Neumann KM184 MT Stereo Set Bundle

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  • Bossa dry
  • Bossa wet
  • Classical dry
  • Classical wet
  • Strumming dry
  • Strumming wet
  • Picking dry
  • Picking wet
  • Congas
  • Shakers
  • Woodblocks
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Further information

Condenser Microphone Yes
Stereo Pair Yes
inkl. Clamp Yes
24 customer ratings:
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4.9 / 5.0
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The parc for the lonely island ...

Georg aus R., 21.10.2009
The acquisition of a legend is of course associated with some expectations. You can already buy small micro-membrane condensers for less than 100EUR. A considerable difference in quality must justify the investment in KM184. So I let the KM184 test against (several) Behringer B5 in the test. As preamplifier a dbx386 was used; Was listened to via HD595 or Event 20/20 BAS.

1. Discipline: singing (male, relatively dry space, 30 cm distance). Result: Both microphones are surprisingly close together. So close that listeners could not make a difference.

2. Discipline: Acoustic guitar (steel strings). Clear differences and clear favorite the KM184; For other listeners opposed the judgment. This is probably a question of taste rather than of quality.

3. Discipline: Microphone for singing, speech, or instruments. This is the king's discipline of the KM184. Compared to the B5 a huge quality jump, resulting from the small discolorations of the room parts.

4. Discipline: string quartet (very lively space). Here too the KM184 without question in terms of the naturalness of the sound.

Also worth praiseworthy is the low noise for a small diaphragm, which also appears to be a little annoying. Practically, this means that with the same noise with the KM184 you can almost double the distance to the sound source compared to the B5. This also plays a role, if you want to record quiet sources at a greater distance. The processing quality of the microphones I have nothing to complain about. The included windscreen is not particularly effective; If you like to be outdoors, you will not be satisfied with it.

My personal conclusion: If you like to record in living rooms or at larger distances largely free from stains, a couple KM184 is very useful. Anyone who pretends to microphone only in dry rooms, should not exclude cheaper alternatives from the beginning.- Or technically: The balance of the directional characteristics and the low noise are for me the advantages of the KM184.
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Havana cigars

