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NoHype Audio's new ribbon mic is out now
Old 19th October 2018
  #31
Quote:
Originally Posted by jpgerard View Post
Wow... thanks! Looks like you won't be returning it :)
There could be only one reason to return it - it's too good for me ha ha!

But let me indulge this luxury sort of as a retirement present after 40 plus years chasing a good vocal and guitar sound.

It's also tempting to think maybe the gods rewarded me for all the 'boutique' crap i naively fell for and when they crap out you're on your own...

But i wanted to as prosaically as possible describe the new or rather expanded dimensions i discovered last night that made me fall helplessly foreverly in love (for a vocalist falling truly in love with a microphone is emotionally very akin to meeting a 'soulmate' - suddenly you SEE them and see they SEE you and at that moment you know this is forever)...

back to prose i just got off the phone with a fellow ribbon fan who runs a studio with all the vintage 251, M49, U67, forget if C12 too and V76 etc assortment. He's in a session right now but we'll talk tomorrow and i know he'll be keen to hear it and i'm very keen to hear it side by side with the old sweeties.

So last night i moved the LRM V towards a treated corner so there'll be less room resonance and tried to sing more high register than my custom lo baritone, but still without EQ or lo cut as i just enjoy hearing the whole mic too much right now and more eager to remove outer disturbances... with that set up, i just navigated from starting place an arm's length out to maybe 30 cms, and also moving from center to side in all kinds of ways, and the beautiful subtleties i discovered were just stunning.

Point one: i've already mentioned how sensitive, alive it reacts. Now i discovered not only it is generally very reactive, but down to finest details.

This is very much akin to playing a handwound alnico 3 vintage pickup on a handmade one-piece guitar for the first time and being flabbergasted how his thing jumps at the most minute notion in your finger... before your mind was even aware of it.

Here i discovered for example that by remaining at the same position, say 40 cms, i can sing Aaa very softly and the sound is pure silk and ever so souflée cream. I push that vowel just a little more and hear what i called the spark or sizzle mix into the sound, last night i'd just called them harmonics (sweeet they sounded)... once you get the hang of these very-finely interplaying dynamics a bit and can start to play with them... OMG you WILL be moved.

I get goose bumps just thinking about it again. Intimate female vocal with a singer who learned how to work a mic? No compression or eq and - you got a heartbreaker. O and judging from how my old 12 string sounded... all stringed instruments if not 110% tinny metallic i think will love this mic. So alive and freeflowing.

Add another lil zero to the mental price range for this point.

But there's more... Point two: also already mentioned, that open, more transparent, airy (but not undefined!) sound... now relating to the intimacy ribbons are famous transmitting in general: with this set-up last night i was suddenly stunned to note how even when getting as close and personal as you can imagine, and even if the sound was at it's creamiest, there was still this feeling of air, even transparency but not in an abstract, or worse, more distant, unengaged way, but the opposite - more soulful, 'air' in the way i would dream of and never achieved with EQ.

The above two dimensions combined - the taste is irresistable, highly addictive and may alter the course of your life in unpredictable ways :)

As the distinguished recordist will have noted, if what i say is true, we have a masterpiece at hand. Masterpiece because the only explanation i can find is that every soundproducing factor in this 'soulmeasuring instrument' is so fiendishly finetuned with EACH other, in such a musical way, that the potential it embodies is exponentially rather than proportionally better than your average rather blunt tool.

I'm gonna learn 'microphone' all new, or more to the point the mic will teach me, and the room... i don't mind if it takes many many hours to discover the finer and finer layers and how they interweave.

For home recordists like me but maybe even for specialists i believe the LRM V presents a greater learning journey and challenge to room and placement than most mics, although joyful from the beginning, but if you give it what it needs it will give you 108 million dollar mics back!

Late last night instead of drinking Barolo i just laid up, half listening after the sounds i had heard, half thinking: how how how did you pull this off?

JP - half genius, half angel, considering the circumstances (uh, price) this is offered.

