocal sound.

2010

The KH 810 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. Thanks to the latest amplifier and acoustical components, the KH 810 achieves distortion-free bass extension down to 18 Hz.

2011

The KH 870 is a subwoofer with a High Precision Bass Manager™ for stereo and surround setups up to 7.1. It offers the same precision as the KH 810 but with additional power for distortion-free bass reproduction even at highest SPLs.

2011

Neumann sound on stage – wireless! The capsule head KK 204 uses a precision manufactured true condenser cardioid capsule and is specially designed for Sennheiser SKM 2000/6000/9000 handheld transmitters and EW G4 300/500 wireless systems.

2012

A high-resolution tri-amplified near-field monitor for editing, mixing, and mastering with confidence and precision. The KH 310 A offers the fastest transient response in its class, outstanding midrange detail, and a pleasantly dry low frequency reproduction.

2013

The new studio workhorse. The TLM 107 is a state-of-the-art large diaphragm microphone with high-definition sound in five directional patterns. Variable pad and low cut settings and an enormous dynamic range make it adaptable to any application.

2014

A powerful tri-amplified midfield monitor for demanding engineers. The KH 410 combines enormous SPL capability with a low frequency reproduction that extends down to 26 Hz.

2014

The digital Version of Neumann’s acclaimed KH 120 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs.

2014

The digital Version of Neumann’s high-resolution tri-amplified KH 310 near-field monitors with AES3 and S/PDIF connectivity in addition to analog inputs.

2014

Introduced as a successor to the legendary U 47 tube microphone, the U 47 fet became a Neumann classic in its own right. Its smooth yet defined character shaped the sound of the 70s. Since 2014 it is available again.

2014

A budget friendly stereo version of the reknowned KH 810 subwoofer. The KH 805 offers low frequency extension down to 18 Hz and features a bypassable 2.1/0.1 bass manager which enables it to be used in many different applications.

2015

Neumanns first DSP-controlled studio monitor. Despite its small size, the KH 80 DSP achieves reference class sound. Its DSP engine allows for FIR phase correction as well as a room alignment using the Neumann.Control App.

2017

Neumann celebrates the anniversary of this studio legend with the U 87 Rhodium Edition – a spectacular creation that gives the U 87 an extra special look to celebrate its timeless achievement.

2017

The tube microphone that defined the sound of the 1960s. The original is back!

2018

Compact DSP-controlled closed cabinet subwoofer. It is the ideal choice for smaller rooms and smaller studio monitors, such as the KH 80 DSP.

2019

The first Neumann Headphone – A premium quality closed-back studio headphone for monitoring, editing, and mixing.

2019