Neumann Berlin, known for its high-quality condenser microphones, introduces the company’s first product specifically designed for instrument close miking. Built around a completely new KK 14 electret capsule, the Miniature Clip Mic system (MCM) captures the subtle details of close-miked instruments on par with other Neumann condensers, without the performance and tolerance issues typically associated with electret microphones. Street price is $699.
A New Standard for Close-Miking
The 12mm diameter KK 14 capsule is designed with the electronics mounted as close to the diaphragm — within the mic body; while its rugged polished titanium housing makes it lightweight and non-reflective. And Neumann’s stringent testing and QC operation manufactures the capsules with the quality and tonal consistency Neumann is known for.
Utilizing a well-controlled cardioid pattern, the KK 14 offers excellent off-axis response across all frequencies, a key to minimizing feedback in live situations. Neumann engineers looked at several other pattern options but settled on cardioid because it offered the best combination of capturing the individual instrument’s natural open sound while minimizing pickup of adjacent sound sources, even on a loud concert stage. The capsule’s wide 20 Hz – 20 kHz response has a gradual decline at the low-end to help minimize mechanical noise pickup, while maintaining accurate reproduction of low range musical frequencies. At the top-end, there is a slight bump in the 12 kHz range. Like the Neumann KM84 condensers I have, this slight bump presents the desired detail and clarity I call the “Neumann sparkle.” When used with the MCM 100 output stage XLR unit, the KK 14 offers an impressive 153 dB SPL handling with 49 dBv sensitivity and 23 dBA equivalent noise level.
The capsule attaches to its gooseneck via a threaded rear connector mounted on a rubber shock isolator. Ample clearance is provided, so the included windscreen can be used if desired without getting in the way of the isolator. Neumann’s attention to detail shows, even on the windscreen. I liked its fuzzy material, which also appears to repel moisture. This is a nice touch, in case a sudden downpour interrupts an outdoor gig. The shock isolator feels robust, but flexible. However, I’m not certain how well it would hold up to stagehand abuse over time. The gooseneck assembly stays in place after flexing and at 150mm (5.9”) is long enough to position the capsule in the optimum location on many instruments.
Unlike other instrument mount mic systems, Neumann opted to feed the cable through the gooseneck. I prefer this approach over an external cable for both its visual and mechanical qualities. At the gooseneck’s base, a snap-on concentric connector attaches to the output cable allowing for quick field cable replacement should the cable get damaged. It appears this connector was also designed to work as a “quick-disconnect.” If a musician walked away with a mounted microphone, it would unplug rather than pulling on the mount and potentially damaging a valuable instrument. An interesting concept, but also potentially risky for if the cable disconnected while active, it could make a nasty noise in the P.A. Neumann now provides a simple plastic cable brace (KC 1) to keep the cable connection intact. If the quick disconnect is desired, simply remove the cable brace.
Several interchangeable output cable options are available, enabling the MCM to work with a variety of wireless transmitters or the MCM 100 output XLR unit. The AC 31cable terminates in a locking 3.5 mm (1/8”) TRS miniplug, for use with the MCM 100 XLR Output Stage or certain Sennheiser wireless beltpack transmitters without the need for a second cable. Additional cable options include: AC 32 with 3-pin Lemo, AC 33 with MicroDot, and AC 34 with 4-pin mini XLR connector. Kevlar fibers woven into the cable increase durability. However, I felt the cables were somewhat stiff and the 1.8-meter (5’ 10”) cable might be a tad short for certain applications. I would like to see a longer cable option (12’) for the XLR output.
The Magic in the Mounts
The MCM system offers nine different mounting options, including specialized mounts for stringed instruments, piano, drums, and guitar, along with a universal spring clamp clip and a universal strap clip. The gooseneck securely attaches to the associated clip via the clip’s snap-in holder and the clip can be attached to the gooseneck anywhere along its length for precise positioning. Additionally, the holder on many of the clips rotates on one or two axis and locks in 45° increments for additional placement flexibility. The MCM systems sent to me included the universal spring clip. Like everything in this mic system, Neumann’s attention to detail is apparent as the spring clip utilized thick, soft rubber cushioned tips and opened wide enough fit any horn bell as well as a grand piano strut.
Designed to be ordered based on intended application, each MCM system includes all the necessary components packed in a fitted zipper case. Additionally, all the mounts are available as individual accessories.
On to Gigland
Neumann sent me three MCM systems, each with the XLR module and universal spring clip. The Neumann team definitely did their homework on both electrical and mechanical design. Everything went together with the precision fit Neumann is known for. Even on my voice, I noticed detail and clarity in the sound. Directionality is excellent and I could clearly hear the smooth desired level drop-off as I rotated the mic to its off-axis position.
The first gig was a club date with a 17-piece big band. As I only had three MCM systems, I used them on an alto, tenor and bari sax. Compared to other sax mics I used, the MCM’s KK 14 capsule had a smoother overall sound with more detail and that magic Neumann top end “sparkle.” I clipped the XLR unit to the music stand front to keep it out of the player’s way. However, having a longer cable would have enabled me to plug the XLR unit directly into the snake without the need for an additional XLR cable. The players liked the robust spring clip and easy-to-position gooseneck.
On a quartet with piano and upright bass, I miked the piano with two MCM’s and used a third on the upright bass. Although the MC 8 piano magnet mount and the MC 4 double bass mount would have been nice to try, the MC 6 universal clamp clip easily attached to the piano frame ribs and the bass’s tailpiece. Again, the MCM systems were easy to position and stayed in place. Audio-wise, they performed flawlessly, capturing the full range of piano with detail and clarity. On the bass, the sound was very musical, requiring only a slight bit of EQ. The bass player also liked the ability to convert the MCM system to fit his Sennheiser Evolution wireless by simply disconnecting the XLR unit.
Having used the MCM microphone systems, I am impressed. What really sets these apart is that Neumann sound, that has raised the bar of electret capsule design. In every situation, the MCM system performed above and beyond expectations, capturing every nuance and detail of the instruments… pure audio delight.
At a Glance:
Close-Miked Magic
Neumann’s Miniature Clip Mic (MCM) represents an entry into the miniature electret instrument mic market with a system that sound great and offers versatile mounting options. Specifically designed for instrument close miking, MCM captures the subtle details of a wide array of instruments, delivering what the author describes as the “Neumann sparkle.”
Neumann MCM System
PROS
- Neumann consistent sound
- Solid mechanical build
- Mounting options galore
CONS
- Would like to see longer cable option
for XLR (Coming later in 2023 —ed.) - Cable could be less stiff
STATS
- Operating Principle: Pressure gradient electret
- Directional Pattern: Cardioid
- Frequency Range: 20 Hz – 20 kHz
- Sensitivity: 3.6 mV/Pa
- Impedance (XLR Unit): 50 ohms
- Equivalent Noise Level: 31 dBA
- Max SPL: 153 dB (with MCM 100 XLR)
- Dynamic Range (amplifier): 130 dBA
- Street Price: $699
Manufacturer
Neumann
More Info
www.neumann.com
