The Essential Small-Diaphragm Condenser Microphone
The Neumann KM184 cardioid small-diaphragm condenser microphone has been heralded as one of the best tools for recording acoustic guitar -- and you'll find that the applications of this mic are virtually limitless. A wide frequency response and high maximum SPL gives you incredibly clear, accurate capture. Transformerless circuitry allows for impressively low self-noise of 13 dB, and the pressure-gradient transducer provides smooth frequency response both on- and off-axis. Neumann needs no introduction -- its name and reputation speaks for itself as a world leader in recording gear, and once you track your first session with a pair of KM184s, you'll know why.
A Successor to the KM84
Neumann's KM 84 quickly became renowned for its amazingly transparent capture and small size. In fact, KM stands for Kleine Mikrofon, which translates to "small microphone" in English. Your KM184 follows as a successor of this small condenser mic with a slightly different back plate design. Instead of using blind and through-holes, the KM184's back plate is carved with a sequence of slits to control the diaphragm's resonance and dampening. This method was found to be acoustically superior, leading to greater directionality and a more linear quality to the mic's capsule. This is where the term "crossed-slit" capsule came from.
Smooth Frequency Response for Accurate Capture
Your KM184 has a remarkably smooth frequency response, which gives you an impressively transparent capture and reproduction. The low end begins to slowly come down starting at around 200 Hz, and then hits around -12 dB at 20 Hz. There is a slight boost at around 8 or 9 kHz to give the captured audio a pleasant yet subtle airiness to brighten things up a bit. Aside from that, the frequency response is very flat, giving you a natural reproduction of the instrument, which, in playback, comes close as possible to the actual performance itself. You'll get smooth frequency response for both 0-degree on-axis and lateral off-axis microphone placements -- try a pair of KM184s set up in an X/Y stereo configuration or wide ORTF pattern.
The Do-Everything Pencil Condenser
This classic mic works exceptionally well for tracking acoustic guitars, but you can use it anywhere you'd use a pencil mic. A high maximum SPL of 138 dB makes a pair of KM184s a great choice for drum overheads. You can also place this mic right above your kick drum somewhat close to your snare, right in the middle of the kit to get a nice and surprisingly complete drum sound from a single mic.
Your Neumann KM184 pair comes with a pop filter and a mic clip to get you recording right away. Also included is a wooden storage case that looks classy, while keeping these unparalleled tools-of-tone safe and secure when not in use.
- Small-diaphragm condenser microphone -- successor of the renowned KM 84
- Transformerless circuitry
- Cardioid polar pattern
- Pressure-gradient transducer
- Frequency response of 20 Hz to 20 kHz
- Maximum SPL of 138 dB
- Output impedance of 50 ohms
- Low self-noise of 13 dB
- XLR output
- Wooden case, pop filter, and mic clip included
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- Acoustical operating principle: pressure gradient transducer
- Directional pattern: cardioid
- Frequency range: 20 Hz -- 20 kHz
- Sensitivity at 1 kHz into 1 kohm: 15 mV/Pa
- Rated impedance: 50 ohms
- Rated load impedance: 1000 ohms
- Equivalent SPL CCIR 468-3: 22 dB
- Equivalent SPL DIN/IEC 651: 13 dB-A
- S/N ratio CCIR 468-3: 72 dB
- S/N ratio DIN/IEC 651: 81 dB
- Maximum SPL for THD 0.5%: 138 dB
- Maximum output voltage: 10 dBu
- Dynamic range of the microphone amplifier DIN/IEC 651: 122 dB
- Supply voltage: 48 V - 4 V
- Current consumption: 2.3 mA
- Matching connectors: XLR 3F
- Weight: approx. 80 g
- Diameter: 22 mm
- Length: 107 mm
- Weight, Dimensions, and Manufacturer Part Numbers
- Black Matte
Manufacturer Part Number (MPN):
- Black Matte, Matched Pair
Manufacturer Part Number (MPN):
If you have additional warranty questions, please contact the manufacturer at 860-434-9190
Neumann KM184 Cardioid MicThe KM 184 is known as "the" acoustic guitar microphone, but don't pigeon-hole it. This microphone also works well for overheads, speech applications, and spot mics. The SKM 184 works well as a high-quality stereo pair for professional live and studio recording. An industry standard that began with the KM 84 is continued by the more modern, quiet, and affordable KM 184.
The "Series 180" consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications.
Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the "Series 180" is predestined for economy-minded production and home recording studios.
The tremendously successful KM 184 cardioid microphone has become a standard within the global studio community in just a very short time. All "Series 180" microphones are available with either matte black or nickel finish.
It comes in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR connector.
ApplicationsTheir slender shapes and the transmission characteristics described below make the "Series 180" especially suitable for a very wide range of tasks in the radio and television sector.
Acoustic FeaturesThe KM 184 microphone is the successor of the well proven KM 83 and KM 84, which have been used since the seventies worldwide with great success.
The pressure gradient transducer KM 184 features very smooth frequency responses not only for the 0-degree axis, but also for lateral (off-axis) sound incidence. In typical usage, there is no coloration of sound over a wide pickup angle.
Although the KM 184 has the same capsule as the KM 84, the microphone differs slightly on the 0-degree frequency response: The KM 184 has a gentle rise at about 9 kHz, a characteristic that was introduced very successfully with the KM 140. The result is a tonal balance that is fresher and livelier when compared to the KM 84 with its flat frequency response in that band.
This difference was achieved with just a slight change of the capsule's rear opening, and is not due to resonances.
Electrical FeaturesThe "Series 180" microphones have the same transformerless circuitry as is used in the KM 100 system, resulting in excellent technical specifications.
Compared to the KM 84 the dynamic range of the KM 184 increased by 24 dB mainly through the reduction of self-noise level to only 22 dB (CCIR) and an increased sound pressure handling capability of up to 138 dB.
The microphones operate without any problems, even if the input of following equipment happens to be unbalanced, for example as in some DAT recorders.
The output of the "Series 180", as in all Neumann microphones, is balanced and phantom (48V) powered.
EconomyThe "Series 180" is a good choice for all users who look for a high-quality miniature microphone, but do not need the complex, modular KM 100 system, which continues to be part of the Neumann product range.
The mechanical construction was simplified, for example, capsule and output stage cannot be separated from each other. For this reason the "Series 180" is an economical alternative without giving up the electroacoustic features the users expect from Neumann microphones.
Features- Three different miniature microphones for all typical studio applications
- Successor of the worldwide successful KM 83/84
- Transformerless circuitry
- Trouble-free operation also with unbalanced equipment (e.g., DAT recorders)
- Set includes windshield and two different microphone clamps
Application hintsFor universal use, especially for recording situations when it is necessary to attenuate off-axis sound (mainly from the rear) from other nearby instruments.
- As XY and ORTF stereo pair
- Announcer's mic for broadcasting
- Spot mic, overhead
- Close miking of strings, wind instruments, percussion, piano, Leslie speakers, guitar amps and more.