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.

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."

According to Uber Pro Audio a Neumann KM 84 is part of LaMontagne's equipment.

In this Sound on Sound article on the recording of the Simple Minds album "Graffiti Soul", their producer Jez Coad describes the gear used to capture Charlie Burchill's guitar sound:

"Three Matchless amplifiers were used for Charlie Burchill's guitars, each miked with a Shure SM57 and a Sennheiser 421. The central amp projected the "main raw guitar sound”, while the two on either side were operating in stereo and projecting whatever effects Charlie was stomping on at the time.

"You got the best of all worlds,” explains Jez Coad, "You got all the power in the middle, and then you got all the lovely, diffused, echoey chorus and any other kind of modulation coming out of the two side ones, so we could balance the amount of power to the amount of sort of psychedelia going on!” A pair of Neumann KM84s was also placed 15 feet away from the amps to capture room ambience."

Oz Noy lists all of his current gear, including this one on his website.

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.

According to engineer David Jacob in an interview about "West End Girls" published in the March 1986 issue of International Musician & Recording World magazine, he used a Neumann KM 84 microphone on Neil's voice to record the verses of that song, while a Neumann U87 was utilised for the choruses.

According to Mix Magazine, Whitney Houston was "using a variety of microphones, including a Neumann KM-84 on the hi-hat" for her song "I Wanna Dance With Somebody Who Love Me".

"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."

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of Neumann KM84.

"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."

In the video titled "Static-X 'Push It': Inside the Song w/ Ulrich Wild - Warren Huart: Produce Like A Pro," Ulrich Wild mentions at 9:49 that he used a Neumann KM 84 microphone for recording the hi-hats on the track "Push It."