If someone reading this knows a young singer-songwriter with mucho dedication and devotion to music and poco monetas, languishing away with wonder voice but dentist condenser, please PM me and i will be so happy to 'arrange' one for them. (but will have to wait till beginning month as after middle i'm broke)

And JP if you ever want or need to move many of these, i'd just send one to Blackbird studios as a gift with a bottle of Belgium beer and a little card à la: Thank you for all the great music! Hope you'll enjoy my mic...

Once he puts it up for his wife...

Last prosaic points - it has been called having vintage sound, if that means gorgeous, great - one thing it doesn't mean to my ears is dark. I can't imagine a situation where i'd boost hi freqs.

The mids, i noticed again, seem 'evenly distributed across board' not hyped or dull anywhere - feeling wide and full at every point but never bloated - special! - with this o so pleasant silky transparent-creamy overall sound i'm still trying to find a word for... think stately even flowing river on a warm jasmin scented evening at blue hour :)

JP WHAT how why wei wu wei have you done???!!!

Whatever it is, thank you from the bottom of my heart.

Last edited by cracker satchmo; 19th October 2018 at 01:08 PM.. Reason: typo and better description added
Old 19th October 2018
  #32
Gear Guru
Nice to hear feedback from someone with a good collection of other mics. I want a ribbon and this just went to the top of the list!
Old 19th October 2018
  #33
Now that would be a marvelous introduction to the wonderful ribbon world! The great ones all have their unique charm... and you'd be starting with IMO the 'greatest hits' of their various good facettes. And if one would want to have it more retro, dark for some drums or i don't know, that would be a whole lot easier to do than make an average one sound good.
Old 19th October 2018
  #34
Found a pic from about two years ago, when i still had the Oktava ML19 and Beyer M320, not yet the M160 and Philips. The LRM V is now on the round wooden 'stand' where the 320 was.
Attached Thumbnails
NoHype Audio's new ribbon mic is out now-mics-ribbon.jpg  
Old 20th October 2018
  #35
Deleted 691ca21
Guest
Might have to pick up one of these, always wanted to hear a ribbon but too scared to spend Coles 4038 money on one.
Old 20th October 2018
  #36
Just finished setting up a session with a very soulful and sophisticated female vocalist where we'll have the pleasure to hear the LRM V next to a vintage M49 and U67. If time allows we'll add a bit of piano and drums so i'll see if he can throw in a Coles. I'd expect them to be more complementary than similar but haven't heard a Coles in person and i'm only beginning to know this new darlin'... looking forwards!
Old 21st October 2018
  #37
Been playing around with and comparing the hi pass filters on the Siemens pre (40, 80, 120) and a BFE MK 5b EQ (80, 160... and steep sounding) as well as the low shelf (says 60Hz) on a Siemens 295a, objective reducing proximity effect for my pretty low voice.

Fell in love with that ol 295 as often before, between two and four ticks down depending on distance sounded most musical/natural to me.

With the BFE up on 160 Hz i could go as close as 30 - 25 cm with the signal obviously leaner but still rich... you could do 'pop'...

However so far i found that at arms length to 15 cm in from that, gives the most natural lushest feel. Maybe that way the sound can do it's dervish pirouette or fully blossom within the mic withouth being hurried, or do its' osmosis thing with the surrounding space...
Old 24th October 2018
  #38
Yesterday my sis dropped in... she's never sung into a microphone, but plays classical piano, sings in choirs, is very musical and even more adversed to any harsh or 'off' sounds than me. So i thought, nice unbiased experiment and set her up with headphones before the LRM-V.

It didn't take her long to discover its charms and was a joy to watch and hear we had similar impressions. My fave comment of hers: it's like alive, communicating with you!

Recorded some to the Tascam 34B standing nearby, but that machine has been overdue for service and sounding dull for a while and listening back i regretted losing the fine details that i feel make the LRM-V so special to me.

