Neumann KM 84

Records it appears on · 39

• I'm Not in Love

  10cc · The Original Soundtrack, 1975

  • Drums and bass-drum part · MicrophoneReportedHi-hat microphone on Godley's kit during the album's sessions, also picking up some snare brightness.Position: on the hi-hat
• Walk This Way

  Aerosmith · Toys in the Attic, 1975

  • Drum kit · MicrophoneReportedAlbum sessions, not stated for this song: Engineer recalls this was probably the hi-hat microphone.
• Year of the Cat

  Al Stewart · Album, 1976

  • Acoustic and electric guitars · MicrophoneReportedMicrophone on Stewart's acoustic guitar in Room 43.
• Parallel Lines

  Blondie · Album, 1978

  • Drums · MicrophoneReportedMicrophones on the toms, snare and hi-hat for the Parallel Lines sessions at the Record Plant.
• Night Moves

  Bob Seger & The Silver Bullet Band · Night Moves, 1976

  • Electric and acoustic guitars · MicrophoneReportedRecorded the acoustic guitar Seger overdubbed; it was one of six KM84s owned by Richardson.
• Behind Closed Doors

  Charlie Rich · Album, 1973

  • Drum kit · MicrophoneReportedClose mics on snare and hi-hat, and also on the toms.
  • Acoustic and electric guitars · MicrophoneReportedOne mic on each acoustic guitar.
  • Piano · MicrophoneReportedA KM84 captured the piano.
• Layla

  Derek and the Dominos · Layla and Other Assorted Love Songs, 1970

  • Drum kit · MicrophoneReportedMicrophone on the snare drum.
• Freedom of Choice

  Devo · Album, 1980

  • Drum kit · MicrophoneVerifiedHi-hat microphone, as a general rule across the album.
• American Pie

  Don McLean · American Pie, 1971

  • Acoustic guitar · MicrophoneReportedFlye is pretty sure he used two microphones on the acoustic guitar, the second being a Neumann KM84. (recalled with uncertainty)
  • Drum kit · MicrophoneReportedFlye remembers probably using a KM84 on the snare.
• Hotel California

  Eagles · Album, 1977

  • Felder's 12-string acoustic and guitar amps · MicrophoneVerifiedA pair used on acoustic guitars; the producer calls it the one consistent microphone choice, though he says the other miking varied.
• That's the Way of the World

  Earth, Wind & Fire · Album, 1975

  • Vocals · MicrophoneInferredUsual practice, not stated for this record: Massenburg says that in that period he used a hand-modified KM 84 on vocals.
• Discovery

  Electric Light Orchestra · Album, 1979

  • Drum kit (Bev Bevan) · MicrophoneReportedUsed on the snare drum during the Discovery sessions.
• Burning Love

  Elvis Presley · Elvis: Burning Love and Hits From His Movies, Volume 2, 1972

  • Guitar amps · MicrophoneInferredUsual practice, not stated for this record: Microphones Ruggieri used on guitar amplifiers.
• Back on the Streets

  Gary Moore · Album, 1979

  • Drums · MicrophoneVerifiedMicrophone on Downey's snare for the live rhythm tracks.
• He Stopped Loving Her Today

  George Jones · I Am What I Am, 1980

  • Piano · MicrophoneVerifiedMicrophone on the piano.
  • Drum kit · MicrophoneVerifiedMicrophones on the snare, hi-hat and toms.
• Faith

  George Michael · Album, 1987

  • Rhythm and solo guitar · MicrophoneReportedPorter believes this recorded Hugh Burns' Bo Diddley-style acoustic rhythm part, which was double-tracked.
• I Will Survive

  Gloria Gaynor · Love Tracks, 1978

  • Kick and hi-hat · MicrophoneInferredUsual practice, not stated for this record: Hi-hat microphone, as Rouben describes his miking in those days.
• Rise

  Herb Alpert · Rise, 1979

  • Drum kit · MicrophoneInferredUsual practice, not stated for this record: Hi-hat microphone in Hahn's go-to miking scheme of the period.
• Life's Been Good

  Joe Walsh · But Seriously, Folks..., 1978

  • Electric and acoustic guitars · MicrophoneReportedMicrophone on the acoustic guitar part that comes in after the electric layers.
• Walking on Sunshine

  Katrina and the Waves · Walking on Sunshine, 1985

  • Drums (re-recorded at Power Station) · MicrophoneReportedLitt thinks any room microphones would have been KM84s close to the kit, with the signal gated from the snare; he does not say for certain that room mics were used.Position: Eight or 10 feet from the drums

Sources for each use are on the record’s own page.

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