Ask any respected recording engineer what’s of their mic locker, and also you’ll absolutely hear them point out Neumann. The 98-year-old German model’s U 87 and U 47 microphones are important to any storied studio, they usually’ve earned the belief of generations of hitmaking producers and artists.
Neumann’s KH sequence of studio screens is much much less ubiquitous. However with the discharge of the KH 310 II and KH 350 three-way screens with DSP, the model says that its household of audio system is now full — and guarantees that it boasts the identical meticulous and dependable design as its coveted microphones.
“To have the ability to do that proper, we must be in charge of the whole lot,” says Rune Jacobsen, product advertising supervisor at Neumann. “We design all of the drivers ourselves, and design the amplifiers. That dedication has all the time been there. We don’t make compromises or take shortcuts.”
Jacobsen concedes that, as a comparatively new sequence, the KH household doesn’t but take pleasure in the identical popularity as Neumann’s U microphones. They’re new to Neumann, maybe, however their story traces again to the 1945 founding of German audio model Klein and Hummel. It’s nonetheless up for debate, however Okay+H might have been the primary on the earth to design a three-way lively studio monitor — the identical idea that the KH household and numerous different loudspeakers nonetheless use at present.
Okay+H went on to fabricate studio screens till 2009, when Sennheiser – which had acquired the model 4 years prior – dissolved it and transferred the studio monitor manufacturing to Neumann. A cursory search of Okay+H’s outdated merchandise will present you precisely how loyal Neumann has remained to the model’s authentic designs.
“A number of the crew from the Okay+H household are nonetheless at Neumann, and we nonetheless comply with the identical rules we did again then,” says Jacobsen. Consistency, he argues, is one purpose the KH audio system are value taking significantly — however they don’t come low-cost. The KH 310 II is £2,500 per speaker, whereas the mighty KH 350 is a tricky £3,000 per speaker. Even the household’s smallest monitor, the KH 80, units you again £400. This isn’t inexpensive monitoring for the bed room producer, so why select a Neumann monitor over a Behringer monitor?
“Let’s be trustworthy, lots of a budget stuff has gotten rather a lot higher,” says Jacobsen. “However the final 10 per cent? That’s simply actually exhausting to succeed in. I don’t assume there’s actually a technique to get that with out investing lots of time within the final particulars, and insisting on tight manufacturing consistencies. It’s these final particulars that make the distinction.”
Throughout our chat, Jacobsen mentions the “final 10 per cent” and “final particulars” a number of occasions. He’s not speaking about extra options, however referring to Neumann’s testing and refinement of every mannequin. The KH 310 II and KH 350 share the identical tweeter as each different monitor within the KH household, which is one side that ensures sonic consistency when mixing and matching KH audio system — particularly in immersive setups. However past shared parts, Neumann goals for near-identical audio measurements in every unit that leaves the manufacturing facility.
“Take the brand new KH 310 — sure, it’s higher than the outdated 310, but it surely’s not night time and day. You possibly can nonetheless really feel it’s a Neumann monitor, and you may nonetheless work in the identical manner as you probably did in your older fashions,” explains Jacobsen. “Now we have, like, 0.6 dB distinction from one speaker to the subsequent. You probably have an exterior manufacturing facility, it’s essential make compromises, they usually don’t have the amenities to do that. That additionally means in case you are a broadcaster and purchase 500 screens, all of them measure the identical.”
“To have the ability to do that proper, we must be in charge of the whole lot”
In equity, minimising variations in responses between completely different screens is a typical follow at Neumann’s opponents, resembling PMC and Genelec, however that doesn’t make it any much less of a problem. Neumann’s stubbornness about designing the whole lot in-house, nonetheless, makes it a little bit simpler to realize.
“There aren’t many manufacturers which have a household beginning with a KH 80 to a 420. However the engineering artwork is available in retaining this constant, and that’s actually what’s troublesome,” says Jacobsen. He references his earlier profession within the hi-fi trade, and realises how many individuals and small manufacturers could make respectable sufficient audio system.
“Many could make one thing that sounds nice. The massive problem is to make two fashions that sound comparable and constant; that’s powerful, and that solely occurs you probably have one mounted crew engaged on the whole lot.”