Which brings me to this general perhaps obvious observation - this mic as it's tuned seems to beg for a clean true non-coloring preamp. While it also sounds really cool on a Tascam porta preamp (had to try) in my ears that's not what it's set up for/where it can show all its qualities, so i'd like to ask on behalf of the interested reader and possible future considerations here:

JP or others, any preamps that you find play especially nice with LRM 1,2 or V? Millenia always get rave critics for ribbons, True Systems one also reads good things, i suspect there are many i'm unaware of... in regards to LRM-V i'd say the more variable hi pass control the better which brings the TK Audio with sweepable (that i think would be my preferred) hi pass into play plus its 'clean path' option.

New on the scene Camden 500 claims it's even cleaner than Millenia but also like Millenia only has 80Hz hi pass option. Daking i fear is not my thing. AEA RPQ 500 was too 'brutally clean' for me. Guess 'clean' is another difficult word... to me Siemens and LaChapell sound clean because they don't change the character of the mic and feel linear... so for whatever it's worth, thanks for inputs!

Last edited by cracker satchmo; 24th October 2018 at 06:16 PM.. Reason: typo
Old 29th October 2018
  #39
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Well a Fethead will obviously help giving you a much cleaner signal if your preamps are on the "dirty" side, and I don't mean this in a bad way. Most preamps will happily drive the output of a Fethead. If your pres are really coloured, the Line Audio 2MP is unbeatable when it comes to lean and linear amplification on a budget.
Old 29th October 2018
  #40
Gear Maniac
 

I'm a happy owner of LRM-2. Looking forward to listening to audio samples from people that have both the LRM-2 and the LRM-V. How do they compare etc -pretty sure they're different beasts, but hearing is believing.

By the way, I confirm all the good stuff that's been written about JP Gerard: He's a nice man, always happy to share his knowledge and help in any way he can.
Old 30th October 2018
  #41
JP thanks for pointing out the Line Audio 2MP of which i was not aware. Came across a thread where someone compares it with a DAV and measured the frequency response as practically identical, that means ruler flat up to 100 kHz, while sounding just a tick more dry or direct as the DAV. But then she or he added just a teeny (inaudible as such) bit of plate reverb and voilà the 'larger than life' slightly sweet Decca sound... Someone boldly claims the DAV is the best preamp in the world, and many many have and love it, especially for vocals and acoustic instruments. To get that sound for something like a 150 bucks a channel...whooa baby!

In regards to your LRM-V (and LRM-2 i assume) the 2MP's 100 Hz hi pass option could also be a lucky choice especially for homerecorders.

Best dirty n colored pres by the way i know are Siemens V78 and Tele V672 converted to mic pre.

The most uncolored pres i have are on my Nagra 4.2... my hopes are up to hear them in action soon again as i met an old Nagra connaisseur who might be able to help with a recurring problem it has. Plus they have like 5 hi pass options.

Hey Tenant, i don't have an LRM-2 yet to compare, but i think the next batch should be ready one of these weeks... As far as i know the main difference are the extended high frequencies on the LRM-2.
While i just love to have my well-known smooth roll-off and at the same time this airy euphonic super-sensitivity... i guess i'll just be too curious not to try the LRM-2 as well!

Wonder what descpriptions you have come up with for that 'No Hype Audio-phile' sound?

Last edited by cracker satchmo; 30th October 2018 at 10:01 AM.. Reason: typo
Old 30th October 2018
  #42
Gear Maniac
 

Hey cracker, my descriptions for the LRM-2 won't reach the poetic level of yours in any case.

I have the non-Lundahl version, but had the chance to test it side by side with the Lundahl one, unfortunately only on voice. Can't remember the preamp, but it was surely a good one (we had an 8MP -the big version of 2MP, so it's practically the same soundwise- and an AML 1073 and maybe some more of the same class). The Lundahl one seemed to have a bit more low end -which I could definitely hear on a double bass, cello etc if that was the case- but mind you, the low end of the non-Lundahl is already HUGE, so I guess I wouldn't bother since in most cases I'd hipass the signal.

