For the past decade, I've been happily using a matched pair of Neumann KM184 mics for recording classical guitar and ukulele. But then, you can never have too many mics so one day a Neumann TLM 102 appeared on my doorstep.
Neumann TLM 102 | Available in nickel or matte black with impeccable fit and finish. Fingerprint resistant too. | Image courtesy Neumann
Why the TLM 102 instead of the TLM 103? I listened to Neumann corporate's acoustic guitar recording of the TLM 102 and 103 and, to my ears, the 102 sounded smoother and warmer than the 103. For vocal use it may be a different story, but I'm not a singer so guitar tone is the main thing that matters to me.
Build Quality and Features
The TLM 102 is a large-diaphragm side-address condenser microphone with cardioid pattern. Neumann markets it as a starter model for home recordists. Starter models usually come as a kit so novices can plug 'n play. This one only comes with the mic and a clip.
Styling is classic Neumann and is handsome on the clip or shock mount. It looks like a precision tool. At 116mm in length, it is petite—a little over half the length of a Rode NT1. Albeit small, it packs some heft and feels like quality. The small size is easy to pack and ideal for cramped spaces.
There are no external switches for polar pattern, pad or high cut.
Instrumental Sound Quality
I mainly use the TLM 102 for multi-track recording of classical guitar and ukulele. The warm sweet tone with full bass and silky highs are flattering to classical guitar and 'ukulele. With that said, the TLM 102 seems to be an all-arounder and sounded good with anything I threw at it.
As a music professor, I record demonstration and practice tracks for students, so the 102 has gotten a workout over the years. I love how it renders guitar and 'ukulele tone, but it also does well with small percussion like finger cymbals, cabasa, temple blocks, shakers, etc. Below are samples I recorded using the TLM 102 through a Tascam US 2x2 or 4x4 audio interface.
Shalom Chaverim | Neumann TLM 102, Tascam US 2x2 and Logic Pro X | Cordoba Mini SM-CE (guitalele) and small percussion.
Accidental Blues | Neumann TLM 102, Tascam US 2x2 and Logic Pro X | Hirade TH90 classical guitar in a multi-track recording (mic pointed at 12th fret).
Now is the Month of Maying | Tascam US 2x2, Neumann TLM 102 and Logic Pro X | Kremona Fiesta CW-7 7-string classical guitar.
On The Avignon Bridge | Tascam US 4x4, Neumann TLM 102 and Logic Pro X | Hirade TH90 (chords), Cordoba Mini R (melody) and small percussion.
Banks of the Ohio (folk song) | Neumann TLM 102, Tascam US 4x4 and Logic Pro X | Cordoba Mini SM-CE (melody and strummed chords | Hirade TH90 classical guitar (melodic fills) | hand percussion
I record with the TLM 102 mostly at home and in my office. I mic guitars and ukuleles 6 to 10 inches from the middle of the bridge. A few inches of difference in placement makes a big difference in the tone, so I always do a sound test before commencing serious tracking.
An optimal mic position works best, but the TLM 102 sounds decent almost anywhere on the instrument, save for the sound hole. I found it accurate, responsive, tonally balanced and slightly warmer than the KM184. Neumann specs indicate a slight presence peak at 6KHz but, to my ears, is less pronounced than the KM184 presence boost.
Although TLM 102 mids are warm and fat, higher pitches like artificial and natural harmonics still have plenty of sparkle. In fact, for natural classical guitar and ukulele tone, the 102 sounds great unprocessed: little or no EQ is required for solo classical guitar. A touch of reverb and I'm usually done.
Gain
Signal output is ample for soft instruments, so no need to crank gain wide open. While the before mentioned may not seem like a big deal to most musicians, finger-picked instruments like the classical guitar are relatively soft and many mics fall short, requiring the gain sliders to be buried just to twitch the meters! Plus, the ultra low noise of the 102 allows delicate tones like harmonics to shine in the track without a hint of background noise. Bravo Neumann!
Vocal Sound Quality
I can't sing worth a darn, but I can talk okay and have recorded many voiceovers for my YouTube channel. I recorded a short sample of spoken word with the Neumann TLM 102 and included samples from other mics to compare with. All mics were on a boom arm clamped to my desk. All test mics were jacked into the XLR input of the Rode Streamer X audio interface and tracked in TwistedWave at 48 kHz and 24 bits. No normalization or processing applied.
Neumann TLM 102
I set gain to 46dB in the Rode Streamer X to achieve an average level of -12dB.
While great sounding for voice—smooth and natural in character—it is extremely sensitive to mouth sounds and puffs of air. I borrowed a foam filter from the Deity VO-7U to help control plosives. It's also more sensitive than average to vibrations from the floor, computer fans and off-axis sounds! I used a clone of Neumann's shock mount to help nix vibrations. It is unusable without a shock mount.
However, that sweet timbre I love for guitar is also voice flattering and less fatiguing compared to mics with a presence bump typical of the AKG C3000B and many dynamic mics.
