Neumann KMS 105 Review: The Best Handheld Vocal Condenser I’ve Heard

If there’s a better handheld supercardioid condenser microphone than the Neumann KMS 105, I’m not aware of it.

I had one for a while. I think I either sold it or had to send it back to Neumann. I honestly don’t remember which. What I do remember is the microphone. It was terrific.

And I haven’t found another handheld vocal condenser that I’ve liked nearly as much.

Do You Really Need an $800 Vocal Microphone?

That’s the obvious question, isn’t it?

Maybe if you’re Céline Dion, you do. I probably don’t. But some people certainly do, and the answer depends on the singer, the application, and what you’re trying to accomplish.

The price is silly. But it’s a Neumann, so you expect the price to be silly.

That doesn’t mean the KMS 105 isn’t worth the money. It means you ought to have a reason to spend it.

A Studio Sound in a Familiar Package

There’s another reason I like the KMS 105, and it has less to do with the price or even the Neumann badge.

Some singers are stage singers. They’ve spent years singing into a Shure SM58 or something similar, holding the microphone or working close to it on a stand. That’s how they perform.

Now put one of those singers in a recording studio, position a large condenser microphone in front of them, and suddenly everything feels different. The microphone is hanging there in a shock mount, there’s a pop filter between them and the capsule, and they can become self-conscious. Some people just freeze up.

For that singer, a handheld condenser like the KMS 105 can be a terrific solution. You’re giving them a familiar way to work without asking them to adapt to an unfamiliar studio setup.

And, importantly, you’re not compromising much in terms of microphone quality.

It Just Sounds Great

I could spend a great deal of time trying to dress this up with adjectives, but the reason I like the KMS 105 is straightforward: it sounds great.

It’s a supercardioid condenser designed for vocal use, with the kind of clarity and detail you expect from a serious condenser microphone in a form that makes sense on stage.

That’s a particularly attractive combination if you want a singer to feel comfortable while capturing a polished vocal performance.

Is it going to be the right microphone for every singer, every venue, or every recording? Of course not. No microphone is.

But of the handheld vocal condensers I’ve used, this is the one I’d choose.

Beware of Counterfeits

There’s another reason to be careful when shopping for a KMS 105: it’s a microphone that gets counterfeited a great deal. As with the TLM 103, the Neumann name and the substantial selling price make it an attractive target for fakes.

That means a suspiciously inexpensive KMS 105 isn’t necessarily the bargain you think it is. It may not be a Neumann at all.

I’d be particularly cautious about buying one from an unfamiliar marketplace seller, even if the listing photographs look convincing. Buy through an authorized dealer when possible. If you’re buying used, ask for the original purchase documentation and verify the microphone’s provenance rather than assuming the badge, packaging, or serial-number sticker proves authenticity.

The Verdict

If I had a real need for a KMS 105 today, I would certainly own one. Possibly two. Possibly more.

For my own purposes, I can’t justify keeping an $800 handheld vocal microphone around just because I admire it. But if you regularly work with singers who are more comfortable with a stage microphone, or you need a premium handheld condenser for live vocals, the KMS 105 deserves serious consideration.

Maybe you need one. That’s up to you.

All I can tell you is that I haven’t heard a handheld vocal condenser I like better.