Apart from that, the only thing I have to say for my LRM-2 is that it feels like there's no technology involved between your voice/instrument and the speakers. You just hear it in front of you. I already have an Oktava MK-319 which is a rather dark mic with character (both of them shine on female vocs), but when I put them side by side, I could say for the Oktava "well, that's a take with a condenser mic" (good or bad, it's just depends on your taste), while listening to the LRM take, I didn't have to bother with descriptions: It's so magic yet natural at the same time. Well, that was some kind of description, but anyway..

Also, there's no need de-essing anything (even the takes with my dark Oktava need a little help with de-essing sometimes). Actually, apart from low-cutting whenever needed, the takes with the LRM-2 are like a spotless canvas on which you're free to do anything -ok, that was poetic I guess.

Last edited by The Tenant; 30th October 2018 at 05:25 PM..
Old 30th October 2018
  #43
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jpgerard's Avatar
Quote:
Originally Posted by cracker satchmo View Post
the 2MP's 100 Hz hi pass option could also be a lucky choice especially for homerecorders.
Well it's too steep to be a prox. effect filter, it's really a rumble filter.
Old 30th October 2018
  #44
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Right, the LRM-2 was designed to be quite flat/linear and it takes EQ really well. The LRM-V has more character, some inherited from the LRM-1, some from the new motor. There was a demand for a character mic with a more Classic/Vintage vibe, so the LRM-V does that. The LRM-2b will continue with the LRM-2 philosophy but with an even cleaner image (and better S/N ratio).
Old 30th October 2018
  #45
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Oh, and the Lundahl transfo also has a lower output Z, adding to the low end extension with most preamps and the mids sound a bit flatter as well.
Old 30th October 2018
  #46
Quote:
Originally Posted by The Tenant View Post
Hey cracker, my descriptions for the LRM-2 won't reach the poetic level of yours in any case. :)

I have the non-Lundahl version, but had the chance to test it side by side with the Lundahl one, unfortunately only on voice. Can't remember the preamp, but it was surely a good one (we had an 8MP -the big version of 2MP, so it's practically the same soundwise- and an AML 1073 and maybe some more of the same class). The Lundahl one seemed to have a bit more low end -which I could definitely hear on a double bass, cello etc if that was the case- but mind you, the low end of the non-Lundahl is already HUGE, so I guess I wouldn't bother since in most cases I'd hipass the signal.

Apart from that, the only thing I have to say for my LRM-2 is that it feels like there's no technology involved between your voice/instrument and the speakers. You just hear it in front of you. I already have an Oktava MK-319 which is a rather dark mic with character (both of them shine on female vocs), but when I put them side by side, I could say for the Oktava "well, that's a take with a condenser mic" (good or bad, it's just depends on your taste), while listening to the LRM take, I didn't have to bother with descriptions: It's so magic yet natural at the same time. Well, that was some kind of description, but anyway..

Also, there's no need de-essing anything (even the takes with my dark Oktava need a little help with de-essing sometimes). Actually, apart from low-cutting whenever needed, the takes with the LRM-2 are like a spotless canvas on which you're free to do anything -ok, that was poetic I guess.
"It's so magic yet natural at the same time... like a spotless canvas on which you're free to do anything - "

Seems that ribbon mojo just makes one wax lyrical!
Reminds me when i reached the guy who owns that rare old ribbon - tube (with tube=cardioid) mic and telling him this new LRM-V sound somehow reminds me of that mic, very very fine and silky, with just a little sizzle (meaning positive, spark, buzz..) - at which point he interrupted me screaming: No!! It's not a sizzle! It's... it's... it is the light of eternety - -

That settled :) i also like: it feels like there's no technology involved between your voice/instrument and the speakers.

In a similar vein i also noticed putting it (the LRM-V, also with standard xformer) through great sounding vintage type compressors (TAB, Sta) doesn't seem to add anything one would terribly miss, unless you want to compress of course. Or in other words you don't need much except clean gain to sound great... in a good room with good engineer a very 'record ready' sound if you think anything acoustic, classical...

"well, that's a take with a condenser mic"

Very similar experience through the years once the ribbon hook has sunk (didn't take long) - some are promising, but after a while 'they just sound like a condenser.' ... too edgy, uptight, harsh, hyped and variations thereof for my taste unless you get a real good one.