Neumann KM 184
Since I was testing all my mics with spoken word, I gave the KM 184 a try too. Obviously, it is not designed for close miking of spoken word: no protection from plosives and moving air. That doesn't mean the KM 184 won't sound good for spoken word, but use of a pop filter and/or foam windscreen is mandatory.
The KM 184 is an extremely sensitive and dynamic mic—why I like it for instruments—but with only a foam windscreen, I was unable to control plosives when I spoke straight into the capsule. I nixed plosives by speaking offset about 30 degrees but didn't like the duller sound. Finally, I added an external pop filter and that worked well enough to squeeze out a test track. Indeed, the KM 184 proved to flattering for my voice: smooth, clear and very clean. As I experienced with guitar, off-axis rejection of sound is excellent.
Would I use this mic for voiceovers? Probably not. It is extremely sensitive and requires good vocal technique to keep pops, plosives and dynamics under control. Somebody with better voice technique may find it doable but the KM 184 cramped my style too much. With that said, the KM 184 is my pick for best spoken word sound among all my mics. My favorite for solo guitar tracks as well.
For this recording, the KM 184 was plugged into the XLR port of the Rode Streamer X. Output from the KM 184 is robust: gain was set to only 36 dB, lower than my other condenser mics.
AKG C3000B
The AKG C3000B, circa 2009, is a large diaphragm side-address condenser mic. It remains in production as the AKG C3000 and sells for $350 USD. The lower treble frequency bump makes it too bright for classical guitar. On the other hand, that bump makes it a decent mic for the spoken word, exhibiting good clarity albeit a little boxy and bright in character.
The C3000B was recorded through the XLR input of the Rode Streamer X with gain set at 46 dB. Shure_Beta27
Shure Beta 27
That was the sound of the Shure Beta 27, a large diaphragm side-address FET condenser mic with multiple high pass filters and pad (no filters used). It differs from other 27 series due to its supercardioid polar pattern, rather than cardioid, and a nearly flat frequency response instead of a typical low treble EQ bump.
That flat frequency contour makes it ideal for instruments. Indeed, it sounds natural and smooth for guitar and ukulele. I found it pleasantly natural and balanced for spoken word, albeit some speakers may prefer an EQ bump around 6000 Hz. The Beta 27 has more going on in the deep bass than most mics. Indeed, it picks up bass guitar, low brass and kick drums extremely well.
For my speaking voice, not much is going on below 80 Hz and, set flat, the Beta 27 has a bit of the "big bottom" sound. Clarity of my voice increased a little by using the built-in 80 Hz high pass filter:
The Beta 27 was recorded through the Rode Streamer X with preamp gain set to 44 dB. I spoke directly into the capsule from about 12 cm. The mic’s 3-layer mesh grille did a great job of nixing plosives and mouth and breath noise. I didn't need or use an external pop filter. Sibilance was also well controlled.
The tight supercardioid polar pattern made for above average off-axis rejection of sound, besting most of my mics. Unlike the similar SM27, the Beta 27 is ideal for recording on stages and untreated rooms.
While mounted on a desk boom arm, no vibrations or hum from the hard drives were leaked on to the tracks. Indeed, the internal shock mount effectively controlled vibrations. With the PodMic USB and the Neumann TLM 102 on the same boom, I had to unplug my backup drives to get a clean track.
The Beta 27 is a wonderfully designed, great sounding, extremely flexible and easy to use mic. This mic retails for about $400.
Shure Beta 57A
This is the sound of the Shure Beta 57A plugged into the XLR input of the Rode Streamer X.
Isolation from background and handling noise and resistance to plosives are excellent—better than the Rode PodMic USB, Neumann TLM 102 and AKG C3000B. Like the SM137, this mic features Shure's internal pneumatic shock mount to smooth away minor vibrations. It ties the Shure 849 and SM137 in terms of background noise rejection, maybe even slightly better. It sounds great for spoken word, singing and miking guitar cabs! The sound is smooth and clear, needs little post processing and has more bass than the SM57 and SM58. It is small and unassuming on camera but what a studio workhorse. If I could own only one mic to do everything, this could be the one. The Beta 57A retails for $150 USD.
Shure 849
For this recording, I plugged the 849 into the XLR port of the Rode Streamer X interface. Gain was set to 46 dB.
I bought a pair of Shure 849 condenser mics in the late 1990s to record classical guitar. This is an instrument mic—looks and sounds similar to the current SM137—with small diaphragm and minimal windscreen protection. It was too bright in the lower highs for classical guitar and is better suited for miking guitar amps and percussion.
The Shure 849 is a little known "sleeper" mic and was surprisingly flattering for my voice: smooth, warm, clear and very clean. With a foam windscreen or pop filter, it is extremely forgiving of plosives and small puffs of air. Because it was designed for isolating and miking stage instruments, off-axis rejection is excellent. Among the mics I tested, the 849, SM137 and the Beta 57A were the only mics that picked up no vibrations or hum from my hard drives and nearby AC units. These mics were designed for hand held use and, thus, have internal pneumatic shock mounts. These internal shock mounts seem to benefit use in any high vibration situation.
