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NoHype Audio SRM-1 Stereo Ribbon Microphone
Old 3 weeks ago
  #1
Here for the gear
 

Hardware NoHype Audio SRM-1 Stereo Ribbon Microphone

NoHype Audio just released their SRM-1 Stereo Ribbon Microphone. From the description on their website:

"The SRM-1 is a stereo ribbon microphone based again on LRM Series user comments and requests. Released in September 2019, it offers a linear response with a smooth top end, gently tapering off. The mic's response takes EQ well so proximity compensation and top end manipulation sound natural with most EQ's. The size and weight have been kept to a minimum to allow for easy, safe placement."

More details here: http://www.nohypeaudio.com/nhaproducts.htm
Attached Thumbnails
NoHype Audio SRM-1 Stereo Ribbon Microphone-nohype-srm-1.jpg  
Old 3 weeks ago
  #2
One is en route coming this way and i'm very much looking forwards to trying it here on vox and guitars before bringing it to a proper studio with properly set up drums, piano etc.

For newcomers to the NoHype ribbon scenario... earlier today i came across one of my favorite posts at the LRM-V thread, where Dead Poet wrote two weeks ago:


"So yes, a €160 beat out a €4000 mic yesterday.

While my FLEA 49 is smooth and big and bold, this track *really* required the LRM-V on a particular song and female vocal.
Add a little tube pre (SoundSkulptor MP5.66), cut some mud and add a little presence with a AML Pultec, control the wildest dynamics with an AML 2254 and this vocal sits REALLY well in a mix.



Whatever you're cooking up next JP, I'm getting it, big fan of your work!


Herwig"
Old 2 weeks ago
  #3
In the spirit of 'first thought, best thought' – here some of my very first impressions of the SRM-1 used as mono mic, using the top of the two.
I just set levels on the pre and a bit of tracking compression (and direct to AD to avoid additional tape color), pressed record and started jamming and exploring as i like to do with a new mic.

For about half an hour all i could think was: gorgeous... gorgeous... gorgeous. But meanwhile i had noted how many facets of gorgeous there are in this microphone and tried some different words as well hi ho...

Guitars used are a low volume old Gibson archtop and a pretty loud prosumer resonator, mic aimed favoring vocals. I chopped out some bits that i hope give a feel for the various kinds of gorgeous i discovered, slapped a reverb on a send (and a delay on the 'instrumental track') for fun and and done. No EQ or other ITB processing except setting levels.

Generally singing from about 30 cms out, closest distance maybe 20 cms, no pop filter. Btw i noticed that in one hour of recording there was only one small pop (it's on one of the samples) and i never paid any attention in that regard.

Trying hard to refrain from further comments til later... maybe a two-in-one one? To my ears, this man JP is a microphone magician of the first degree, and if you're Cassandra Wilson, Townes Van Zandt's nephew, a cellist et al, i advise you not to believe for a minute this is 'only' an overhead mic!

Chain is: SRM-1>Siemens V276>TAB U273>B2.
Attached Files

GORGEOUS.mp3 (4.58 MB, 3242 views)

HEY LOVER HEY.mp3 (7.52 MB, 3271 views)

PLUM BLOSSOM BAMBOO BREEZE.mp3 (3.32 MB, 3223 views)

YOU GOTTA MOVE.mp3 (6.68 MB, 3197 views)

Old 2 weeks ago
  #4
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Do you think this will work nicely as a “two figure 8” mic for guitar and vocal seperation?
Old 2 weeks ago
  #5
Gear Addict
Great sounding tracks nice vibe!
Old 2 weeks ago
  #6
Quote:
Originally Posted by mutetourettes View Post
Do you think this will work nicely as a “two figure 8” mic for guitar and vocal seperation?
Funny you ask as i was just trying this out last night. I'm usually all one-mic and mono but got curious what it might do to bring up a low volume guitar as that old Gibson. Have to admit i was impressed, not only to obviously get more guitar while recording but about how i could tweak afterwards... while the guitar will spill into the vocal probably no matter what you do, the vocal spill onto the guitar track is really really minute - nearly shocking how good the null is when you mute the vocal channel while setting up. I guess the slender size helps.. with my 44 no way José could i null like this... so far i knew JP designed it all new not only to be less clunky but also to avoid potential phase issues with bigger bodies, maybe the great separation is another bonus.