Also, there's no need de-essing anything

The need of which would in my world defeat the purpose of a mic i had the luck to chose myself!

One of the luxuries amateurs of ribbon mics take for granted...

Many thanks for sharing! This makes me even more curious to also hear the LRM-2's pristine canvas in the boundless azure dome illuminated by variegated rays of... or how did you say? Ha!


!

Last edited by cracker satchmo; 30th October 2018 at 07:39 PM.. Reason: forgot something
Old 31st October 2018
  #47
Quote:
Originally Posted by jpgerard View Post
Well it's too steep to be a prox. effect filter, it's really a rumble filter.
Cheers! Bearing in mind all the variables, if there are any general rules of thumb you have found with your mics maybe that could be useful... like - low voice closer than 50 cm, at least xy cut... but just thinking about it i realize the variables are endless... sweepable hi pass for quick adjustment in every new situation would be handiest i guess.

Last edited by cracker satchmo; 31st October 2018 at 10:40 AM.. Reason: typo
Old 31st October 2018
  #48
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jpgerard's Avatar
Quote:
Originally Posted by cracker satchmo View Post
Cheers! Bearing in mind all the variables, if there are any general rules of thumb you have found with your mics maybe that could be useful... like - low voice closer than 50 cm, at least xy cut... but just thinking about it i realize the variables are endless... sweepable hi pass for quick adjustment in every new situation would be handiest i guess.
Yup, sweepable is best, and 6dB/Oct. is basically the slope of the typical prox. effect LF boost so it works great to compensate. Most fixed, one position HPF are steep ie. 3rd order filters at typically 75, 80 or 100Hz and meant as a rumble filter, not for EQ'ing the signal.
Old 1st November 2018
  #49
Quote:
Originally Posted by jpgerard View Post
Yup, sweepable is best, and 6dB/Oct. is basically the slope of the typical prox. effect LF boost so it works great to compensate.

Brilliant, you got what i really needed to know :) - thanks!
Old 7th November 2018
  #50
Have been experimenting recording piano and vox-piano via Nagra 4.2 preamps. Really liked the soaring and spacious piano sounds. And on vocals i keep finding the silky smoothness combined with astonishing articulation to be addictive as soon as i hit the sweet spot of the moment/set-up.

Listening back i'm pleased to find the qualities i hear in the cans while recording translate well.
To hear it as quiet as possible i also recorded direct to AD through the Nagra pres and have to say it's one of the first non-tape recordings i did that i really enjoyed.

If you happen to have a Nagra LB or Seven i predict happy recording with the LRM-V...
Old 7th November 2018
  #51
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jpgerard's Avatar
Quote:
Originally Posted by cracker satchmo View Post
.............To hear it as quiet as possible i also recorded direct to AD through the Nagra pres and have to say it's one of the first non-tape recordings i did that i really enjoyed.
I should mention that I voice these mics with digital recording in mind first and foremost. I come from an analogue world of tape and tubes but when it comes to ribbon mics, I have to think and design based on what most people work with, and that's generally a mic pre feeding an ADC. So for instance there's no thought given to HF losses from normal operation on an old deck or re-recording / generation loss. I'm assuming that the recording chain has a clean top end. I'm not talking about "character", but freq. response linearity. Any chain with a noticeable HF drop will most likely make an LRM-V sound quite dull/dark. That said - sometimes it's exactly what is required. I'm not the only guy who loves old Blues, Jazz and Rock recordings done with 44's or a 639's Of course the LRM-2 does the linear/airy thing very well, which is why I currently have both as standard models (the LRM-2b is about 10 days from official release).
Old 8th November 2018
  #52
Quote:
Originally Posted by jpgerard View Post
I should mention that I voice these mics with digital recording in mind first and foremost. I come from an analogue world of tape and tubes but when it comes to ribbon mics, I have to think and design based on what most people work with, and that's generally a mic pre feeding an ADC. So for instance there's no thought given to HF losses from normal operation on an old deck or re-recording / generation loss. I'm assuming that the recording chain has a clean top end. I'm not talking about "character", but freq. response linearity. Any chain with a noticeable HF drop will most likely make an LRM-V sound quite dull/dark. That said - sometimes it's exactly what is required. I'm not the only guy who loves old Blues, Jazz and Rock recordings done with 44's or a 639's Of course the LRM-2 does the linear/airy thing very well, which is why I currently have both as standard models (the LRM-2b is about 10 days from official release).
Makes sense... and gives pause to think why chase after vintage mics or clones thereof that were made for recording mediums rarely used today except for final mix/mastering. While a good tape machine and one pass only can actually bring out more hi freq detail (i assume because of the slight compression), as you described prosumer tape or multiple passes (Beatles sound) is another story. So today one would need no built-in 10k rise as in U67 for example.

