The KM 84 is a small-diaphragm FET condenser with a fixed Cardioid pickup pattern. It was the world’s first phantom-powered microphone, built to run on 48v DC. Its design goal was to be as small as possible; the model name ‘KM’ stands for Kleine M...
Mentioned by *A Head Full of Dreams* co-producer Rik Simpson in this *Sound on Sound* article. > “I’ll record acoustic guitars with two small–diaphragm condensers — Telefunken M60s or Neumann KM84s — pointing at the 12th fret at a 45–degree angle, and possibly an ambient mic; something crusty like a Coles 4038 is good. Electric guitar cabinets have an SM57 and a Royer on them, and the bass cabinet an SM7. I always take DIs of the bass and electric guitar as well, just in case I want to later embellish these and play them through an amp again."more
A pair was used on the Hammond B3 for "I'm Slowly Turning Into You" and "You Don't Know What Love Is (You Just Do What You're Told)", as stated by recording and mixing engineer Joe Chiccarelli in this October 1, 2007 *Mix Online* interview. > A pair of songs — “I'm Slowly Turning Into You” and “You Don't Know What Love Is (You Just Do as You're Told)” — show off Jack White's B3 talents. Chiccarelli miked the B3's Leslie with a tube U47 on the bottom and a pair of KM84s on top. He also had a U67 in the room to capture some of the organ's ambience. “Sometimes we took a direct out of the organ and sent that through a guitar amp to get a little more edge and bite,” he adds.more
Used for the acoustic guitar on *Mule Variations*, as stated by producer Jacques King in this interview from issue 9 of *Audio Technology* Magazine. > Acoustic guitars were miked with a Neumann KM84 or AKG 451, guitar amps were either a Shure SM57 or Sennheiser 421, bass amp with a Neumann U47, and acoustic bass with an Neumann M49, U47 or 582, routed via a Neve 2254 compressor.more
Mentioned by *A Head Full of Dreams* co-producer Rik Simpson in this *Sound on Sound* article. > “My drum-mic setup mostly consisted of the usual contenders, apart from an old STC/Coles 4012 ‘ball and biscuit’ microphone as a mono overhead that I love, and a couple of Telefunken 251s as overheads. But everything else is fairly standard. I play around with different room microphones depending on a) how many band members I am recording at the same time and b) what the song needs. I quite like Coles, which are kind of grimy and dirty, and I quite like B&K microphones which are the opposite end of the sonic spectrum, a lot more hi–fi. I have a Shure 57 on the snare, but I sometimes go for a Neumann KM84 if the song is delicate and the snare needs that tender touch. For the kick I have a Telefunken M82 dynamic microphone that is designed for a kick drum and that sounds really good. It is punchy and big but not too clanky. The AKG kick-drum mics are a little bit ‘knocky’ for my liking.more
Used for the snare drum on "Who Are You?", as mentioned by producer Jon Astley in this *Sound on Sound* "Classic Tracks" interview. > "On the bass drum I used an AKG D30; I had a Neumann KM84 on top and underneath the snare; I used a Shure SM58 with a pad in it for the hi-hat; overheads were Neumann U87s; and for toms I used anything I could find that matched, such as Sennheiser 421s. Then, the day after I'd set all this up, Keith came in and went around the kit for me. I just wanted to make sure the stereo imaging was OK, so he played and then asked 'Is that all right?' I said 'Yeah, that's fantastic,' at which point he stood up and walked straight through the bloody kit. He obviously was aware that I'd put a lot of work into it, balancing the whole thing, but I just thought 'Oh, well, welcome to the Who. Here we go..."more
> The overheads were Neumann 87 or 47, and on the hi?hat I used a Neumann KM84, which gives a nice crisp sound, but also has enough body in it. There is some tone to the hi?hat and you don't want to get rid of it and have just this ticky?ticky sound. According to Mike Fraser, mix engineer, Rudd used this mic for the overhead.more
Used for O'Riordan's guitar on "Linger", as mentioned by producer Stephen Street in this March 2018 *Sound on Sound* interview. > Even though signed to Island, the Cranberries were still working with a limited budget on the album sessions, meaning that the acoustic guitar part on 'Linger' was recorded with the nearest instrument to hand: namely a cheap Yamaha acoustic owned by O'Riordan. "Sometimes when I was working with alternative or indie bands," says Street, "you just had to work with what you had. If there was a budget to hire more guitars, great. But I don't think we had that at that point. Especially being over in Dublin at the time, we did just work with the guitars they owned. > "I would put a Neumann U87 in front of the guitar, between the 12th fret and the hole. And sometimes I might have something like a KM84 further up towards the neck, just to see if it put a little bit of extra 'air' into it. Sometimes I would split those separate tracks a little bit in the mix, so although it was just one guitar, it gave it a little bit of spread across the stereo image."more
