What is a Neumann D microphone?

A Neumann microphone whose output signal is directly digital.

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Which preamps to use with the Neumann D?

None, the signals are directly in AES format.

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Why is the sound of the Neumann D so clean?

The electronics integrated into the microphones have been specifically designed for each type of capsule. The perfect match obtained allows transparent sound, without phase rotation, distortion or background noise. Thanks to the very linear off-axis response, mixing of correlated sources is much more transparent. The Neumann Ds feature more than 6dB of feedback immunity than their analog counterparts, and digital signal transport from the mic prevents sound deterioration and noise built up over cable lengths. In short, the Neumann D are a premium solution that enhances your service and frees you from a number of constraints.

 

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We know the importance, and the consequences on the sound, of adapting the characteristics of the microphone and the preamp used. Most mixing consoles and stageboxes offer identical preamps on each input. Adapting to the characteristics of the microphones (level, impedance, etc.) is therefore achieved through a technological compromise, an average of the needs of the different microphones on the market, the characteristics of which are however very disparate. In analog, we have no choice but to be satisfied and then adjust the sound by DSP processing.

With the Neumann D, the electronics which are directly integrated into the microphone have been specifically designed to be perfectly adapted to the signal characteristics of each capsule. No compromise, the sound chain is perfectly optimized. Users of digital microphones will confirm that they do very little to correct microphone signals to integrate them into the mix.

The less we equalize, the less we twist the phase of the signal. If the Neumann D are much more resistant to feedback, it is also thanks to the little treatment that is inflicted on their signal.

At equivalent reference, digital microphones are as robust as analogs. Due to the on-board electronics, they have the advantage of being warm, which allows them to evacuate the humidity that can be deposited on the microphone and increases the immunity to variations in the atmospheric conditions of outdoor scenes.

From a dynamic point of view, an analog condenser capsule naturally has a range of around 130 dB (A), but most converters cannot output more than 115 to 120 dB (A). With their 28-bit double-sampling principle, the Neumann D preserve 130 dB of dynamic range.

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How does the digital synchronization of the microphones work?

The digital stages of the Neumann D are slaved to the control room clock. No sample rate conversion, so no added conversion latency or dynamic range degradation.

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Will the Neumann D add latency?

The internal mic converter will induce latency, but in the same way as the analog stagebox converter would. At 48 kHz, the latency is less than 1.1 ms. At 96 and 192 kHz, it is 0.63 ms.

To ensure full phase compliance when encapsulating AES signals in MADI with more than eight channels, an automatic delay compensation function is used, which introduces a processing time of 0.4 ms @ 48 kHz, 0.18 ms @ 96 kHz and 0.06 ms @ 192 kHz. This function is disengageable.

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What are the parameters to which we have access in the microphone?

The parameters are adjusted from the RME DMC842 interfaces provided, with direct physical access or via the RCS application to deport the commands. For all mics, it is possible to provide a pre-attenuation of 6, 12 or 18 dB, as well as a digital trim from 0 to +63 dB in steps of 1 dB. A peak limiter is also integrated to avoid saturation. The Neumann D01 also offers a 40, 80 or 160 Hz low-cut filter, a compressor limiter and a test signal, but above all the choice among 15 different directivities, including omni, cardioid and figure 8.

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Should we only use digital microphones?

It is possible, but not obligatory. If the bassist wishes to use his piezo pickup in place, let's respect his request. Neumann D and and analog mics coexist.

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Do I need to take training before using Neumann D kits?

The Neumann D are used like analog, while reducing the material and simplifying the work of the teams. However, we provide support that can range, depending on the configurations, from a simple telephone briefing to presence on site. This support will be specified according to each project.

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Can I use a digital kit in addition to setup?

Our kits perfectly meet this need. Festivals have chosen welcome kits with digital microphones, ensuring them great speed and simplicity of implementation, to adapt to any request without having to provide new stageboxes or change consoles.

Our Neumann D kits are also deployed on concerts and tours for hosting dates for guests or acoustic formations such as choirs, acoustic orchestras, participatory formations or even on the recording dates of the concert. The Neumann D are also perfect for audiance sounds and recording studios.

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Do you need special accessories to use the Neumann D kits?

The dimensions of the Neumann D are identical to those of their analog equivalents. A KM184D and a KM184 for example. The Neumann D can be used with all standard equipment. Their output is XLR3 and standard balanced cables are compatible for distances up to several tens of meters.

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How are the Neumann Ds linked to my control room?

Microphone signals are available in optical and coaxial MADI. Each MADI stream can contain up to 56 or 64 channels at 48 kHz. On request, any other format can be provided, AES3, Dante, AES 67, AES50, MADI TP, AVB, CobraNet, ADAT ...

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I work with two mixing consoles, for FOH and monitor. How is the sharing of the gain?

With the Neumann D, there are no gains to manage, the electronics always work optimally. The signal at the output of the microphones is sampled at full scale without risk of saturating or having noise. Each sound engineer therefore works without degradation of the signal, with digital trim, to adjust the input level as he wishes at his control room.

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I have very powerful sources, I am afraid of saturating the microphone capsules.

With the integrated switchable 6/12/18 dB attenuator, the capsules accept without batting an eyelid from 151 to 153 dB. And from 133 to 135 dB without the attenuator!