Neumann KM 185 Nickel

A Modern Standard from the Series 180, Designed for Fidelity

The KM 185 embodies the Neumann philosophy: capturing the acoustic event with precision, without added artificial "signature." While some microphones are intentionally colored to flatter a source, the Series 180 prioritizes faithful reproduction, suitable for demanding productions from classical to rock, both on stage and in studio recording. Despite its accessible positioning, the KM 185 features high-end engineering, with controlled directivity and an electronic stage designed to preserve the capsule's integrity.

Who Is It For and What Are Its Uses? A Small Diaphragm Tailored for Precise Captures

The Neumann KM 185 is a reference choice whenever you seek definition, a stable image, and control over sound leakage. It excels on acoustic instruments (piano, acoustic guitar, double bass, violin, cello, woodwinds, and brass) as well as drums and percussion, especially when the stage is dense and each microphone must remain "focused" on its source. Its compactness makes it discreet for video, TV, and radio recording, and its off-axis coherence facilitates stereo and multi-mic setups where phase and mix compatibility are crucial.

Precision, Rejection, and Robustness: Key Features of the KM 185

Consistent Hypercardioid Directionality and Uncolored Off-Axis Sound

The KM 185's hypercardioid pattern is designed to remain consistent across frequencies, resulting in very effective rear rejection at 120 degrees, including in the low spectrum. In practice, you get less bleed without "changing" the source's timbre even when placement isn't perfectly precise. This absence of coloration over a wide angle is especially useful in multi-microphone recording: the stereo image and panorama precision remain stable, and signals blend better in the mix.

Transparent Sound with Controlled Brightness

Its frequency response is described as linear and musical, with a slight boost in the highs around 10 kHz. The result: clearer attacks (strings, piano hammers, snare transients), air on overheads, and natural presence on wind instruments without unnecessary harshness. It's a microphone that is easy to work with in EQ because the base sound is clean and balanced.

Transformerless Electronics: Dynamic, Low Noise, and Long Cable Runs

The KM 185 features an innovative transformerless head amplifier, offering a wide dynamic range of 127 dB and very low self-noise (15 dB-A). It can handle up to 142 dB SPL without distortion, ensuring safe capture of close and powerful sources. Its low-impedance output stage is also designed for professional environments: it allows the use of long XLR cables (up to 300 m) without notable transmission losses, a real advantage for studios and stages.

Vocals: Not Specifically "Vocal-Tuned," but Excellent When Authenticity Matters

Although not specifically optimized for vocals, the KM 185 is often chosen for classical singing or any situation where realistic and detailed capture is desired. With its tight directivity, it can also help isolate a voice in a noisy environment, provided placement and plosive management are carefully handled (the included windscreen can help depending on the context).

Technical specifications

Frequency response	20 Hz - 20 kHz	Connection	XLR
Category	studio microphone	Color	Grey
Directivity	hypercardioid

Type	Small diaphragm condenser microphone	Signal-to-Noise Ratio, A-weighted (ref. 94 dB SPL)	79 dB
Directionality	Hypercardioid	Maximum Output Voltage	10 dBu
Sensitivity at 1 kHz into 1 kohm	10 mV/Pa +/- 1 dB	Supply Voltage (P48, IEC 61938)	48 V +/- 4 V
Nominal Impedance	50 ohms	Current Consumption (P48, IEC 61938)	3.2 mA
Nominal Load Impedance	1 kohm	Connector Type	XLR 3-pin female
Equivalent Noise Level, CCIR	24 dB	Included	1x microphone clip and 1x windscreen
Equivalent Noise Level, A-weighted	15 dB-A	Diameter	22 mm
Max SPL for 0.5% THD	142 dB	Length	107 mm
Signal-to-Noise Ratio, CCIR (ref. 94 dB SPL)	70 dB	Weight	80 g