Neumann - KM 184

Depends on what you’re recording day to day. If you’re recording drums then at a minimum a kick mic (d112, Beta52a, or D6), 4-5 sm57s, and a matched pair of neutralish overheads. For vocals a tube LDC and non-tube, and an SM7b. A stereo pair of SDCs for other instruments. For me, aside from dynamics for the drum mics, that’d be a matched pair of 414 style LDCs, a matched pair of KM184s, an SM7b, and a u67/u47 (real or clone) plus like a u87. I also like ribbons on lots of sources, but I wouldn’t call those staples.

KM 184. I have borrowed some a couple times, everything I put them next to that is a fraction of the price on acoustic string instruments sounds better. Even the Rode NT5 but especially the Miktek C5.

* TLM1xx would be on my list too - I think they sound "cheap in an expensive way", if that makes sense. * The SM57/58, largely because it *cannot* be as versatile as people ascribe. I still have people regularly tell me "you can track a whole album with it!" when you could do that with any mic. And there are other dynamics I like more, just as durable and sometimes even cheaper (though usually not, I'd always take an m201 over a 57 for instance). * On that same sacrilegious note, I don't like the U87 much, either (Ai or original flavor). I'm not going to say it is a *bad* mic, and I've owned three over time, but there's a reason I don't own one anymore. Like the 103 (which I actively despise rather then merely dislike), there is something about them that sounds like a stripper driving a Bentley to me (weird analogy, but I think it gets the point across). * RE-20 is too big and can be hard to get to sound right. Don't love or hate it, and I do have one, but people are way too attached to it. * Same goes for SM7, with the caveat that it *only applies for VO*. For music the SM7 can be great, I'd usually grab one over a 58 or RE20, but it is a tricky bugger for VO. * Neumann pencil mics (KM8x/18x) are just not that great compared to a lot of modern versions. It isn't a tech with "vintage prestige", the manufacturing has improved, so the KM184 in particular just comes off as overpriced, even compared to the *actual* industry standard SDC's these days in Schoeps, DPA, and Earthworks (and so on). I prefer either pure or colored SDC's, and the Neumann doesn't do either. * I have never understood the appeal of the MD421. One of the few mics I refuse to own/stock because of its idiotic mounting clip, and I just think other similar mics are better at doing what it says it does. * Pretty much every "unobtainium" mic is overrated, to me - yes, a great U47 or 251 is a really cool thing and piece of history, but you can get similar results with other mics. But I'm something of a "vintage-is-better" iconoclast... I'm sure there are more, and I know it sounds like I'm picking on Sennheiser/Neumann, but really every "hyped" mic has been a disappointment to me and those happen to be the ones people strive for so are more prone to being overrated.

Sure! * I'm a big fan of Schoeps, DPA, and Earthworks SDC's. The Schoeps is what the Neumanns (1/84/5) want to be, and DPA and EW are just "as pure as we can get them". Push comes to shove I prefer the DPA's - they are quieter - but they are also more expensive and less robust. I have several of each in my studio. * I *love* Lauten Audio mics. My default vocal LDC is the Eden, which is kind of a brighter riff on a U47, sort of. I also love their drum mics. Not as big of a fan of their SDC's, tried them and didn't buy. * I also like Gefells, some Lewitts (640 and up, I have a 1040 that I use a lot when the Eden is too thick sounding), Austrian Audio, and a few other newer manufacturers (not that MG is new). * As far as dynamics (and ribbons) go, I tend to go with Beyerdynamic. I love the m201, m160, m130, m88, m58, and a few I'm forgetting. They are just a less chaaracter-in-the-way version of what most people reach for 57's for. And I have no idea why someone would deal with a 421 when an m88 is available. * I also really like the Heil LDD's, the PR-30 and PR-40. I'll reach for those before an SM7 or RE-20 most of the time, though lately it has been the m88 first. * For live vocals, I'm a big fan of the sE v7, it is what the 58 wishes it was, and is actually *cheaper*. * Ribbons, I like Beyer and the Shure KSM's more than, say, Royer. I've had 121's and 122's, but I like the 313 better for the "big ribbon" thing and the m160 for the "really pure ribbon" thing. I really want to get a KSM353, but it is always a ways down the list of things to get for the studio.

