Neumann KM184 first impressions

[Richard Monroe]

Well, I had actually placed the order for a pair of Schoeps CMC 64's, and Macmidimusic called me back and told me Schoeps had raised the price without telling them. From $2165 to $2500. I even offered to split the difference at $2300, but no way. So I cancelled the order. That puts them out of my price range, even stretching it a bit. To hell with it, I said, I need some mics, so I bought a pair of KM184's. I have a new Digi002 in house, but the computer isn't built yet. So- I jacked them into an Avalon AD2022, and sent the signal out by S/PDIF to the hard disc of my old Roland VS1824CD. I got them mainly for acoustic guitar, strings, piano, and remote stereo recording (chamber orchestras, etc.) So I put them on my Taylor, and A-B'd them against some C-4's. Then I sent the signal back to the Digi002, keeping it in the digital domain, so the Roland's A-D convertors never got a shot at the signal.
Well, these babies are bright, hot, and sensitive. They sounded best when backed off a bit, like 4 feet. The cardioid pattern is fairly tight, and I was using them as an X-Y pair, not as close mics, so that would explain why they needed to be backed off to get the big picture. The high end detail is impressive, to say the least, and I think I would place them differently if I had a heavy breather or a mover and shaker. Fortunately, off axis and rear rejection is very good.
I guess my feeling is that I'll want to attenuate those highs just a tick with EQ, but it's easier to take away something than to try to add what isn't there. Up against the C-4's- The C-4's sounded very good, but lacked the KM184's detail. It was like listening to an SM7B up against my Kiwi, both very good mics, but the SM7 is useful when less detail is desired. I wouldn't put the Kiwi in front of a singer that sucks, and I wouldn't put up the KM184's on a cheap guitar with a noisy guitarist. Bass response on both mics was OK, without boom issues, but again, the Neumann wins on pure detail. God, don't use a buzzy axe with these puppies! Well, just thought I'd render an opinion, as most of the people on this board seem to be either big time engineers that consider the Neumanns as a poor man's substitute for DPA's, or people who have neither the desire nor the means to shell out for a pair of mics in that league.
And just a note on the Digi002- This thing is soooo cool!-Richie

 

[Han]

Congrats Richard, some engineers like the older KM84's more than the 184, but I myself like bright mics and when I say bright, I mean the silky Neumann brightness.

 

[RickW]

Very cool, Richie! Does that mean I have to come back up there and check out the new toys? OK....twist my arm.

BTW- how's the gigging going?

 

[Richard Monroe]

Yo Rick- You're welcome anytime. I'm still waiting for you to post up your impressions of that trip. Go for it. In about 2 weeks, I should have the music XPC in house, and then the Pro Tools learning curve begins. I'll probably pull out what little hair I have left. At least I've got the Roland and the Digi002 talking to each other more or less, so I've got a hard drive to send my tracks to. We've also added a bass VAMP Pro, a VAMP II, a Fender Passport PD250, and the classic 57's are being installed in the Les Paul as we speak. I think I hear a message from God. I have simultaneously run out of rack space and money.
The gigs are going fine. You know for years, I made a living with a $100 guitar and Radio Shack mics. You stand to the left, because the amp doesn't hum when you stand there, etc. For the first time in my life, I am actually gigging with state of the art gear! It's a small rig, but a mongo PA would be overkill for a solo gig.
I did have a new experience, though. I was doing a gig for some upscale caterers at a company called MaCom in Lowell, that does defense work, and *6* Pinkerton guards searched all of my gear, down to the last 9v battery! We had to register our palm pilots, our cell phones, the lap top. They searched the case of my telecaster for hidden compartments! I feel so safe now. I can tell you for a fact there are no terrorists hiding in my gear. Later- Richie

 

[darnold]

Richard - KM184s definately have there own sound. They were a little too bright for what i liked when i had a pair, which is why i didnt keep them. But Dudley brought one of his in about a week ago along with a AT4047.

He showed me a technique that i really liked and i was quite surprised how well it worked. He put the KM184 about 4 inches away from the 12 fret and angled it up the neck to about 50 degrees (not towards the sound hole). Then he put the AT4047 in a over the shoulder type thing, but a little more out in front, pointed just above the sound hole. Of course it doesnt have to be a 4047 but something similiar would work nicely.

What i was really surprised is how well the KM184 sounded that close. It sounded really weird alone but when it was mixed it, the sound was awesome. I can post some clips if i get some time.

The drums that are in my studio right now are really giving me a fuss. Spent almost 8 hours today working on the sound and still dont feel im even close to what it needs. Maybe its impossible. But either way i might be a little busy until mid next week. Then i can finish all the other stuff i told people i was gonna do on here too .

Danny

 

[Richard Monroe]

Thanks for the tip, Darnold. I've actually been getting good results on acoustic with one KM184 and one Oktava MC012. It's almost like mixing an unprocessed guitar track in with a distorted one. Weird, but effective. I've also used a C414 on the 12th fret, with one Neumann over the right shoulder. That's a freakin' reality check!-Richie

 

[Fletcher]

FWIW, I too am from the camp where the KM-184 is a bit too bright for my tastes... I have found the Josephson C-42 and the Microtech Geffel M-300 to fit better with my sense of aesthetic in the same applications as the KM-184... great presence, great flexibility, less of that 4-5k nasal character than the 184... but as always, YMMV.