| In my opinion, recorded music played through a loudspeaker as a source masks the qualities a Lundahl can bring to the table .
The superiority of the Lundahl transformer would be heard in an A/B test with a single, complex acoustical source like an acoustic guitar. There are a couple of qualities to listen for 1.) better alignment of fundamentals and their harmonics (this is a time domain phenomena) and 2.) less HF distortion. It is not possible to hear these two improvements in this particular test.
On a similar note, the ability to hear how the transformer contributes to the overall sound of the mic is more apparent as acoustical resonators and filters are removed that mask transformer effects. In the Alctron HRM-14b, the surfaces of the outer perforated grille are parallel and create standing wave colorations across the high frequency spectrum. This makes it harder to hear what the Lundahl is capable of in the top end. A ribbon mic with multiple truncations of a cylindrical shape (commonly copied from the Neumann U87) will not suffer from parallel surface reflections to the same extent as the HRM-14b and will allow transformer effects to be more clearly heard.
I had two Tape Op group buy Alctron HRM-2 mics for a couple of years before experimenting carefully with the Lundahl LL-2913 on single acoustic sources. I always felt the stock transformers were fairly decent and the main issues I had with the HRM-2 were acoustical and mechanical - not electrical. But I finally got a few extra Apex 205 mics and some Lundahl transformers in-house to experiment with. There was a large enough improvement in HF output, lowered midrange distortion and better fundamental / harmonic alignment that, had I heard this modified mic a year ago I would not have acquired my Coles 4038.
I'm convinced that, like many other Swedes, there is indeed beauty in that tranny. |