So in practical terms yes i could definitely for example EQ more bass etc on the guitar and bring up its level without messing up the vocal in the overall sound.
Old 2 weeks ago
  #7
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retractablezing's Avatar
 

Quote:
Originally Posted by cracker satchmo View Post
Have to admit i was impressed, not only to obviously get more guitar while recording but about how i could tweak afterwards...
The null i get from my rca ribbons in this particular situation never ceases to surprise me and it's something i can work with pretty well. Having never used a stereo mic/ribbon before, it's really hard to wrap my head around that sort of separation, concept wise, especially with the 2 mics being in line. I know each head rotates, but still...
Old 2 weeks ago
  #8
Quote:
Originally Posted by kmade View Post
Great sounding tracks nice vibe!
Hey, if the sounds that came out were half as pleasant to you as putting them in was for me i'm delighted! This mic is very easy to like...

(PM you tomorrow)
Old 1 week ago
  #9
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Quote:
Originally Posted by cracker satchmo View Post
This mic is very easy to like...
If you have the time/inclination, I'd love to hear a live take of guitar and vocals recorded in Blumlein stereo. Thx!
Old 1 week ago
  #10
Quote:
Originally Posted by BluesTrain View Post
If you have the time/inclination, I'd love to hear a live take of guitar and vocals recorded in Blumlein stereo. Thx!
Hey Train, trying to find two same preamps/channels that sound halfway acceptable (don't have a stereo mic pre)... for the vox-guit separation tests i just plugged into a Tascam Porta but that sound would be far from representative... just went through two old interfaces... am about to pull out the Tascam M30 with little hope before having to consent to just use the current UH-7000 interface's pres and AD. Will do my best but if i don't manage to make it sound so i like it/it does the mics justice, i'll prefer to not post samples... sound ok?
Old 1 week ago
  #11
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Quote:
Originally Posted by cracker satchmo View Post
Hey Train, trying to find two same preamps/channels that sound halfway acceptable (don't have a stereo mic pre)... for the vox-guit separation tests i just plugged into a Tascam Porta but that sound would be far from representative... just went through two old interfaces... am about to pull out the Tascam M30 with little hope before having to consent to just use the current UH-7000 interface's pres and AD. Will do my best but if i don't manage to make it sound so i like it/it does the mics justice, i'll prefer to not post samples... sound ok?
Sounds good!

I have a love-hate relationship with x-y capture of a singing guitarist (and I usually dial down the l-r pan to 30 degrees instead of 90). I like the dimensional quality of Blumlein, but there's that pesky lack of a super solid center.

Anyhow...best of luck!
Old 1 week ago
  #12
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cheu78's Avatar
Quote:
Originally Posted by BluesTrain View Post
Sounds good!

I have a love-hate relationship with x-y capture of a singing guitarist (and I usually dial down the l-r pan to 30 degrees instead of 90). I like the dimensional quality of Blumlein, but there's that pesky lack of a super solid center.

Anyhow...best of luck!
That's when the orientation is horizontal, like a regular room mic, I guess.. And also when this is your only stereo setup.

Try to use the vertical orientation, you'll end up basically with 2 mono sources.. One is the one aiming at vocals, the other one aiming at the ac gtr.. usually with very little bleed in the other mic..

I might use another stereo set of some kind to blend in the room to the two "close" mic sources.

Or am I misinterpreting your post?



Cheu
Old 1 week ago
  #13
Here for the gear
 

Quote:
Originally Posted by cheu78 View Post
That's when the orientation is horizontal, like a regular room mic, I guess.. And also when this is your only stereo setup.

Try to use the vertical orientation, you'll end up basically with 2 mono sources.. One is the one aiming at vocals, the other one aiming at the ac gtr.. usually with very little bleed in the other mic..

I might use another stereo set of some kind to blend in the room to the two "close" mic sources.

