The KMS 105 microphone has been developed to permit optimal transmission of the human voice, and is thus the microphone of choice for demanding live applications. The KMS 105 has become an internationally recognized standard in the field of high-quality stage microphones.
Due to its low self-noise and crosstalk behavior which is free of coloration, the microphone is ideal for use with in-ear monitoring systems.
The supercardioid KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone.
The high acoustic resolution and smooth frequency response of the KMS105 ensures that the musician has optimal control of the stage performance at all times.
Since vocal microphones are typically used at close range for the bass frequency response of the microphones, electronic compensation is used for the proximity effect in the KMS105 capsule.
In addition, the microphone has a built-in high-pass filter with a cutoff frequency of 120 Hz (–3 dB, measured in a free sound field). The dynamic range of the KMS105 is 132 dB, and the maximum sound pressure level is 150 dB.
The low self-noise level of only 18 dB-A permits the KMS105 to be used at high gain levels without the risk of additional noise. Even at large distances, the microphone operates with a high signal-to-noise ratio, facilitating the freedom of movement and creativity that are important to the artist.
Due to the transformerless output circuit, the microphone signals can be transmitted even through long cables without loss of sound.
Microphones designed for use on stage require a particularly robust construction. The KMS105 therefore has thick-walled metal housings, which also provide effective protection against handling noise.
The KMS105mt, pictured on this page, is in the matte black finish. The KMS105ni is the same microphone in a nickel finish.