639... that's a sledgehammer rather than a birdcage! I couldn't quite find my way with it but the guy at the studio where we'll compare LRM-V with the icons says it's the ultimate bee's - or rather elephant - knees on kick drum.

LRM 2b out soon? Two flavours of wonderful sounds too tempting to resist!
Please put me on the waiting or preorder list...
Old 9th November 2018
  #53
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Yeah, it's weird to see so many condensers with sometimes up to 8dBs treble peaks, I'm not talking precision Omnis with predictable DF response but just plain Cardioids with ample treble boosts... handy back when we lost significant top end after lots of overdubs on tape (if done right, not the case with a lot of mics out there today) but in a DAW, what goes in comes out, in terms of freq. response... so we don't need the extra HF emphasis but of course it's become such an accepted "sound", it's become a norm too, and more linear mics are usually regarded as dull. Probably why the U89/193/170 family gets booed when compared to a 103 or even the slightly "bright" 87 (still much more linear than a 103). A flatter mic doesn't talk to a lead singer's ego the way a carefully crafted "present" mic will, too - unless you're in Classical circles, then everyone's looking to get a true, lifelike recording and treble boosts are sort of frowned upon. The sound of boosted HF on lead vocalsespecially in Pop music is a trademark of modern recording, as is compression and even Autotune...
639's are fun but don't have the best Phase response (2 different transducers) and have a weird, but usable prox. effect curve.
LRM-2b due for release in a week or thereabouts...
Old 10th November 2018
  #54
Quote:
Originally Posted by jpgerard View Post
Yeah, it's weird to see so many condensers with sometimes up to 8dBs treble peaks, I'm not talking precision Omnis with predictable DF response but just plain Cardioids with ample treble boosts... handy back when we lost significant top end after lots of overdubs on tape (if done right, not the case with a lot of mics out there today) but in a DAW, what goes in comes out, in terms of freq. response... so we don't need the extra HF emphasis but of course it's become such an accepted "sound", it's become a norm too, and more linear mics are usually regarded as dull. Probably why the U89/193/170 family gets booed when compared to a 103 or even the slightly "bright" 87 (still much more linear than a 103). A flatter mic doesn't talk to a lead singer's ego the way a carefully crafted "present" mic will, too - unless you're in Classical circles, then everyone's looking to get a true, lifelike recording and treble boosts are sort of frowned upon. The sound of boosted HF on lead vocalsespecially in Pop music is a trademark of modern recording, as is compression and even Autotune...
639's are fun but don't have the best Phase response (2 different transducers) and have a weird, but usable prox. effect curve.
LRM-2b due for release in a week or thereabouts...
Thanks for more great food for thought... seems it's all a bit upside down at the moment... remember also compressors were used (in recording) to a) get better S-N ratio and b) to get more dynamics from the limited range tape provided - all things not 'needed' in digital... autotune - let's not go there...