Pairing the sound and measurements of two studio screens is one factor, however Neumann’s engineers are striving for this cohesion throughout each mannequin that leaves the manufacturing facility. As immersive sound continues to broaden in studios, Neumann desires the KH sequence to be a sizzling contender for producers working within the format.
The KH 350 is the prime instance. Past simply the identical tweeter because the KH sequence, the 350 additionally carries the identical drivers because the KH 310 II, however with a cupboard that’s nearly twice the dimensions, and with a bass reflex the place the KH 310 II is sealed. This offers the 350 a deeper bass response, all the way down to 27Hz, and the power to place the monitor vertically; the 310 II is designed to take a seat horizontally.
So, sure, the KH 350 is a louder, deeper monitor than the KH 310 II. But it surely’s not a very completely different sound. The end result, Jacobsen argues, is much fewer points when increasing your setup.
“Should you add 11 audio system which have some inconsistency, then you’ve gotten 5 occasions extra points than you probably did within the stereo pair,” he explains. “It’s a lot more durable to regulate.”
For a producer or engineer working with immense element, this reliability is essential. However for a DJ who’s attempting to get our bodies transferring at a home celebration, or a musician searching for inspiration throughout a jam session, this flat and uncoloured consistency isn’t precisely a promoting level.
“‘Flat [response]’ shouldn’t be all the time a great gross sales argument,” Jacobsen says with a chuckle. “Many manufacturers would go extra business and say, let’s increase the bass, as a result of then you definately activate the screens and ‘Wow, a lot bass, nice’. Then what occurs? You begin to do the other in your combine. You begin to cut back bass.”
These imbalances are simply as noticeable in an immersive setup. And although Neumann’s screens are painstakingly produced to take care of sonic continuity, there’s one factor the model can’t management: Your room. However it will possibly strive.
“We don’t make compromises or take shortcuts”
The MA 1 is Neumann’s Automated Monitor Alignment, comprising a room measuring mic and accompanying software program. This pairs immediately with the KH monitor’s onboard DSP to compensate for the way your room colors the sound. It’s primarily the identical concept as Sonarworks, however designed particularly for Neumann’s screens.
“The extra channels you add, the extra room alignment turns into important as a result of you’ve gotten a lot extra threat for errors,” explains Jacobsen.
So why not simply associate with Sonarworks? “Sonarworks has performed an excellent job, but it surely’s not inbuilt. It nonetheless doesn’t know our product.”
That is another reason why Neumann prefers management. The MA 1 is aware of the specs of every monitor, so it gained’t overload the tweeter or push the amp too exhausting, for instance. And Jacobsen says you solely actually need to make use of the tech a few times. You arrange the mic, report the sound of your room, and the MA 1 software program adjusts the output of the KH screens. These settings keep within the monitor, and also you don’t want to the touch them except you progress the room round.
For all of the speak of particulars and enhancements within the new KH screens, there’s an inescapable reality: the KH 310 II appears nearly an identical to the unique KH 310. There’s barely a stylistic distinction. That’s type of the purpose, Jacobsen affords.
“A brand new U 87 at present remains to be completely different than a U 87 was. There are outdated parts you possibly can’t discover anymore. However the consistency remains to be there. That’s when, I believe, the engineering turns into artwork. To create one thing that’s just like the outdated with new issues, that’s not simple.”
In the direction of the tip of our interview, Jacobsen talks extra concerning the longevity of Neumann’s product catalogue. As if to show his level, he opens Reverb.com to test what number of second-hand KH 310 screens are on sale — barely a handful, and every for a number of thousand GBP.
“Lengthy-term is the proper technique,” says Jacobsen. “Individuals know that in the event that they make investments this type of cash, in two years — it’s not like having an outdated telephone, proper? You possibly can nonetheless promote them and you may nonetheless use them. I believe that’s fairly key.”
One YouTube commenter says Neumann is “one of many only a few manufacturers I’d blind purchase.” MusicTech‘s personal reviewer Barry Watson says of the KH 310 IIs, “I believe I’ve discovered my excellent pair of sub-£5,000 three-ways. There’s loads of energy (and bass) to impress purchasers whereas monitoring, but additionally supreme accuracy for mixing and mastering jobs with out ever sounding flat or boring.” It appears like Neumann’s new audio system may already be incomes belief, in spite of everything.
The Neumann KH 350 and KH 310 II are actually out there.
Phrases: Sam Willings
Images: Simon Vinall