Or am I misinterpreting your post?



Cheu
Mostly I'm interested in vertical placement of the mic (side to side - left to right) for x-y capture, like this one (especially when you want to capture the foot stomps, room, etc...):



But, it's nice to be able to have the horizontal (UP- vocals, Down- guitar) option of capturing 2 null isolated sources (guitar and vocals with a single stereo mic), like you're referring to.

Do you think it would have been better to record Cedric's performance with multiple mics (guitar, vocals, feet, room)? Or a single mic? Or was this R88 the right call?
Old 1 week ago
  #14
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mutetourettes's Avatar
 

Just have to say i LOVE Cedric Burnside..

Carry on...
Old 1 week ago
  #15
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Ol' Betsey's Avatar
I did a live national radio session, just acoustic and vocals, and the young engineer chap (it was basically an interview with a couple live-in-the-studio tracks thrown in) put up a couple 414's in cardioid for vocals and acoustic and I suggested we try a two fig8 set-up and he was floored by how good it sounded and how much separation there was.

I really like your idea of another stereo set-up up to grab some room ambience too. Definitely going to start working that in.

R.



Quote:
Originally Posted by cheu78 View Post
That's when the orientation is horizontal, like a regular room mic, I guess.. And also when this is your only stereo setup.

Try to use the vertical orientation, you'll end up basically with 2 mono sources.. One is the one aiming at vocals, the other one aiming at the ac gtr.. usually with very little bleed in the other mic..

I might use another stereo set of some kind to blend in the room to the two "close" mic sources.

Or am I misinterpreting your post?



Cheu
Old 1 week ago
  #16
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cheu78's Avatar
Quote:
Originally Posted by BluesTrain View Post
Mostly I'm interested in vertical placement of the mic (side to side - left to right) for x-y capture, like this one (especially when you want to capture the foot stomps, room, etc...):



But, it's nice to be able to have the horizontal (UP- vocals, Down- guitar) option of capturing 2 null isolated sources (guitar and vocals with a single stereo mic), like you're referring to.

Do you think it would have been better to record Cedric's performance with multiple mics (guitar, vocals, feet, room)? Or a single mic? Or was this R88 the right call?
I do honestly think the whole series is stellar. And John Cuniberti does that incredibly well..
For this performance he went for a raw, real "presentation"..
Which in this case is very fitting and powerful.. I think..I'd have done probably the same.
but who am I? I'm nobody my friend.

The AEA R88 is a helluva mic. Would be nice to see if the nohype has the same reach..

Are your issues related with a stereo ribbon setup?
I'd say that if you're using condensers they might have a different way of portraying the source(s) and and reach and that might or might not work depending on the program..
Also if you're too close to the source you'll hear the ac gtr going left and right and that might be disturbing..
Might this be the case?
I dunno, I'm just guessing..

I absolutely love the onemic series and he invests A LOT of time placing the players/instruments and the mic in the best position. That's the key.
Try to move your player/instrument and the mic until you find the best spot in YOUR room.
Room is also part of the equation of course..

I recorded an ac gtr in a small well treated booth.. it was an overdub.
In that case I had 4 channels..
A shoeps in front of the ac gtr (around the 12th fret), a Beesneez Mahalia over the right shoulder of the player pointing down, and my B&O BM5 stereo ribbon about 1meter from the player.

For that kind of song in that album, if I had to do it all in once (with vocals), I'd have gone with 2 stereo mic.. As said before.. One "close miced" up/down (vocals/gtr), one stereo in front for the space/room, blend to taste.. But again is simply a choice of what works in THAT situation in that context.

Great stuff.. But was a completely different presentation/song/thing.



Cheu
Old 1 week ago
  #17
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jpgerard's Avatar
Quick reply on the previous post, the SRM-1 is not trying to do what the 88 does. A pair of LRM-2b's with the coupler are much closer to that type of performance. The main SRM-1 design points were:
Small & light
Decent output despite the relatively small motors
Linear bass with controlled proximity effect and natural, linear lower mids
Practical, to make Blumlein setups in MS/XY easy and intuitive
Priced close to two LRM-2's with the Coupler and a stereo bar.