Ster, 26.03.2011
Und jetzt ein "Frevel": Weil ich hier und anderswo vieles gelesen habe und ebenfalls die zwei Kleinen NT5 von Rode besitze, habe ich die Paare verglichen. Bei "Consumer"-Konvertern ist die Differenz nur bei den Höhen hörbar. Die Neumänner sind zurückhaltender, allerdings mein Geschmack. Die Rodes sind schärfer, die Höhen "kratzen" oft. Bei teureren Konvertern ist der Unterschied deutlich hörbar. Wo die Neumännchen "musizieren", "kratzen" die Rodeleins deutlich. Bei den Bässen ist es ebenfalls hörbar. Neumann klingt fester, knackiger, ob Flügel, Violine, Flöte, Gitarre oder Chor. Vielleicht liegt es teilweise auch daran, dass die Kapsel der Neumännchen etwas größer ist, als die der Rodeleins.
Zugegeben, der Vergleich ist unfair, schon nur wegen des Preises, aber die Versuchung war für mich groß und die technischen Daten haben das Experiment noch verlockender aussehen lassen. Noch größer war die Versuchung alle vier im Studio gleichzeitig "antreten" zu lassen. Vierer Schiene aufgeschraubt, angeschlossen und was ich hörte, konnte ich nicht glauben! Es lohnt sich wirklich vier Aufnahmespuren den vier Mikrofonen zu widmen und sie bei Spurenknappheit anschließend auf zwei Spuren zusammenzumischen. Der "Body" kommt von den Berlinern und die "Tüpfelchen" von den Australiern. Alle oben genannten Quellen hatten eine ganz andere Qualität, Brillanz und Lebendigkeit vorzuweisen. Ich werde wahrscheinlich nie wieder mit nur einem Paar aufnehmen. Entschuldige Neumann und Rode, aber auf meinen Geräten und in meinen Ohren, bieten beide Sets zusammen ein wirkliches musikalisches Erlebnis. Vergessen wir aber nicht, dass auch die bevorzugte Klangfarbe, Geschmacksache ist. Wie sagten es die Lateiner? De gustibus et coloribus non est disputandum." data-mt-lang="en-x-mtfrom-de" data-translated="The wooden box reminds of expensive cigars. What's inside is also something for connoisseurs and sound gourmets. The small bars of Neumann are worth their money in my opinion. The distinctive Neumann sound is there, the transparency is also there, nothing is overstated. In addition, the little ones are very easy, but the temptation to "insert" them after a concert is increased. Sensitive to wind are the microphones, however, therefore, a use of the windscreen would always be recommended. <br> And now a "crime": Because I have read here and elsewhere a lot and also the two small NT5 of Rode possesses, I have compared the pairs. In the case of "consumer" converters, the difference is only audible at the heights. The Neumanns are more reserved, but my taste. The rodes are sharper, the heights often "scratch". In the case of more expensive converters, the difference is clearly audible. Where the Neumännchen "musizieren", "scratch" the Rodeleins clearly. The bass is also audible. Neumann sounds more solid, crisp, whether grand piano, violin, flute, guitar or choir. Perhaps it is partly also because the capsule of the Neumännchen is somewhat larger than that of the Rodeleins. <br> Admittedly, the comparison is unfair, just because of the price, but the temptation was great for me and the technical data made the experiment even more attractive. Even greater was the temptation to let all four be "compete" in the studio at the same time. Four-track rail screwed on, connected and what I heard I could not believe! It is really worthwhile to dedicate four recording tracks to the four microphones and then to mix them together on two tracks in the case of tracking. The "Body" comes from the Berliners and the "icing on the cake" from the Australians. All the above sources had a very different quality, brilliance and liveliness. I'll probably never take back with just one couple. Excuse Neumann and Rode, but on my equipment and in my ears, both sets offer together a real musical experience. Let us not forget, however, that the preferred sound color is taste. How did the Latins say? De gustibus et coloribus non est disputandum." > The wooden box reminds of expensive cigars. What's inside is also something for connoisseurs and sound gourmets. The small bars of Neumann are worth their money in my opinion. The distinctive Neumann sound is there, the transparency is also there, nothing is overstated. In addition, the little ones are very easy, but the temptation to "insert" them after a concert is increased. Sensitive to wind are the microphones, however, therefore, a use of the windscreen would always be recommended.
And now a "crime": Because I have read here and elsewhere a lot and also the two small NT5 of Rode possesses, I have compared the pairs. In the case of "consumer" converters, the difference is only audible at the heights. The Neumanns are more reserved, but my taste. The rodes are sharper, the heights often "scratch". In the case of more expensive converters, the difference is clearly audible. Where the Neumännchen "musizieren", "scratch" the Rodeleins clearly. The bass is also audible. Neumann sounds more solid, crisp, whether grand piano, violin, flute, guitar or choir. Perhaps it is partly also because the capsule of the Neumännchen is somewhat larger than that of the Rodeleins.
Admittedly, the comparison is unfair, just because of the price, but the temptation was great for me and the technical data made the experiment even more attractive. Even greater was the temptation to let all four be "compete" in the studio at the same time. Four-track rail screwed on, connected and what I heard I could not believe! It is really worthwhile to dedicate four recording tracks to the four microphones and then to mix them together on two tracks in the case of tracking. The "Body" comes from the Berliners and the "icing on the cake" from the Australians. All the above sources had a very different quality, brilliance and liveliness. I'll probably never take back with just one couple. Excuse Neumann and Rode, but on my equipment and in my ears, both sets offer together a real musical experience. Let us not forget, however, that the preferred sound color is taste. How did the Latins say? De gustibus et coloribus non est disputandum.
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