NEUMANN KM 184 mt Octo Set

Product overview

The NEUMANN KM 184 mt Octo Set is a set of eight KM 184 mt small diaphragm condenser microphones (cardioid, matte black), each with a WNS 100 windscreen, an SG 21 bk stand mount swivel and a microphone pouch.

Its very natural, transparent sound with very low self-noise and high SPL capability have made the KM 184 a worldwide stage and studio standard for many applications ranging from classical piano to heavy metal drums. While many microphones add a sonic imprint of their own, the NEUMANN Series 180 (KM 183 omni, KM 184 cardioid, KM 185 hypercardioid) is made for a faithful reproduction of the original acoustic event, without adding or removing anything. The Octo Set brings eight of them together for multi-microphone set-ups, where the absence of off-axis colouration is crucial.

Key features

• Uniform cardioid pattern without off-axis colouration
• Linear frequency response with a slight treble lift around 9 kHz
• Very low self-noise: 13 dB-A
• Up to 138 dB SPL free from distortion; 125 dB dynamic range
• Transformerless circuitry (fet 100 technique)
• Low impedance output for cable runs of up to 300 m without transmission losses
• Compact size (22 x 107 mm, approx. 80 g), visually unobtrusive
• Eight microphones in one set, each with WNS 100 and SG 21 bk

Cardioid sound without colouration

Its cardioid pattern is frequency-independent; rejection of rearward sound (180°) is excellent, even at low frequencies. There is no sound colouration over a wide pickup angle, which is crucial in multi-microphone set-ups and for precise stereo and surround imaging. The frequency response is very smooth and linear with a slight treble lift around 9 kHz for added brilliance.

Stereo and surround imaging

Thanks to its superior off-axis behaviour, the KM 184 is an excellent microphone for stereo and surround recording with perfect imaging, for soloists as well as ensembles.

Transformerless fet 100 circuitry

The Series 180 microphones use the fet 100 technique with a transformerless head amplifier. It offers a wide dynamic range of 125 dB and is carefully designed to maintain the capsule's sonic integrity: self-noise of only 13 dB-A and sound pressure levels of up to 138 dB free from distortion. The low impedance output drives cable runs of up to 300 m (1000 ft) without transmission losses; the microphone runs on 48 V phantom power (P48, 3.2 mA).

Applications

The KM 184 is a universal microphone for studio and stage applications. Its transparent sound makes it a superb microphone for acoustic instruments such as piano, percussion, drums, acoustic guitar, upright bass, violin, cello, woodwinds and brass, for soloists as well as ensembles. It is often used for classical vocals and whenever sonic authenticity is paramount, and due to its small size it is visually unobtrusive and well suited to TV and radio.

In the box

• 8 x KM 184 mt microphone
• 8 x WNS 100 windscreen
• 8 x SG 21 bk stand mount swivel
• 8 x microphone pouch

Available versions

• KM 184 mt Octo Set: eight KM 184 mt, matte black, Cat. No. 008685

NEUMANN KM 184 mt Octo Set: frequently asked questions

What polar pattern does the KM 184 have?

A frequency-independent cardioid pattern, with no sound colouration over a wide pickup angle.

Does the KM 184 need phantom power?

Yes. It operates on 48 V phantom power (P48, IEC 61938); any P48 supply providing at least 3.2 mA per channel is suitable.

How loud a source can the KM 184 handle?

Up to 138 dB SPL for 0.5 % THD, with a self-noise of 13 dB-A and a dynamic range of 125 dB.

What is in the KM 184 mt Octo Set?

Eight KM 184 mt microphones (matte black), eight WNS 100 windscreens, eight SG 21 bk stand mount swivels and eight microphone pouches (Cat. No. 008685).

Where can I buy the NEUMANN KM 184 mt Octo Set in India?

The NEUMANN KM 184 mt Octo Set is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Drum kit with eight matching microphones

Engineers miking a full drum kit.

Connections

Setup

1. Place microphones on toms, hi-hat, overheads and percussion.
2. Point each microphone at its source.
3. Switch on 48 V phantom power on each channel.
4. Set the gains with the loudest hits; up to 138 dB SPL.

Tip: Identical microphones give a consistent sound across the kit.

Workflow 2: Surround and ensemble recording

Recording ensembles or rooms with multi-microphone arrays.

Connections

Setup

1. Set up the array positions.
2. Mount the microphones in their SG 21 bk swivels.
3. Switch on phantom power.
4. Match the gains and record.

Tip: No sound colouration over a wide pickup angle keeps the surround image precise.

Workflow 3: Acoustic guitar

Singer-songwriters and engineers recording acoustic guitar.

Connections

Setup

1. Mount the microphone on a stand.
2. Point it at the instrument from a short distance.
3. Switch on 48 V phantom power.
4. Adjust the position until body and detail balance, then record.

Tip: The transparent sound reproduces the instrument faithfully without adding a sonic imprint.

Workflow 4: Piano

Recording grand or upright piano.

Connections

Setup

1. Place the microphone(s) above the strings or at the open lid.
2. Switch on phantom power.
3. Set the gain with the loudest passage.
4. Record and compare positions.

Tip: Thanks to its superior off-axis behaviour, the KM 184 is an excellent microphone for stereo and surround recording with perfect imaging, for soloists as well as ensembles.

Workflow 5: Strings, woodwinds and brass

Spot miking orchestral and ensemble instruments.

Connections

Setup

1. Position the microphone near the instrument.
2. Switch on 48 V phantom power for each microphone.
3. Set the gain.
4. Blend with the main microphones.

Tip: Small and visually unobtrusive on stage and on camera.

Workflow 6: TV and radio

Broadcast engineers who need discreet microphones.

Connections

Setup

1. Place the microphone discreetly near the source.
2. Switch on phantom power.
3. Check the level with normal speech or playing.
4. Go on air or record.

Tip: Test with normal speech, never by blowing into the microphone.