This is based on years of LRM-1 and 2 user comments who started requesting a stereo ribbon. So don't look at the SRM-1 as a cheaper 88, it's not. Consider a pair of LRM-2b's for that kind of vibe. The LRM-2b takes EQ very well, like the 88.

The SRM-1 one also departs from the Classical/linear yet airy tone of the LRM-2b as I got a lot of requests for a deep clean bass but a more traditional top end, hence the SRM-1's natural HF shelf. Stereo capture of Room and Drums OH were the main application I received requests for. The mic works on just about anything of course, as Cracker Satchmo demonstrated yet again.
Old 1 week ago
  #18
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jpgerard's Avatar
Quote:
Originally Posted by BluesTrain View Post
Sounds good!

I have a love-hate relationship with x-y capture of a singing guitarist (and I usually dial down the l-r pan to 30 degrees instead of 90). I like the dimensional quality of Blumlein, but there's that pesky lack of a super solid center.

Anyhow...best of luck!
Have you tried M/S? Total control of the center...
Old 1 week ago
  #19
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cheu78's Avatar
Quote:
Originally Posted by jpgerard View Post
Quick reply on the previous post, the SRM-1 is not trying to do what the 88 does. A pair of LRM-2b's with the coupler are much closer to that type of performance. The main SRM-1 design points were:
Small & light
Decent output despite the relatively small motors
Linear bass with controlled proximity effect and natural, linear lower mids
Practical, to make Blumlein setups in MS/XY easy and intuitive
Priced close to two LRM-2's with the Coupler and a stereo bar.
I didn't want to compare them, i just wondered if the SRM-1 has the same type of reach..
I do believe that the srm-1 is probably closer to other stereo ribbons, which are more practical to place and they might have a different way of "portraying".

Dunno what kind of ribbon is mounted, but I guess it's a "zigzag" type and not "piston" (like B&O and beyers) type.

I just commented because of the poster above asked a question on that video..

Let me know if you want that edited (I acknowledge this is not really related to this very product).



Cheu
Old 1 week ago
  #20
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jpgerard's Avatar
Why edit? Everything in there is relevant, I think

I just shed some light on a couple of points to make sure readers wouldn't get confused on what the SRM-1 is/does.
Old 1 week ago
  #21
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Quote:
Originally Posted by jpgerard View Post
Quick reply on the previous post, the SRM-1 is not trying to do what the 88 does. A pair of LRM-2b's with the coupler are much closer to that type of performance. The main SRM-1 design points were:
Small & light
Decent output despite the relatively small motors
Linear bass with controlled proximity effect and natural, linear lower mids
Practical, to make Blumlein setups in MS/XY easy and intuitive
Priced close to two LRM-2's with the Coupler and a stereo bar.

This is based on years of LRM-1 and 2 user comments who started requesting a stereo ribbon. So don't look at the SRM-1 as a cheaper 88, it's not. Consider a pair of LRM-2b's for that kind of vibe. The LRM-2b takes EQ very well, like the 88.

The SRM-1 one also departs from the Classical/linear yet airy tone of the LRM-2b as I got a lot of requests for a deep clean bass but a more traditional top end, hence the SRM-1's natural HF shelf. Stereo capture of Room and Drums OH were the main application I received requests for. The mic works on just about anything of course, as Cracker Satchmo demonstrated yet again.
Thanks for the input, JP. I certainly don't want to dominate the topic with my personal interest in using the mic for recording a singing blues guitarist. That said, I have used the R88, the N8 stereo pair, the N22 stereo pair as well as the Cascade X-15.

Coupling mics to make a stereo mic is a pain (the AEA N8/N22 coupling system is not fun!). Even with the flexibility that 2 mics bring, I'd much rather have a stereo mic (and for what I do, I'm thinking stereo mic on guitar/foot stomps, with a separate vocal mic).

So what's out there?

The R88, the Cascade variants, the Golden Age ST, Royer (and B&O), Mesanovic, Samar and now the NoHype. What's out there that's less than $1k? Cascade, Golden Age and NoHype.

