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.