All user reviews for the Neumann KM 84

-static like "stick" ... rather instrumental use but see the opinion of B Anceze for voice use

NOTICE GLOBAL

-2 Years
- Very right curve and despite all very accurate: I did catch acoustic guitars (steel string luthier, good classical nylon and custom manouche), clarinets, baritone sax, percussions, bass: c ' is sumptuous: prcis, clear, full: dfinitive in very close rel timbre of instruments.
And mix kif kif: some reverb if needed and no eq ...
- Neumann (170,87,184,105) and Sennheiser (MKH404, MD441) oktava MK12, Audiotech 4033, Shure KMS44 etc ...
-11/10 If we find a good occase.J'en have two. Difficult to find + versatile, warm, prcis.
-of course

Neumann KM84 (pair), cardio condenser microphone (48V)

OVERALL OPINION

How long have you use it? 3 months ago

Have you tried many other models before buying it? Yes, I tried the Audio Technica AT4041, the neumann KM184 and Schoeps CM65

What is the particular feature you like best and least?
Unlike CM65 and KM184, the KM84 is rather dull, without much favored the treble register with a nice definition in the medium. I find it more natural (especially XY pair) that KM184 or CM65 especially on acoustic guitars strumming. No default true for me, I usually prefer to all my other mics small cap A / B test

Quality / price ratio? Quite expensive in Cygnus, but when you love ...

With experience, you do again this choice? Without hesitation!

Nuemann Km 84 delivers a very clean and crisp recording. No need to filter out the bassy low end, this mic is very accurate with what it records. Sonically the response has a nice presence peak in the upper mid range, but the top end rolls off quickly after that. Opinion is split about whether that is a good or a bad thing – it helps keep a lid on feedback, but it doesn’t sound as hi-fi as some other mics. I have had some singers complain that their vocal top end is not quite right - sometimes asking for more top end. I guess they are used to the sound of expensive condenser mics on their recordings. If you A/B test an Nuemann Km 84 verses other mics it will always win.

The proximity effect (increase in bass when you sing or talk close to the mic) makes this important. If the singer is a foot away from an Nuemann Km 84 , the chances are they will sound thin, and you will also have gain before feedback issues.

OVERALL OPINION

There are a lot of mics that will give you a sound like this one and maybe even a better sound than the Nuemann KM 84 but are they built to last? Not too many of them are, either that or they too expensive for the average home engineer or musician. This mic will out shine a lot of its competitors in the years to come. Nuemann has kind of been under the radar because of all the other great mics on the market. But this one will bring them to the for front soon. The Nuemann Km 84 is practically unbreakable, and if you do manage to drop it from a high stage / skyscraper, you can also buy a replacement pop shield. Very suited to rock, or other musical styles that need powerful vocals.

I have 84 and 3 km, as rference point, I rode two and three nt2 Milab VM 41. So far I used the Milab when I wanted to highlight the Carved (hi ​​hat, double folk guitar (pop )...).
nt and 2 when the body I wanted and more: overheads, tambourine, vocals, acoustic guitar to the mix further ... Since I have the 84 km, I have a microphone that is chased and that of the body. I have not been able to try everything but in my experiments, it was in April on top acoustic guitars (nylon or steel, not before or on the body ...), clear on overheads. I will continue testing. But I would add that the sound may not be "fashionable" for super chiseled. If you want a really trs charl "stereo", the "Celine Dion", the 84 does not. To understand the sound of 84 km, you think of the drums and the Beatles Ringo charl. It sounds not like Eros Ramazzotti. It is a questiion production.

OVERALL OPINION

-3 Months.
-That is couillu and end time.
Milab-vm41, Rode NT2.
I have to pay 366/pice. Super qualitprix report.
Once a two-Plutt.

Small static shot of KM54 cardio, then 64 to light,
Then comes the version T12V KM74 KM84 and finally who will then give birth to the current 184 KM
from KM64, the capsule used is the KK64,
KM 84 version available KM84 (dyn 3-pin) and KM84i (3-pin XLR)

OVERALL OPINION

THE microphone to the class and musicality!

far ahead of his replacement KM184, the 84 is right, but much more musical than a cardio Schoeps, the KM84 to dive and the natural precision that are accompanied by a great heat in the bottom, never intrusive, very micro dynamically consistent inverse of the KM184! in the omni microphone is formidable in the bass, in fact, the 83 KM really gives a visual impression of movement of air in the back of a percussion type zarb or darbuka.

I think it is still slightly below the Neumann KM86 and KM74 tonadas the series and KM76, which are even more attanchants for my taste! we have to say something wrong!

* Let's say for example that if I had to pop in a battery neumann I metterais the kit as follows:
- U47fet in Bass drum (60 cm to skin resonance)
- KM 74 in Snare charley (40 cm in front of HH and snare)
- 2 x 83 KM before the battery (AB atmosphere close to the ground between 1.5 and 5 m depending on the desired and the room)
- 2 x heads in Over 76 KM

* Of strings near the KM84 working properly placed at the bridge (at least 30cm), slightly offset to the right when looking at the player for the respect of resonances led by the "soul" because of the other side is "the bar of harmony" that it causes a release a little more "hollowed out" signal from the instrument!