Oh, I freaking *hate* the 184. On anything. As I said in my original post, they manage to be both too sterile and too colorful to be useful! It isn't merely overrated, I see it as a genuinely poor microphone, especially for the price they charge! If I'm using an SDC, it is usually for a "pure" sound. My overheads are Earthworks, usually. No harsh top end, especially with my crazy-treated ceilings. I've used several others as well - KSM141's are pretty ok, as are the cheap Line Audios, and the Schoeps are awesome but overkill and I don't like the bleed as much as the EW. Oh, and the m201 beats the 57 on *everything* in my experience. That being said, I really dislike the 57 these days. Too many hours spent trying to EQ badly recorded 57's in my past. I know in my heart that it is a "classic for a reason", but that doesn't mean I have to use them on my own work!

All good. I get where you're coming from. I don't need much convincing that a beyer is gonna beat out a 57 on a snare any day. I will say, I think KM184s are a little overrated as OHs. They can be a bit harsh / brittle

I was tech director for a classical concert hall for 10 years. We used Neumann km84 which were replaced with Neumann 184 when we had issues. I’ve done hundreds of concert recordings with dpa 4011 and schoeps cmcxy4v. If looking to save money the Shure ksm137 would be reliable and sound very good in a high school setting. There are a hundred other choices from akg, audio technica, telefunken, rode, etc that would get this job done.

A couple things to add to the comments. I have the CS3e and it can be very useful indoors for noisy locations. However it’s a bit hard to manage in a low ceiling space and its very narrow pattern can be a problem if the subject moves around. However, it can be moved quite far back to account for narrow pattern and still give very nice results. At the other end, I also have the Neumann KM/A body with a few different capsules. The KK184 essentially provides the same pattern as the KM184 but with MUCH better EMI noise rejection. Anyhow, the point is that the wide cardioid pattern is often helpful in reducing the room reflections. I was amazed at the results when I used on a boom in a corp board room with glass on 3 sides and hard surfaces throughout. The down side is that any other sounds get picked up more easily. So crew need to be quiet and chairs can’t be squeaky etc. And you have to be close to the source. If the lighting fans are consistent then post should be able to minimize. Just get room tone. And a carpet under the interview area would help. So a “wider” mic is worth considering. I wouldn’t jump in without some experimenting first though. If it’s your only mic it has to be predictable. Cheers

Well, FWIW I own an SM57, DR-40x, and two Neumann KM-184s, and I took apart my DR-40x to see how it works. And I have to say, it actually tastes pretty good. The memory card is a nice garnish, plus you can use the battery acid to make a good sauce if you heat it up with a little maple syrup. The SM57 was OK but it was a little too crunchy and bitter for my taste. I only ate one of my KM184s, it was so delicious that I'm saving the second one for a special occasion!

For home recordings, KM184s are an overkill. They are great for professional studio settings. There are many options now that video channels are so common. However, Shure SM81 is *the* timeless classic to record classical guitar. I pair it with stereo mics from a Zoom H4, with SM81 into the H4. You can control levels and gain independently. From there, I route it to an table or computer for video recording (that's the little holder on the stand). If on a budget, a Shure 57 produces **great** results, particularly in substandard rooms. I'd go with XLR mics since they allow you to grow with many more options as compared to USB mics. https://preview.redd.it/zndaxzxofqig1.png?width=1290&format=png&auto=webp&s=09ae5e3d758d82ac640be8ac5fefa371d8ddf189

D112, 57s, 421s, u47 fet, u87s, coles or 121s, and km184s!

KM184s. I borrowed from a friend for overheads but had to give them back recently. I bought the Lauten LA120s and I absolutely LOVE them. For recording they’ve had a much more honest capture of the high end of my cymbals. For live in-ear monitoring, they have a great balance of the whole kit when I’m not using tom mics. Over the last month I’ve brought them to my wedding/jobbing gigs and have tried them against a bunch of other pencil overheads. The SE8s held up but the Lautens won over the KM184, SE7, SM81, rode NT5, Behringer c2, and Senn e614. I honestly had a good time trying them out with the sound techs on these wedding gigs and it was fun to get “the nod” from across the room after switching the mics out for the Lauten’s