Used as a hi-hat mic on "Linger", as mentioned in this March 2019 *Sound on Sound* interview. > In regard to drum miking, Stephen Street's approach was fairly standard for early '90s recording. "Yeah, pretty traditional in a sense," he says. "I might have used a [Neumann] U47 FET inside the bass drum. The usual kinds of Shure dynamic mics on top of the snare and under. Sennheiser [MD] 421s on the toms, KM84 on the hi?hat, and the overheads would have been two U87s. That tended to be my go-to set-up back in those days."more
Used for the acoustic guitar on *Volume 3*, as mentioned in this April 15, 2015 *Electronic Musician* interview. > Ward’s electric was double-amped through a Fender Deluxe and a Silvertone that [producer Pierre] De Reeder miked with SM57s, the idea being that the two amp sounds could be selected, blended or panned at will. Ward’s acoustic went to a Neumann KM84.more
> I've always favoured the Neumann U47. I don't own one, but whenever there's one available I always try and use it for vocals. AKG Dynamics on toms-toms. I normally favour a condenser mic for snare drums like a Neumann 84, which is unusual because most engineers prefer dynamics on snare drums.more
"For marimba and vibes I used the modern classical orchestra method of recording; placing the KM84s approximately 40 to 50 cm above the plates so that they captured the entire range of the instruments," recalls Uwe. "For some takes we also positioned a pair of the Studio Projects C3s under the marimba for a less percussive signal. We ended up with eight marimba signals which I mixed down to mono."more
"I don't ever use dynamic mics on a drum kit if I can help it: it'll either be ribbons or condensers. The exception would be an [Electro?voice] RE20 inside the kick, but I tend to try to use a [Neumann] U87 or 47 outside, and a Yamaha NS10 driver on the bottom. I try to line them up equidistant, so that theoretically it would always phase?align. I'll use [Neumann] KM84s on snare, top and bottom."more
Used for the hi-hat on Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47. The KM 84 was also used for the hi-hat on *Toto XIV*, as mentioned by producer CJ Vanston in [this March 5, 2015 *Mix Online* article](https://www.mixonline.com/recording/simple-genius-toto-xiv-423799). > On the kick drum he placed a Sennheiser 421 and a Yamaha subwoofer, and on the snare drum a Shure 57 with another Shure 57 underneath. On the hi-hat he switched between a Neumann KM 84 and Shure SM81. > > “For overheads I used a pair of AKG C12As,” Petocz says. “Tom mic’s were 421s and for room mics I had a 47 mono room mic very close to the drums, halfway between the kick and the snare. Then for the more traditional room mic drum sound, I used a pair of U 67 Neumanns and occasionally a C-24 from the back, just sparingly. They all went through the beautiful vintage 8068 Neve console, the best sounding Neve in town. And some compression on the snare when it needed it, but only slightly. Then what I did is go direct out when I could instead of busing it, just for that added purity.”more
The KM 84 is a small-diaphragm FET condenser with a fixed Cardioid pickup pattern. It was the world’s first phantom-powered microphone, built to run on 48v DC. Its design goal was to be as small as possible; the model name ‘KM’ stands for Kleine Mikrofon (“small microphone”). The model number indicates the powering mechanism (8 = phantom power) and polar pattern (4 = cardioid). Although discontinued in 1992, the KM-84 remains a favorite of vintage mic enthusiasts for drum overheads and hi-hat applications. Neumann’s KM 184 was intended to be a replacement for the KM 84, but the two mics sound sufficiently different that the KM 84 has remained a standard by which modern FET pencil mics are judged. (See the KM 184 page for additional discussion of the physical and sonic differences between these microphones.) The mic is known for having an exceptionally flat frequency response and its ability to maintain its cardioid pickup pattern across the frequency spectrum.
Fuck...I'd writen a thoughtful review & it got erarsed. I'll cover the main thoughts & it'll likely be better anyway....Yup, an XY on Drums or awesome on a stereo acoustic guitar. I gotta be honest I've used them less like I'd expected & found myself chasing a roomo vibe with these guys. From this pair I keep moving & moving to find that magic spot in the room (yes, usually on drums but it's all over tons of tracks-guitar, elect guit, Voxs, etc) to fill in where my other mics can't be. Blending mics. Like to catch evil reflections off a hard surface like glass. Endless fun
That said? Sounds on he standard applications of these guys is amazing...I can think of others that'd I'd like but I'll never give them up & that's largely cuz when I can chase room on a drum set or a guitar cab & if I watch the phase I've got fantastic sounds. Enjoy the fun!