The Cascade has a pinched, dark voice (short ribbons), so that leaves the GA and the NoHype (for those keeping track!). Having used other GA products, your mic interests me the most. Anyone else feeling the same way?
Old 1 week ago
  #22
"Favored over many API and Neve consoles because of the superior leather armrest and more room for blow between the faders by many illustrious... as well as its unvarnished vintage tone... the legendary Tascam M30 thrills with nofrill bravado.... ." as Bobby Baroque wrote so aptly in Rollin Bone Magazine - sure y'all read it...

... i confess i opted for 'direct out' depriving you of all the summing magic, all for science of course!

But seriously... here some samples from the XY Blümlein experiments Blues Train requested.

Not what i would recommend for singer-guitarists but i hope it serves for illustration purposes and to still show some of the mics' charms, inspite of the not exactly singing preamps (better than i feared though!).

SRM-1> Tascam M30>B2

Only processing was level setting, no EQ, compression, reverb etc anywhere.

Cheers!
Attached Thumbnails
NoHype Audio SRM-1 Stereo Ribbon Microphone-tascam-m30.jpg   NoHype Audio SRM-1 Stereo Ribbon Microphone-tascam-m30-back.jpg  
Attached Files

Ma-Me-O-Beach.mp3 (2.60 MB, 1540 views)

FLIPPITY FLIP.mp3 (2.60 MB, 1516 views)

DOWN BY THE RIVERSIDE.mp3 (3.45 MB, 1543 views)

Old 1 week ago
  #23
Gear Maniac
Quote:
Originally Posted by cracker satchmo View Post
"Favored over many API and Neve consoles because of the superior leather armrest and more room for blow between the faders by many illustrious... as well as its unvarnished vintage tone... the legendary Tascam M30 thrills with nofrill bravado.... ." as Bobby Baroque wrote so aptly in Rollin Bone Magazine - sure y'all read it...

... i confess i opted for 'direct out' depriving you of all the summing magic, all for science of course!

But seriously... here some samples from the XY Blümlein experiments Blues Train requested.

Not what i would recommend for singer-guitarists but i hope it serves for illustration purposes and to still show some of the mics' charms, inspite of the not exactly singing preamps (better than i feared though!).

SRM-1> Tascam M30>B2

Only processing was level setting, no EQ, compression, reverb etc anywhere.

Cheers!
Maaan, that vibe!!! Really love those tones and how the deep register of your voice is being represented. Also SRM-1 seems to have a nice amount of top end.
That being said - how much of that tone comes from Tascam + Burl combo? I guess that for the money of those two you can get many, many SRM-1's.

I have been waiting on this SRM since I got my LRM-2b (thanks to cracker satchmo actually and your samples on the other thread).
Will be ordering one soon and probably gonna get some Tritons along the way as LRM-2b needs a bit of that extra gain on some situations where too much noise starts to creep in.

Does anyone have any samples of SRM-1 or LRM running through those new germanium fetheads?
Old 1 week ago
  #24
Here for the gear
 

Quote:
Originally Posted by cracker satchmo View Post
"Favored over many API and Neve consoles because of the superior leather armrest and more room for blow between the faders by many illustrious... as well as its unvarnished vintage tone... the legendary Tascam M30 thrills with nofrill bravado.... ." as Bobby Baroque wrote so aptly in Rollin Bone Magazine - sure y'all read it...

... i confess i opted for 'direct out' depriving you of all the summing magic, all for science of course!

But seriously... here some samples from the XY Blümlein experiments Blues Train requested.

Not what i would recommend for singer-guitarists but i hope it serves for illustration purposes and to still show some of the mics' charms, inspite of the not exactly singing preamps (better than i feared though!).

SRM-1> Tascam M30>B2

Only processing was level setting, no EQ, compression, reverb etc anywhere.

Cheers!
Thanks a bunch for those tracks! I like what I hear.

But I am confused- I'm not really hearing the kind of 90 degree stereo spread that I've experienced in my stereo ribbon mic recordings (with the R88 and Cascade). Also, I always get a little bit of active panning happening in the vocals (unless your head is perfectly aligned the whole time you sing).

