I originally bought this mic as a huge upgrade from my Audio Technica at 3035, now when I originally got the 3035, I was amazed and wanted to kit all of our studios out with them due to their low price.
When I received my first TLM 103, it was like no other sound, my 3035 sounded plastic, shameless and lifeless, the sound from the TLM 103 was just mind blowing, the clarity, warmth, depth.. it made me think twice about using a lower grade condenser microphone again.

The usage out of this microphone that I get at the moment; is for voice overs and radio broadcast, and I can truly say that it works many wonders within the two subjects that I use it for.
(Please note that I am running it through various processing outboards including: PreSonus Studio Channel, TC Electronic Triple C, Behringer Tube Ultragain (with modded tubes) preamp and a Behringer Multigate pro.)

The only fault I do have to mention is that it doesn't come with a shockmount which adds up to around another £230, the windshield which works very well as its immensely thick compared to others however; that's around another £40 - £50.

If you have the money to spare then what you waiting around for? or if you have even more, then upgrade to the world famous U87.

You can talk technical for hours, but its the end result that really matters, The TLM 103 will give you the most true to life recording you can get competing in quality with classics mics like the u87. Being a Neumann you also get a very subtle quality to the recording providing clarity, warmth and depth to vocals and instruments. Its not cheap but its not expensive if you want the best quality you can get for a sensible price then don't hesitate. If your recording at home you cant not have one of these.

Neumann is a name all professionals and most serious amateurs know well, especially if studio recording is a frequent event. Nuemann U87 microphones are among the most prized microphones worldwide and often are the cornerstone of top quality recording studios. The Neumann "sound" adds what some call a "sheen" to the sound. It's this trademark sound, high end reputation and quality that Neumann offers in exchange for a serious entry cost to make these mics your own.

So when Neumann offered this microphone at a price point that attracts both professional and high end amateur users, it seemed like a "no brainer" that this microphone would soon be on everyone's short list of "must have" products. But, as is said by some, there is often quite a gap between perception and reality, and that's where I find the KWS 105 to require serious evaluation of your talent before committing to a long term relationship.

Unlike other microphones the design of this one includes no foam baffles, but relies upon a very well designed and constructed series of metal "cages" to provide the pop protection needed for aggressive closely miked vocals. Coupled with a built in, and non-defeatable low filter roll-off and a relatively narrow pickup pattern, the microphone has the unique ability to provide ulta clear vocal sound. The flip side is that it can tend to make some singers, especially soprano female voice, sound a bit thin, especially when compared to some other microphone brands.

The effect is magnified by a lack of upper range "presence" boost, typical again of other manufacturers standard offerings. The result is that relying upon built in boost to power up a vocal isn't what this mike is all about. Opera singers performing with wide vocal range and control, perfect diction and powerful voices would work perfectly with this microphone. Full voiced pop/rock and others may find similar nirvana. For those performers this microphone has the potential to provide a more true to life, clearer presentation than almost anything I've used, but there is another consideration as well.

That consideration is the overall sound of your music. Do you play an acoustic guitar solo, or are you part of a five person vocal group. Is you music heavily amped or natural and mellow? If your in the big group camp, you may find that your sound man becomes your best friend as you try to balance the total characteristics of this mic with the rest of the vocals. Your soundman can boost your mic to match the rest, but if you do what happens to the clarity that you bought this mic to produce? Do you reduce the presence peak in the rest of the band, and if you do will they still sound "punchy" or will the lack of vocal contouring wash out their sound?

Overall this microphone can be so good that it makes you rethink how you present your music. That's a good thing, but requires honesty and careful listening and evaluation. At its best the 105 will challenge you to rise to the level that it offers, but if you aren't up to the challenge, or if your music isn't, you may find that the more well known competitors are more to your liking.

Highly recommended, but caveat emptor.

The Neumann TLM 193 is a 10/10 mic, however it only earns a 7 due to it's non versatility! A while back on a Jazz session I decided to try this mic on a trumpet and the result was totally out of this world. Trumpets can generally be quite harsh sounding and but with this mic, it just sat beautifully without much work. The freq response is such that the mid highs are slightly attenuated but the crisp highs remain. Neumann have a freq graph on their website.

Applications:
1) Screaming electric
2) Woman with high pitch voices
3) Mens voices work well if they sing in a higher register or scream.
4) Close micing acoustic guitar but only where the guitarist is playing higher on the fret board. This is also great as it gets you to use a different mic which helps the acoustic parts to sit better together.

I don't think this mic is for somebody looking for a versatile mic for many applications but rather when you have the money to spare - this is a case of 'the right mic for the right application'.