I have two, I'm crazy.
I do not sell, but I saw one on ebay at the moment.

Studio or live sound, strings, singing with caution, Stereo XY or AB.
capacitor, 48v power supply.

OVERALL OPINION

I use these mics (2) for over 20 years couple ST or strings. I can compare them to similar products Schoeps and say that I find them softer and warmer, easier also less susceptible to pests and small acoustic sounds of fingers, mouth or breath of musiciens.Faciles on the ropes by taking care of everything able to treat their investment. They can be used on the voice with the attenuator (-10dB), the placement becomes difficult and decide on the color. They are sensitive to the proximity effect and de-timbrent soon as one moves away. Not easy, but doable with a disciplined singer. Outstanding on the violins, with a little attention we control very well the sound of the bow. Same thing on acoustic guitars: the touch without the sound of fingernails or pick, 80cm to 1m in front of the 15th front of the box or easel. XY exceptional couple of choruses and choirs. The KM 84 is the most musical of the microphones of this type (preamp + capsule) I know (Schoeps, AKG).
I just recorded a pop singer (baritone) with KM84. This is not the first time I made it. It is true that this microphone does not seem made for this, but ...-10dB attenuator switched on and anti-pop, micro and perpendicular height of the forehead, 40cm. I filtered to keep only the medium between 180Hz and 8kHz with a high pass and low pass quite stiff. I had a bump up to 2dB 315Hz fresh. So I got a more than satisfactory result. I compressed the plug. It is very clear, more mud in the bass (you really cut it frankly), the sharpness of the transients and clarity of the harmonic KM83 give the tone of voice a beautiful musicality. Already, it's really good like that, I record. Then, to refine and advance the stamp of the singer I go through a 3-band compressor medium-grave-acute. I compress a little that remains of the grave (now clean and clear) for the back a little and just the medium. Finally I get a different sound but also beautiful and mixable with a U87 or a C414 BXLII. The difference and the problem comes from the reaction of the small membrane KM84. Small membranes are so vibrant that they make everything, even what we would rather forget, unlike a large less responsive and smoother. If you have a choice it is better Utilia a good preamp tube to limit this effect somewhat. The values ​​I give are approximate and depend on the singer and the local.

This is a recording microphone that is mainly suited for use in the recording studio, as it is a relatively fragile piece of gear and shouldn't be trifled with. Though I'm sure they'd be great for live drum overheads, they're just too pricey to really use in that context, as a venue's acoustics would render all the pristine sonic details irrelevant and you'd be just as satisfied with a cheaper set of mics.
It's a small diaphragm condenser microphone made by Neumann, a German manufacturer with a stellar reputation among recording engineers and recording enthusiasts. It requires phantom power to operate so make sure that your preamps have phantom power, or at least that you have an external source of phantom power to make it work.

OVERALL OPINION

I really enjoy using these microphones in the studio as drum overheads. They are a very pristine-sounding microphone. It worked incredibly with great high-end detail as well as clarity in picking up the entire kit. With a good EQ you can use these to get a wide variety of sounds out of different instruments. Another good use for this is for strings, acoustic guitars, and other stuff as well. I've used them as drum room mics as well. Basically these are great for getting a high end sound that has plenty of warmth. They are much warmer than the KM184 which has essentially replaced them.
Because they've been replaced by the KM184 they are hard to find, and are generally kind of expensive. However they are really great and certainly have a more classic sound than the 184s, and are really better than most small diaphragm condensers in general. They're really worth having if you have nice preamps and good converters, as a cheap home setup won't justify the cost of this mic. So studio owners would do well to find these.

The Neumann KM 84s are a pair of small diaphragm condenser microphones.  They are designed for use in the recording studio and since they are expensive and fragile they aren't meant for live recording or use outside of the studio.


OVERALL OPINION

I've been using the Neumann KM 84s for about a year and they are definitely some of the best small diaphragm condenser microphones that I've used.  While they are very similar to the modern KM 184s, these are the microphones that they made before these newer models and in some ways they sound better.  While most wouldn't be able to tell the difference and it doesn't really matter because both the KM 84s and the KM 184s are incredible mics, but these seem to have a slightly warmer sound.  I've used the Neumann KM 84s mostly as drum overheads and they really give you an awesome sound for this.  I've also used these mics for recording violin, mandolin and for picking up the high end on an acoustic guitar.  They will work great for pretty much any application where you want a crisp high end sound.  Since these mics have the Neumann stamp you know that you are getting a great mic as I've truly never used a Neumann microphone that I didn't enjoy using.  However, because these are no longer made they are pretty hard to find and will cost you a bit more money than the newer KM 184s.  For this reason unless you stumble upon a good deal on these, it is probably best just to pick up a pair of KM 184s because they are easier to access and have a very comparable sound quality.  All in all, the Neumann KM 84s are an incredible set of microphones that I wouldn't highly recommend to any professional or home studio owner who can afford them.