Lewitt LCT 240 Pro
The Lewitt LCT 240 Pro was plugged into the XLR input of the Rode Streamer X. Gain was set to 47 dB. This is a small diaphragm side-address condenser mic designed for home studios. It's an attractive and compact design, especially the effective yet space saving magnetic drop-in pop filter.
The 240 Pro flatters my voice with a pleasing but somewhat bright timbre and above average clarity. Legibility of individual words is impressive, even with minor mumbling. With the drop-in pop filter, plosives and sibilance were well controlled. Without the pop filter, the 240 Pro sounds like a wind storm. Wear protection!
While the bright character makes for clear and understandable words, it also makes the 240 Pro more prone to picking up background sounds than many of the mics here, save for the Neumann TLM 102.
Without accessories, the 240 Pro is priced at $100 USD. Just the mic runs about a Benjamin. The shock mount and pop filter kit clock in at $159.
Rode PodMic USB with XLR
I set gain to 63 dB in the Rode Streamer X audio interface to achieve an average level of -12 dB. The Rode PodMic USB requires considerably more gain than the other mics.
The PodMic is smooth and natural, but slightly brighter sounding than the TLM 102. It's at its best for spoken word and is much less sensitive to room noise, handing sounds and vocal artifacts.
Thoughts
I'm surprised these mics sound as different as they do. The AKG C3000B is my least favorite—too bright and boxy. The Shure 849 sounds great—almost as smooth as the Neumann—and, along with the Shure Beta 57A, has the best background rejection and vibration and handling resistance of the group. The Rode PodMic USB is smooth, clear and has excellent rejection of background noise, but a notch below the Shure 849.
I've owned the Shure Beta 57A for a few weeks as of this writing (my Shure SM57 was stolen), but thus far I've been pleased: sound isolation at least as good as the 849 (maybe slightly better), the internal shock mount nixes vibrations from my desk and hard drives, has a smooth and clear sound, and output is noticeably hotter than any dynamic mic I've owned.
Finally, the Neumann is lovely—deep and smooth in character—and to my ears the best of the bunch. Well, the most flattering to my voice, albeit rejection of background noise is the worse of the bunch. It is at its best in a soundproof room with acoustic treatment. As much as I love the sound of the TLM 102 for voiceovers, it is too fussy for my voice and will remain on guitar and ukulele duty.
RFI Resistance
Here in RFI infested downtown Honolulu, I encountered no static, clicks or rogue radio stations while using the TLM 102 on my Tascam audio recorder and audio interfaces.
Musings
The TLM 102 sounds great partially because so sensitive to sonic nuance. However, unlike professional studios, home studios are crazy prone to noise and vibration. For example, my floor mic stand transmits vibrations from my neighbor's AC into the TLM 102! I initially solved that problem by mounting it on an upside down AKG shock mount. More so than professional spaces, shock mounts are essential for recording in home studios. Sadly, anybody buying this mic for a home studio probably can't afford Neumann's $300 shock mount.
The market Neumann is addressing needs a plug 'n plug kit: mic, shock mount, pop filter, bag and cable. Include offshore accessories to keep it affordable for home use. Okay, Neumann gives a rat's tail about this matter. However, there is good news: I bought a $35 clone of Neumann's $300 shock mount and it works and looks great!
Final Blurb
I'm pleased with this the TLM 102: impeccable fit and finish, sweet, natural and balanced sound and clean output. It's one of my favorites for recording classical guitar and 'ukulele. Pointed at the bridge, it renders a beautifully sweet plucked string tone. Little or no EQ is needed. However, this mic is ultra sensitive and unforgiving of poor recording technique and background noise. It's at its best in an acoustically treated room.
For voiceovers it imparts a warm and voice flattering timbre. However, it is fussy takes more effort than I'm comfortable with for home use. For voiceovers, I'll stick to my Shure 849 and Rode PodMic. These mics are more forgiving of my room and rough vocal technique.
I recommend the TLM 102 highly for guitar and 'ukulele. Just know that it needs a quiet room and accessories—at least a shock mount and cable—to be useful in a home studio. You should consider buying a padded bag to help protect it during transport or storage.
Greensleeves | Neumann TLM 102 MT, Tascam US 4x4 and Logic Pro X | Hirade TH8SS, Cordoba Mini R (guitalele) and small percussion in a multi-track recording.
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Major Features
• Cardioid pattern
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Large-diaphragm (1")
• 20 Hz to 20 kHz response
• 50 ohms impedance
• SPL of 144 dB
• Signal-to-noise ratio, A-weighted (rel. 94 dB SPL): 82 dB
• Transformerless circuitry
• 48v
phantom power
• 210 g | 52 mm diameter | 116 mm length
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Build Quality and Features
Instrumental Sound Quality
RFI Resistance 
Major Features