Review: Neumann KMS 104 Plus

The Neumann KMS 104 Plus is a variant of the standard KMS 104 handheld condenser vocal mic that’s been tweaked specifically for female vocalists.
I wondered what that would mean. Thinking of female vocals generally, more fullness and less harshness would certainly be on my wish list for a mic dedicated to this role. Designed around a small diaphragm condenser capsule, the standard KMS 104 is an excellent vocal mic that offers big low-mids, a smooth midrange with no presence peak and a slightly hyped high-end for shiny intelligibility. It works nicely on both male and female vocals and has become a popular choice for singers who carry their own mic. From the frequency response plots the new KMS 104 Plus is identical above 500Hz to the standard 104 but the free-field response sees the lows roll off from around 150Hz rather than 200Hz. The near-field response sees an increase in low frequencies rising more steeply from around 500Hz to a peak of +12dB at 100Hz compared to +9dB for the standard KMS 104. It’s these modifications that Neumann has deemed more suitable for female vocalists – more low-mids and more bass… I was intrigued.
NEUMANN JAMBOREE
Out of the folding, padded carry case the KMS 104 Plus looks and feels like it should. The size, weight and balance are just right, it’s not too big or too heavy and it sits comfortably in the hand. The design is not flashy but the tactile red Neumann logo provides the necessary credentials. It’s available in black or silver and the black model is, well, very black.
Keen to try it live I took it to the Guildford Banjo Jamboree, one of my favourite annual events, for two days of whispered ballads and foot-stomping belters. Stop laughing! They may be hillbillies but they have high standards for sound – transparency is everything. There are no effects, no DIs, and if there was any feedback I’d be shot.
I first heard the KMS 104 Plus through the foldback during sound check and being a Neumann with a high retail price I had similarly high expectations. I knew the mic offered lows above the response of the original 104 – that was the whole point of the ‘Plus’ mod after all – but I was still a little surprised to find it uncomfortably boomy up close and threatening to become unstable around 400 – 500Hz up loud. It was also picking up the whole stage sound; if someone was tuning up, or speaking anywhere on the stage they were clearly audible through the foldback speakers. Nice clear mids and top-end, though… so I rolled off some lows to stop the booming, found the right level, and the show began. And when the ladies started singing it was a beautiful thing. The full low-mids, uncoloured midrange and airy top end delivered vocals that didn’t cut through the mix so much as sit on top of it. Easy level, clear diction and a lack of harshness led to less fader riding when the vocal delivery changed from soft, breathy verse to louder, strident chorus.
As the shows progressed and I heard different voices through the 104 Plus I became more aware of its distinctive sound; a rich and engaging tone, the sort of sound you’re happy to push higher in the mix. It’s a genuine pleasure to use on soft to medium-level female vocals.
BEYOND THE VOICE
Handheld condensers can also make good acoustic instrument mics and for the acts with male vocals I tried the KMS 104 Plus on guitars, banjos and mandolins. The results were fantastic: terrific transient response for jangly strings and an accurate midrange for the body of the notes. As with the vocals, some low cut was required on these instruments, particularly on the several acoustic guitars that were positioned close to the mic (a common problem) but the results were always good. Special mention must also to go to the Neumann’s ability as a violin mic – just beautiful – and if ever an instrument needed more low-mids and less presence peak it would have to be a bluegrass fiddle. That sounded great too.
I tried it out next at the annual Newstead Chopped Custom Car show. Two days of hot rods and bands with a reasonable outdoor PA. On a stage amongst several other high-quality dynamic and condenser vocal mics, the KMS 104 Plus still sounded a little live and loose in the foldback, but with the right amount of low-cut and a steady hand on the level, it fitted in well. I had up to five different vocal mics on stage and while the Neumann didn’t have the tightest pickup pattern of the bunch it was the least harsh and had the best high end.






NEED TO KNOW






PRICE
$1249



CONTACT
Syntec International
1800 648 628
sales@syntec.com.au
www.syntec.com.au



PROS

Excellent for female vocals
Distinctive, rich sound
Balanced feel
Superb build quality – roadworthy



CONS

Prominent plosives
Can draw in too much stage ambience



SUMMARY
Designing a KMS 104 with a fuller EQ for female vocals is a smart move on Neumann’s part. Live or in the studio the 104 Plus sounds superb, offering richness and silky tops to a wide variety of female vocals and assorted stringed instruments. If you’re a female singer performing live or in the studio, this mic is a compelling option.



Abbie Cardwell and her Leading Men were there for the weekend; she was the first to sing through the Neumann and it was perfectly suited to her medium-level alt/country voice. The vocal sat easily above a tastefully played drum kit and band; the clear diction drawing the audience into the voice, and by the end of her performance the next day I was convinced she should buy one. The next band on stage had four female singers in a loud, harsh guitar, bass and drums combo, and their stage sound exposed a common problem when using condenser mics for loud rock: the pick-up pattern is wide and deep compared to tight dynamic mics and the amount of stage sound, particularly cymbals, getting into the mic can be overwhelming. The main female vocal could still be heard but there was a lot of the band in there with her and the enhancement I’d heard on other voices was diminished.
That set the pattern for the weekend; I went back to dynamic mics for the loudest bands then swapped to the Neumann for the other acts. Over the two days I had lots of favourable comments about the mic from the performers who were mainly hearing the foldback but could sense the quality of the overall sound. And although I didn’t get to try it, I left the gig convinced the mic would also sound great through in-ear monitors.
The KMS 104 Plus is also a useful recording mic. Its distinctive sound could be heard on the recording of the Banjo Jamboree and it’s been a handy general-purpose mic here at my Bald Hill Studio. It’s quiet, with a self-noise level of only 18dBA, even though it can accommodate levels up to a stated 150dB. It particularly endeared itself to me during a studio session where I used it for a guide vocal in the control room, which later became the master take when the overdubbed vocal couldn’t match the original performance. With a little added high EQ and some bass cut everyone was happy to keep the guide and the results were superb. I also particularly liked the Neumann on a 12-string guitar… it seems you could put the KMS 104 Plus in front of just about anything and get a sound worth considering. For female singer/songwriters who perform live and record at home this could be the only mic they need.
A DECIDEDLY GIRLY MIC?
The KMS 104 Plus is a handy addition to the Neumann stage microphone family and its re-tuning for female vocals works well to provide extra richness while retaining the standard model’s smooth mids and sweet highs. It’s at the top of the price range for vocal mics but when you hear the quality it can add to a voice the price looks reasonable. It wouldn’t be my first choice for hard rock, or acts that require very high levels in the foldback, but it will provide the highest quality sound for female vocalists performing most pop, rock or country music. I highly recommend it.



For female singer/songwriters who perform live and record at home this could be the only mic they need.


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