
Neumann KM 184
The KM 184 is a fixed-cardioid small-diaphragm condenser microphone built for clarity, durability, and extreme SPL handling — not for shaping or adapting.


The KM 184 is a fixed-cardioid small-diaphragm condenser microphone built for clarity, durability, and extreme SPL handling — not for shaping or adapting.

The KM 54 is a rare, discontinued large-diaphragm tube condenser microphone. It has a fixed cardioid pattern and requires its own unique power supply. It is fragile and unsuitable for live use. It delivers a warm, wide vocal tone — ideal for capturing subtlety — but lacks the clarity of newer Neumann tube mics. A reviewer used it successfully on vocals for themselves and a client. It resembles the AKG C12 in sound and appearance.

The Neumann KM 56 is a small diaphragm condenser microphone in the KM series. It belongs to the category of small diaphragm condenser microphones. It is also referred to as ‘km 56’ or ‘km56’. No technical specifications are provided.

The Neumann KM 84 is a studio-only small diaphragm condenser microphone. It delivers clean, crisp, accurate recordings of acoustic instruments—no low-end filtering needed. Its presence peak adds clarity; its rapid top-end roll-off removes air. Proximity effect forces tight mic placement. Phantom power is required. It is fragile and unsuited for live or field work.

The KM 86 is not a KM 84 variant. It is a dual-capsule small-diaphragm condenser that delivers three virtual polar patterns — and a sound described as 'more pais'. It was sold with XLR or Tuchel connectors. That is all the source tells us.

The Neumann M269 is a large diaphragm condenser tube microphone made by Neumann. It is listed under that category. It is also called 'm269' or 'm 269'. No technical specifications are available. Nothing is stated about its use, sound, controls, or history.

The Korg M50 61 is a 2008 sampling workstation built for real-time layering and editing. It delivers 80-voice polyphony, 1077 samples across 608 editable programs, and up to 896 combinations — all controlled via an angled panel and full-size TouchView interface. It includes one GM2-compatible sound bank. It was reviewed as industry-ready but criticised for weak electro/lead sounds and lack of built-in sampler compared to the M3.

The Neumann TLM 103 is a fixed cardioid condenser microphone. It delivers a full 20 Hz–20 kHz frequency response. It has no low-cut filter or pad. It does not include a shock mount. It ships in a wooden, padded box. Its output impedance is 50 ohms.

The Neumann TLM 170 is a discontinued large-diaphragm condenser microphone built solely for studio recording. It offers five polar patterns, a -10 dB pad, and a low-cut switch. It ships with a swivel mount and supports U87-style suspension. It fails in live performance. No recordings, artists or sessions are documented in the source material.

The Neumann U 89 is a 1980 large-diaphragm condenser microphone built for versatility: five polar patterns via rotary switch, two fixed low-cut filters (80 Hz and 160 Hz), an attenuator, 140 dB SPL handling, and a neutral, less vivid tonal character than the U 87. It excels at distance capture and fits where bulkier mics cannot. It does not offer colouration, warmth or extended sub-bass response. No recordings or users are named in the source material.

The Neumann M 49 is a large-diaphragm condenser microphone developed at the NWDR’s Central Laboratory in Hamburg. It entered German broadcasting studios in 1952. It was the world’s first microphone with a remotely switchable polar pattern. Its pressure-gradient capsule causes proximity effect even in omnidirectional mode.

The Neumann U 87 is a large-diaphragm condenser microphone introduced in 1967 as the solid-state successor to the U 67. It features a 25.4 mm diaphragm and three selectable polar patterns — cardioid, omnidirectional, and figure-8. It can be powered by 48V phantom power or two internal 22.5V batteries. The original used the K 87 capsule, a modified version of the K 67. The 1986 U 87A reverted to the standard K 67 capsule and eliminated the dual-battery requirement.

The U 47 is a historically significant but operationally constrained microphone. Its innovation lies solely in being the first switchable-pattern condenser — a functional milestone, not a sonic benchmark. It demands specialist maintenance, offers no modern conveniences, and has no documented sonic signature beyond its era-specific implementation. It belongs in a museum or a dedicated vintage studio — not a general-purpose rig.