Anyone using this Mic? if so opinions please?

http://www.neumann.com/?lang=en&id=current_microphones&cid=kms105_description

Norah Jones, Jamie Cullum, just about everyone I have seen on TV recently...

If I wasn't playing close to the beach, I'd get one in a flash! (Corrosion)

The best 'air' I have ever heard on a handheld....

Diki, come on!!!
Your $2,500 G70 can take it...why not a $500 mic...???

I've only heard great things also......
I will be trying one soon for sure....

Hi Donny,

I've had one for about 3 years and I love it. I've used an SM58 for close to 40 years and I can sound good on one, but the Neumann takes it to another level. It brings out all the nuances, ect. I wouldn't part with mine. And I've seen Johnny Mathis and Tony Bennett use one in person. Those are pretty good endorsements.

Ciao,

Joe

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Songman55
Joe Ayala

[This message has been edited by Songman55 (edited 08-17-2007).]

My $3500 G70 takes it because it has to... (got mine when they first came out, Fran).

Outside, all that extra 'air' gets lost in wind noise, anyway. But my EV N/D767a does pretty well, under the circumstances.

Joe, Diki, As singer I prefer the EV ND767a also for my needs now also its a Great Mic! vs the Sm58, Senn855 Ive previously gigged with thru the years....
But Im always inquisitive on auditioning others.....thanx for the reply.

$500? where? I'm seeing km104 online for $649

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Miami Mo

Mo and Diki, I usually quote prices that I can get the items..

As a previous MI[musical instrument] dealer I still can purchase at dealer cost most of the time..

The G70 and KMS104 prices I mentioned are obtainable..if you shop around or make a deal..

Fran, the G70 price was what was pretty much the going rate (list was $4500) when the G70 was launched. At the time, it was marketed exclusively through Roland's CK division, with their regional exclusivity and high markups. This even was George Kaye's street price at the time...

Since then, the G70 (but NOT the E-series) has been transfered to the MI division, with it's much steeper price discounts and bottom-line dealers. Which is where the price cuts you see today come from.

Coming late to the party sometimes has it's benefits...

Donny,
The mic need phantom power - one reason I sold mine a few weeks back to get my new guitar. It's better than the 767, but not quite AS better as the price difference. If it was a $300 mic, I would have kept it, or if I plugged direct to a great sound board, maybe then too ... but using the on board mic input of the psr3k ..... there was not enough difference for me !

Thanx Dave ......
I hear ya............I should of figured you used one already

let do breakfast real soon

Warning... Mini-hijack!

Dave, I'm interested in whether anyone has done any decent comparison test between the mic pre's in the arrangers, and what is in a modest mixer (Mackie VLZ, etc.).

I am pretty sure I can here quite a difference between my G70's pre's and most other gear I use (Mackie VLZ, Mackie Onyx, Yamaha EMC series, API and SSL in the studio), but have never seen a posted test.

I am almost convinced to buy a dedicated pre (maybe Joe Meek Voice Channel, with EQ and Comp) and use the line ins for the mic (if I ever get around to using the Harmonizer much - got a singer with me at the moment).

What do you think?

And now, back to our regular scheduled programming....

Wow ......... with all the additions, and modifications we seem to want - we're getting away from the plug and play EASE of the arranger with builtin mic jacks. I hate the way this Yamaha sounds compared to my dedicated mixer, but my crowd can't tell the difference. It's minimal, but I no longer feel the need to nit-pick over stuff that will not change the show.
This may sound like I've sold out, but I don't feel that way. Rather, I feel that I am embracing the technology at hand, and pairing it with a sensible usage of time and space. ( both integral parts of MY act ! )

I am setting up a dream-room to practice in at home. Maybe I'll have some friends over to record or perform for a small group of friends, but it's mostly a playroom for me. When I'm on the job - playtime is over, and it's all about business. Luckily, my business brings me great joy and it "appears" that I am just playing ..... at least to the untrained eye/ear !

What was your question again? Something about preamps, oh yeah ..... one more thing to plug in, attach, and stack. No thanx ...... until I get some roadies, or set up for a month at a time ... it's one trip in, and a ten minute setup.

One more quick point ...... I know the psr series is not very expensive, so this is expected, but the overall cleanliness of sound from the output jacks is only so-so at best. A better mic preamp still sends it through the rest of the very average sound circuitry. ( sp? )

If you want the best mic sound ... you have to route it direct to a better quality mixer. The easier way is to live with the convienience of the simple setup.

If your mixer has inserts, you can always patch in at the insert, and send line level to the harmonizer, I guess...

Only one extra cord, that way...

if one were going to decide on the neumann, which one? the cardioid 104 or supercardiod 105? same price..what are plusses/minuses?

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Miami Mo

It depends on where you place your monitors... Cardiods are best at rejecting monitor feedback when the monitor is directly in front of the microphone, supercardiods are better at rejecting feedback when monitors are more to the side (as most keyboard players have them)...

The frequency plots show a slightly more aggressive upper mid peak in the 105, but I'd be prepared to say both would probably blow away anything you've heard to this point in a handheld.

I think matching the type to the monitor placement is probably the most important consideration...

See, that's what I thought too ... but the truth IS - it doesn't BLOW them away. It's a "little" better ... just not enought to get me excited. Try it out first .... see if you agree !