Man i can't stand 103 mics, the classic chalk on a blackboard effect, felt the 102 had some Neumann charm though... a week ago or so though i passed at a friend's place who had one plugged in his Apollo. I had my headphones with me and the LRM-V sound still very much in my ear... poor 102, i honestly felt pity for it... it felt like a consolation prize... like setting up an unfair beauty contest between Lupe Velez and say... Theresa May? O that was so evil!
Old 11th November 2018
  #55
Hey everyone,

I'm currently testing the Nohype Audio LRM-V for a German music magazine and I could compare it to a Coles 4038 in the last days. At the bottom you will find some preview comparison files.

I have to say that I'm very impressed by the performance of the LRM-V.
Right from the start when I heard my voice for the first time through it I instantly thought "Wow, that sounds real".
It's hard to put sound into words, but "real", "alive" and also "beefy" comes to mind when I use the LRM-V. The output is pretty strong for a ribbon. The built quality is great and the included shock-mount (!) that is similar to the one of the Coles 4072 does a great job!
It's really an amazing ribbon mic with an unbelievable price tag. Well done J-P!

About the upright piano recording:
Blumlein stereo, Coles 4038 and Nohype LRM-V are about 1 meter away behind the players head. Both Blumlein setups are 20 cm away from each other. It's a bit tricky to match the levels.

The preamp on all samples is the Sound Devices MixPre6

Now it's your turn. What do you prefer?
Attached Files

Piano-Blumlein-A-Sounddevices-MixPre.mp3 (474.6 KB, 3564 views)

Piano-Blumlein-B-Sounddevices-MixPre.mp3 (474.6 KB, 3479 views)

Piano-Blumlein-A-Sounddevices-MixPre.wav (3.30 MB, 3047 views)

Piano-Blumlein-B-Sounddevices-MixPre.wav (3.30 MB, 2965 views)

AGit-Strumming-A-Sounddevices-MixPre.mp3 (690.3 KB, 3553 views)

AGit-Strumming-B-Sounddevices-MixPre.mp3 (690.3 KB, 3624 views)

AGit-Strumming-A-Sounddevices-MixPre.wav (4.81 MB, 3054 views)

AGit-Strumming-B-Sounddevices-MixPre.wav (4.81 MB, 3025 views)

Old 11th November 2018
  #56
Gear Maniac
 

Hello @ roughgear , thanks for the samples. I like B better on both (it's got more air), but the differences are negligible, given the price tag. So practically, I don't care which is which. I'm sold
Old 12th November 2018
  #57
roughgear many thanks!

...and i'm 100% sure A is Coles and B is LRM-V without even having heard a Coloes in person :)

There's just so much more room, openness, and detail in the LRM-V.
While the Coles could be perfect for say a mono piano in a mix, i have to say i've become addicted fast to the LRM-Vs 'multidimensional' response and sound, so sensitive but not lost in details, all with coherence and body and feeling as silky as the Coles here for example.
Old 12th November 2018
  #58
Quote:
Originally Posted by roughgear View Post

I have to say that I'm very impressed by the performance of the LRM-V.
Right from the start when I heard my voice for the first time through it I instantly thought "Wow, that sounds real".
It's hard to put sound into words, but "real", "alive" and also "beefy" comes to mind when I use the LRM-V. The output is pretty strong for a ribbon. The built quality is great and the included shock-mount (!) that is similar to the one of the Coles 4072 does a great job!
It's really an amazing ribbon mic with an unbelievable price tag. Well done J-P!
spot on! and i noticed immediately the shockmount was in a different class than other affordable mics but didn't know it was similar to the Coles!

Some pics that show more 3D how well it is built and good it looks would do no harm... my photo camera is defunkt.
Old 12th November 2018
  #59
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Just a quick note, the LRM-V was not meant to be a copy of anything, like the LRM-2, it's design is the sum of a lot of parameters based on customer's comments and wishes. So comparisons are interesting of course, but keep it mind it's not trying to be a clone. Inspired by some of the old classics, yes. If you can sort of picture a 44 and a 4038 mashed together, that was my rough baseline for this model.
Old 12th November 2018
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Quote:
Originally Posted by roughgear View Post
It's really an amazing ribbon mic with an unbelievable price tag. Well done J-P!
Thanks for checking it out!!!!!
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