It DOES stack up.
As a studio owner, career engineer/producer I'd like to give you my .02 on the use these mics get in my studio day in and day out: In doing so I'd like to clear up some blatant misinformation offered by a prior review.
First off, as I said, I'm a career engineer/producer. I deal mostly In film score and audio for video, but I do record my share of music. My wife and I recently packed up our things and moved our family from San Antonio to Dallas, Texas to open our very own commercial studio. As part of our initial investment of studio equipment for our new facility, I bought a pair of TLM102's. I first used these as overheads for a folk rock album when my go-to U87's and 414's weren't available as my LDC of choice for this task. This microphone is great in its own right: if you buy this mic expecting it to be a U87, you probably have no business making recommendations to others about which mics they should buy (especially when recommending the screechy cartoonish presence bump harshness that is entry level ADK/Rode NT1A mediocrity trying to emulate the Germano-Austrian Hi-mid curve as found in Neumann, Telefunken, AKG, etc. For starters, the TLM102 has an edge terminating large diaphragm capsule, unlike the U47, U67, U87 and modern TLM103, TLM49 models which all have center terminating capsules. The result is smoother, yet still detailed and crisp response.
People who own U87's (the modern U87ai version more so) don't like to hear this, but I can blind fold the most golden eared engineer you know, and he'd be hard pressed to tell a U87 in cardioid from a TLM103 on most vocal sources. Most can't. Given that the U87 is 3x as expensive as the 103, does the average recordist who rarely uses the Omni and Fig 8 patterns benefit from the extra cash spent? You tell me. I guess the PAD function is nice to have, but I don't know if it's $2000 nicer. I digress...
The TLM102 pair was a knockout on drum overheads, and acoustic guitars during the first session I ever used them. I knew I'd buy my own pair some day. Between the mics I owned before hand and our investment in the new facility, we have mics ranging from $50 CADs to a $10k AKG C12 so I've really reached what I believe to be considerable objectivity. The 102 is always near the top of the heap for Drums (Great on snare too), Acoustic Guitar (when you don't want piercing hi's) It's positively killer on brass and woodwinds, it's relatively smooth response also works well for strings/orchestral purposes. I quite like them on vocals for certain styles as well, and any brightness you're lacking from the typical U87 up front pop/rock sounds can easily be made up for as these mics take EQ quite well also.
In addition to the rarely used locker treasure we pamper a bit to much (U67) the other neumanns we have in our locker include: a pair of KM84's, a pair of KM184iMT's, a KM86, two TLM103's, Two U87's (1970's purple badge/pre Ai) and an M149. I want to make it clear that the 102s hold their own and have uses which I prefer them over all the others I've mentioned. They're not sub-par in any for or fashion. The edge terminating capsule is a predecessor to their recent digital mics and their new TLM107. I think it's got a great and unique voicing. Don't be swayed by the misinformation of a guy who has "used 87's before and they sounded amazing". If the 102 really didn't work for him, my first instinct would be to blame the carpenter,and not the tool. I'd also LOVE to know what "QUALITY" preamp he paired it with, being that he seriously recommended a NT1a over the 102... Paying for a beautiful German mic and plugging it into cheap pres and converters on board budget interfaces is an easy way to bottleneck all the goodness and nuance that finer mic brings to the table.
These mics are more like 4.75 stars to me, and ONLY got .5 stars taken away because the lack of a PAD/HPF switch is a small bummer, but is a minor and easily overlooked infraction in my book. A proprietary shockmount included would be nice, because it fits into the same shockmount as it's big brother, the 103, and looks a little funny all swallowed up in it, making it difficult to close mic guitar cabs (another use for which I love the 102 - in tandem with a Royer 101 or 121, they're my "go to's" for guitar amps).
All in all, it's authentic German made Neumann quality and sound for a price that makes it possible for engineers with lesser budgets to join the red badge club.
If you're a serious home recordist, buy one or a pair and never look back! Pair them with a good preamp, good converters, and never look back. I highly recommend the Warm Audio WA12 as a great partner for a quality home studio vocal chain (don't forget good converters!).
Don't let the size fool you, it's a serious performer. It's compact size helps more than it hurts. It easily fits into all those tight spaces you always WISHED you could fit a LDC!
Best of luck!