It doesn't sound as hard panned l-r, compared to stuff I've done. Hmmmm...maybe it's just mic placement/room (how close was the mic?). Again, I like what you've done- thanks!
Old 1 week ago
  #25
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jpgerard's Avatar
Quote:
Originally Posted by BluesTrain View Post
Thanks for the input, JP. I certainly don't want to dominate the topic with my personal interest in using the mic for recording a singing blues guitarist. That said, I have used the R88, the N8 stereo pair, the N22 stereo pair as well as the Cascade X-15.

Coupling mics to make a stereo mic is a pain (the AEA N8/N22 coupling system is not fun!). Even with the flexibility that 2 mics bring, I'd much rather have a stereo mic (and for what I do, I'm thinking stereo mic on guitar/foot stomps, with a separate vocal mic).

So what's out there?

The R88, the Cascade variants, the Golden Age ST, Royer (and B&O), Mesanovic, Samar and now the NoHype. What's out there that's less than $1k? Cascade, Golden Age and NoHype.

The Cascade has a pinched, dark voice (short ribbons), so that leaves the GA and the NoHype (for those keeping track!). Having used other GA products, your mic interests me the most. Anyone else feeling the same way?
Aahh, I'm going to get an infraction again if I comment on other brands so I won't. I'll just say that, very vaguely (?) [(edited because my next infraction will get me banned)].
Now, Royer and AEA have top notch mics and I always tell potential customers to go with those if they hesitate. If you can afford it, treat yourself! I've owned Royers and AEA's. AEA products are my fav. Mesa and Samar look great but I have no first hand experience. Again, they should be checked before a final purchase if made... Your comment on coupling is one of the reasons I ended up spending 3 years on the SRM-1. At first I didn't want to because I didn't think I'd get a prototype to a point where I'd be happy. Then after messing with the motor design I thought there was potential. Then over a year and a half went by during which samples were made and assembly procedures compared and tried and many things went wrong many times and I feel bad still postponing release so many times. I'll spare you the gory details bu the first batch was so stressful I almost pulled the plug 3 times, maybe 4... and I'm not even sure I'll make this model after the first batch of 100 is gone as it's incredibly time consuming. I want to though but I can't get too obsessed. Anyway. In the end it does some things really well and apparently it works for the few first owners. I cannot say whether it would work for you but in the world of affordable stereo ribbons, I have no problem saying it doesn't suck

Last edited by jpgerard; 1 week ago at 09:03 AM..
Old 1 week ago
  #26
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jpgerard's Avatar
I'm reading those posts on stereo configs and there IS some confusion.

First, with all due respect, Cheu78:

"That's when the orientation is horizontal, like a regular room mic, I guess.. And also when this is your only stereo setup. Try to use the vertical orientation, you'll end up basically with 2 mono sources.. One is the one aiming at vocals, the other one aiming at the ac gtr.. usually with very little bleed in the other mic.."

Is it me or you have Horizontal and Vertical backwards... Most room mics are set up vertically. We're talking Side Address mics, typically all ribbons except Beyer M160/260 which are Axial. A horizontal setup is what you'd use to aim one motor at the player's voice while the other, at 90° for instance, will pick up his/her guitar or whatnot.

Then on Cracker's last samples, I think a photo might be best so that we all know what's going on. Also, CrackSatch, if you could tell us how the channels are mixed. I get a feeling that they're not hard panned too
Old 1 week ago
  #27
Quote:
Originally Posted by kuulart View Post
Maaan, that vibe!!! Really love those tones and how the deep register of your voice is being represented. Also SRM-1 seems to have a nice amount of top end.
That being said - how much of that tone comes from Tascam + Burl combo? I guess that for the money of those two you can get many, many SRM-1's.

I have been waiting on this SRM since I got my LRM-2b (thanks to cracker satchmo actually and your samples on the other thread).
Will be ordering one soon and probably gonna get some Tritons along the way as LRM-2b needs a bit of that extra gain on some situations where too much noise starts to creep in.

