Neumann KM 183 Stereo Set Small-diaphragm Omnidirectional Microphones - Matte Black

Name: Neumann KM 183 Stereo Set Small-diaphragm Omnidirectional Microphones - Matte Black
Brand: Neumann
Rating: 5 (7 reviews)

Stereo Pair Series 180 Small-diaphragm Omnidirectional Condenser Microphones in Wooden Case - Matte Black

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Item ID: KM183Pair

Neumann KM 183 Stereo Set Small-diaphragm Omnidirectional Microphones - Matte Black

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KM 183 Stereo Set Small-diaphragm Microphones with Cables - Matte Black

Original price, crossed out: $1,823 and 98 cents, now $1,799 and 00 cents

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Neumann KM 183 Stereo Set Small-diaphragm Omnidirectional Microphones - Matte Black

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Your Smart Means to Capturing Classic Acoustic Sound!

Professional recording engineers and producers praise the KM 183 for its ability to capture a precise, clean sound from a variety of acoustic instruments - acoustic guitar, wind instruments, strings, even percussion and drums. But although the big studios may love it, the KM 183 was really designed to provide that big studio sound quality to the project and home studio owner, at a very affordable price. The omnidirectional KM 183 miniature microphone is a very versatile recording tool, able to deliver the subtle nuances of certain sounds that can really make a difference to a listener. Use the KM 183 to "close-mic" acoustic instruments like guitars, winds, strings, percussion and more. It also does an excellent job capturing the "feel" of a room, transferring those special acoustic qualities on to a recording. The KM 183 also makes a great spot mic for pianos, choirs, organs, winds, etc. Get the jump on what is already become the new standard for studio microphones.

Resources

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Tech Specs

Microphone Type: Condenser
Mono/Stereo: Stereo Pair
Polar Pattern: Omnidirectional
Frequency Response: 20Hz-20kHz
Max SPL: 140dB
Output Impedance: 50 ohms
Signal to Noise Ratio: 81dB (A weighted)
Self Noise: 13dB (A weighted)
Connector: XLR
Color: Matte Black
Weight: 0.18 lbs.
Manufacturer Part Number: 008521

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Reviews

4.9

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I've owned a pair of these for a few years now, and use them all the time in my job at the University in town. We've got a double pair (small AB, big AB) hanging in our large, reverberant concert hall, as well as an additional AB pair in our recital hall, and they do just the trick on nearly everything we have going on. The diffuse field bump is incredibly helpful in those spaces, but these aren't one-trick ponys--to neutralize the bump, you just point the mic away from the source you're recording. That's the beauty of the omnidirectional microphone! The Neumann sound shines through when using these--polished and warm without dipping into the sterile realm of some high-end pieces of gear. Overall, a great purchase, and for the price, it's hard to beat.

Smooth and natural (despite diffuse-field equalized bump at 10kHz). Awesome in it's neutrality, but at the same time, delightfully musical. I guess that's the Neumann signature.

I am an "on-location recording technician (engineer?)" specializing in legit ensembles. I've been doing this since 1969. And, I've tried everything to get the sound the conductor and I are seeking. I've always been a "minmalist" ... and perhaps a purist at heart ... However, I ocassionally have to use a foot-locker full of microphones to make my customer happy.

Lately, I've been working with the Flagship Ensembles in my area, including a very good Professional Symphony Orchestra. We are recording (audio and video) and making the concerts available on-line. And, I have the opportunity to experiment during rehearsals.

I've gone back to a recording topology that I am almost ashamed to confess.

If you examine 40-50 year old articles on how to record a band, choir or orchestra, the suggestion often is "use a pair of omni-directional microphones, 10-14 feet high and spaced 1/3 the width of the ensemble" and then usually a mention is made of a "hole in the middle" and how to fix that with a 3rd microphone. This advise is before all the scientific papers on "recording angle" and "localization distortion" versus microphone patterns/spacing/toe out. The problem is, this method does not take into account many real-world factors (indoor acoustics, polar response of various instruments, placement of musicians, barometric pressure, temperature ((rising sound over the ensemble)) sunspots, planet alignments, low flying crows, what you ate for lunch) and doesn't allow for personal taste or "trusting your ears".

Therefore, with this orchestra (it has abbreviated numbers and spread out, due to Covid19 precautions), I have measured the width at 36 feet and placed my microphones 12 feet apart, about 12 feet above the stage and between the 3rd and 4th row in the seating.

I've been using AKG-414XLS in the omni-pattern, and with OK results. There frequency response is a bit ragged and coloured for this application, but the mics are very quiet and have a surprising amount of bass in the farfield. Unfortunately,the result is a harshness and glare that is unpleasing. My solution was to find something with more warmth and smoothness, especially in the strings. I think the KM-183s have facillated my notion of a better sound.

And, I don't have a "hole in the middle" of the reproduced soundstage. The two microphone signals are sufficiently uncorrelated, so that some channel blending or fancier signal processing will patch that up, if needed (I don't). In my experience, a center microphone is very touchy, and if overdone, will intermittently materialize a most unpleasing monophonic lump in the center.

These microphones are an industry bargain. If you do location recordings of naturally occuring acoutical events, give these a try. And don't necessarily follow the science. Trust your ears.

I'm looking at getting an additional spare or pair, as I love these microphones.

The KM 183 is fantastic. Have used a pair to record worship services in diffuse-field. Was wondering if these would be noticeably better than our budget SDC omnis. To my ear: detailed, balanced, clear, lively, musical, natural. Others have commented that the recordings sound better. Great sound for a reasonable price -- a best buy to my mind.

I compared these with Mitek 's set of C-3's The C3's are a great set mics, but I ended up going with these for overheads. The sound seemed to come through in a more classic way. The Mitek's were great (they included more in the set and were slightly less expensive) - but had a slightly different sound. The Miteks C-3's are a better deal. - it just depends on the sound you're going for. I reluctantly returned the Mitek's after much debate. You can't go wrong with either- but there is a reason the Neumanns have the notoriety they do. It was a tough choice, it depends on the sound you want. These are great mics. Worth the hype. (it is a personal choice) but I love the sound. Use your own judgment - you can't go wrong with these If you can afford them. There are many great microphones out there, these just sounded better for me (fuller and richer - flat but full), I endorse them.

I've only had these for a short period of time, but it has not taken me long at all to get great Drum OH sounds.. Running them into my API 3124+ then to the Apollo quad and everything is just perfect.. Don't settle.. Get these hands down.