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

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 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

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

诺音曼首款注重均匀离轴响应，最大化减少不必要的离轴染色的短枪式话筒。

1978

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

1978

USM 69 i是诺音曼大振膜立体声话筒SM 69 fet的更新版本。 由于它的集成模式控制，USM 69 i不再需要专用电源，但可以幻象供电。

1979

作为U 87的继任者，U 89被公认为是一款经典的传承话筒，其采用全新的双振膜话筒头，五种拾音模式下都可以提供高线性度的声音。

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

专为电影对白设计的短枪式话筒

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

与U 87 i相比，U 87 Ai做了一些改进：提升了操作安全性、优化了传输因数、改善了信噪比、省略了内部电池供应。

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

仿真人头话筒KU100为您带来真正的身临其境的音乐和音频戏剧制作的声音体验，应用范围广泛。

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

1993

TLM 193专注于对大多数家庭录音工作室的主要需求，采用无开关设计，具有固定的心形指向模式的经济型话筒。

1993

KM 184是一款经典的小振膜电容话筒，拥有心形指向特性且不随频率变化而改变。作为KM 84的成功继任者，KM 184采用了电子平衡输出（无变压器），可以处理更高的声压级。

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

M 149是诺音曼电子管话筒中断近30年后推出的重新推出的第一款话筒，其创新地将本底噪声极低的电子管电路和全球先进的无变压器输出级结合在一起而获得TEC大奖。

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

TLM 103是诺音曼历史上最成功的话筒之一，上市以来迅速成为现代录音棚标杆产品，它的定位是一款物超所值的小U 87，只有7 dB-A本底噪声，也是最安静的话筒之一。

1997

M 147 电子管话筒重现20世纪50年代诺音曼电子管话筒的经典之声，采用了与传奇话筒U 47相同的话筒头及创新的无变压器电子管电路。

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

KMS 105是一款用于舞台的录音棚级人声话筒，并兼有舞台话筒的所有优点：对喷口噪声有出色的防护、超低的触摸杂音、巨大的声压级承受能力以及较高的反馈抑制能力——这要得益于其指向特性稳定的超心形模式。

1999

KM 185是一款经典的小振膜电容话筒，拥有超心形指向特性且不随频率变化而改变。KM 185的高指向性可以满足更高的拾音需求，例如鼓声拾音。

1999

KM 183是一款经典的小振膜电容话筒，拥有全指向特性且不随频率变化而改变。作为KM 83的成功继任者，KM 183采用了电子平衡输出（无变压器），可以处理更高的声压级。

1999

M 150 Tube是一款基于诺音曼传奇话筒M 50的独特小振膜电容话筒，它的钛振膜话筒极头嵌装在小型球体的表面以增加在更高频率下的指向性，非常适合DECCA Tree立体声和环绕声录音

2000

舞台上的诺音曼之声 - 有线变无线！KK 105 S是一款精密制造的真电容超心形话筒头，专为森海塞尔SKM 5000/5200手持发射器而设计。

2002

诺音曼先进的广播话筒，可完美地传递细腻情感。其功能优化设计后的防喷网和防震架可以更好地保护大振膜电容话筒头。

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

舞台上的诺音曼之声 - 有线变无线！KK 104 S是一款精密制造的真电容心形话筒头，专为森海塞尔SKM 5000/5200手持发射器而设计。

2004

诺音曼首款动圈广播话筒，整个构造针对功能需求进行了优化，完美诠释细腻情感。

2005

MS 104是一款用于舞台的录音棚级人声话筒，并兼有舞台话筒的所有优点：对喷口噪声有出色的防护、超低的触摸杂音、巨大的声压级承受能力以及较高的反馈抑制能力——这要得益于其稳定的心形指向。

2006

TLM 49复刻了战后诺音曼经典产品的怀旧音色，将场效应晶体管（FET）技术再次呈现，其采用与诺音曼传奇话筒M 49完全相同话筒头，继承了电子管话筒在高声压级下的温润风格。

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

灵感源于传奇话筒U 67,TLM 67是一款通用的录音棚话筒，具有三种指向性模式，其无变压器晶体管电路，在高声压级下可呈现电子管声音的特征。

2008

KMS 104 plus话筒是心形舞台话筒KMS 104的特别版本，带有延伸的低音，为声音提供更多“温暖感”，非常受女歌手欢迎。

2009

小工作室的大声音：TLM102是诺音曼迄今为止物超所值的大振膜话筒之一，秉承诺音曼纯正品质，德国制造。

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

舞台上的诺音曼之声—有线变无线！KK 204是一款适用于森海塞尔SKM 2000/6000/9000手持发射器和EW G4 300/500和EW-D无线系统的优质话筒头。

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

TLM107是一款用于人声和乐器拾音的大振膜话筒，具有五种方向模式。多个预衰减和低切功能，适用于多种场景应用。

2014

强大的三通道有源中场录音棚监听音箱——高精度扩散和巨大的声级储备

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

作为传奇U47 tube的继任者，U47 fet其本身就为了诺音曼的经典之作，流畅而华丽的特质塑造了70年代的声音理念。 应大众需求，U 47 fet在2014年重返市场。

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

定义上世纪六十年代声音的电子管话筒，经典回归！

2018

紧凑型、DSP控制的封闭式箱体低音炮

2019

诺音曼首款高品质封闭式录音棚耳机，用于监听、编辑和混音

2019

带有耳机监听功能的最新话筒前置放大器

2020

2021