Does anyone have any samples of SRM-1 or LRM running through those new germanium fetheads?
kuulart you rock, brothers in arms ha ha! Same here - feels and sounds to me like all you want is there... with this SEXY flourish as it's so responsive - for me a defining NHA ribbon trademark by now.

Tone: love the Burl simply because it gives a faithful CLASS A representation of what comes out of the analog chain which for vocals etc is real fine to have... (i don't push the xformers 99% of the time)

The M30 was 26'000 in 1976, with leather armrest 126'000 but luckily that included one and a half kgs of marching snow so you were set for the first three months... you know i'm BSing of course!?

The few times i tried the mic pres before must have been with dynamics with plenty 6k poke as i instantly felt the top end harsh and wiry... but hey it was only 95 bucks, dragging it home on the train sucked but here we suddenly found a good use for it... no they're far from boutique and not flattering but let's say pretty straightforward straight wire - so to me what nice vibe you hear is definitely the mics and their ever-so mermaidfluid transitioning from rural chapel to honky tonk and back in one magic carpet breath.
Old 1 week ago
  #28
Quote:
Originally Posted by BluesTrain View Post
Thanks a bunch for those tracks! I like what I hear.

But I am confused- I'm not really hearing the kind of 90 degree stereo spread that I've experienced in my stereo ribbon mic recordings (with the R88 and Cascade). Also, I always get a little bit of active panning happening in the vocals (unless your head is perfectly aligned the whole time you sing).

It doesn't sound as hard panned l-r, compared to stuff I've done. Hmmmm...maybe it's just mic placement/room (how close was the mic?). Again, I like what you've done- thanks!
Train glad you liked the sounds!

And... you may be right... more than a little probably about no hard panning...
as was just lifting my weary head from that leather armrest on my vintage console, i did notice this orange glow amidst the mounds of snow, first thought it was a UFO, then zooming in noticed that it said PAN (the god?) and it did somehow look like a hoof: but that's when the usually well-hidden seasoned engineer in me kicked in with a fury and i rose to action, turning the knob left then right alas nada happened... but worry not another heureka moment just now revealed it is only because i used the direct outs... so... it's not the console's fault ha ha!
No but seriously then i thought, but hey the mics are arranged that way so to give the 1:1 picture center panning would be accurate representation.

Sorry bro but i hope you can extrapolate somehow?
Old 1 week ago
  #29
Quote:
Originally Posted by jpgerard View Post
I'm reading those posts on stereo configs and there IS some confusion.


Then on Cracker's last samples, I think a photo might be best so that we all know what's going on. Also, CrackSatch, if you could tell us how the channels are mixed. I get a feeling that they're not hard panned too
Hey JP, set up was like singing at the picture in the first post, mouth height just about between the two mics... so yes XY config but as we have found out sans pan!

Ps yes i also thought Cheu just mixed horizontal and vertical, because everything is logical when swapping the words.
Pps, just switched on that le-gen-dary console and after heating up the little tubes that light up the VU meters... want to try this vox-guit separation set up again.
Old 1 week ago
  #30
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Quote:
Originally Posted by cracker satchmo View Post
Train glad you liked the sounds!

And... you may be right... more than a little probably about no hard panning...
as was just lifting my weary head from that leather armrest on my vintage console, i did notice this orange glow amidst the mounds of snow, first thought it was a UFO, then zooming in noticed that it said PAN (the god?) and it did somehow look like a hoof: but that's when the usually well-hidden seasoned engineer in me kicked in with a fury and i rose to action, turning the knob left then right alas nada happened... but worry not another heureka moment just now revealed it is only because i used the direct outs... so... it's not the console's fault ha ha!
No but seriously then i thought, but hey the mics are arranged that way so to give the 1:1 picture center panning would be accurate representation.

Sorry bro but i hope you can extrapolate somehow?
No worries- the effort is appreciated!

There's a lot of fun to be had playing and singing into a stereo mic. With headphones on, there's nothing quite like it- especially if you like to shuffle or tap or stomp (careful!) your feet.

Keep on keeping' on...
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