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NoHype Audio LRM-2 ribbon mic out now
Old 4th February 2015
  #1
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jpgerard's Avatar
 

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NoHype Audio LRM-2 ribbon mic out now

Hi folks,

I just released the LRM-2, an upgraded/updated version of the LRM-1.
It basically incorporates all the pointers and comments from LRM-1 users collected over the past 4 years. The main differences are:
  • Smaller size
  • Lighter weight
  • More solid, stable and less resonant one piece body
  • Integral (but removable) shockmount
  • Slightly different response, mainly flatter top end and more open low end

It's also available with either the stock (Taiwanese) transfo and a Lundahl transfo. The LRM-2 with Lundahl option is aimed at Classical recording, while the stock transfo and its more pronouned midrange works great on all Rock/Pop/Reggae projects.

Main specs and features:
  • Frequency response: 30 to 18,000Hz +/- 3 dBs.
  • Polar pattern: Pure Figure-8.
  • Sensitivity: -57dB (0dB=1v/Pa) +/- 1 dB.
  • Impedance: 250 Ohms Nominal.
  • Max. SPL (1% THD @1000Hz): 137dB.
  • Fitted with removable EU size metal stand thread adapter (default USA size without adapter).
  • Size: 175mm x 48mm (exc. Shockmount)
  • Weight: 580g.
  • Shipping/packed Weight: 1300g.

Final QC and assembly is still performed by yours truly in my workshop Belgium. Note that the LRM-1 will not be discontinued as long as there's a demand, and its lower price will probably appeal to many still.

Info on both mics can be found here:

NoHype Audio Products: Quality Affordable Audio Equipment

It's available online through my website and there may be a few selected dealers in the near future involved... stay tuned.

Questions are welcome of course!

Thanks;

Last edited by jpgerard; 4th February 2015 at 02:33 PM..
Old 4th February 2015
  #2
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I just can't get the "Insert image" thing to work, so you'll have to click here to have a look at the new mic (sorry):
LRM-2 on stand
Old 4th February 2015
  #3
Gear Addict
Quite a cool looking mic!
Attached Thumbnails
NoHype Audio LRM-2 ribbon mic out now-lrm-2-202015.jpg  
Old 5th February 2015
  #4
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Thanks - the look is sort of a byproduct of the design requirments. At first I had doubts about the upside down concept but it improves isolation a good deal, so that came first. In the end, the upside down arrangement does look kinda cool.
Old 22nd April 2015
  #5
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bump -- anyone have or try this mic?
Old 23rd April 2015
  #6
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Have it (a matched pair), using it, loving it.


It's got more in common with higher echelon ribbons like AEA, Royer, or Shinybox and Beyerdynamic or Cascade Fatheads going a bit down the price scale than it has in common with any of the cheap oriental origin ribbons of today.

Smooth but not excessively dull nor boxy.

Takes high SPL like a champ, better than most ribbons - in fact, the whole build and the oh-so-very-welcome shockmount (ALL ribbon mics should be shockmounted, if U ask me!) are fantastic.

If U're into preamp mania, it's a VERY revealing mic of your preamps, because it needs a lot of good gain and it delivers plenty low end, and also detail, when paired with the right preamp.

Sounds fantastic on electric guitar amps/cabs, combined with a 57 or a 421, and also on its' own.

Lovely on piano, for a softer/bassier/non-pop-strident sound.

Lovely on drum room ambience, and on overheads/cymbals.

Only on acoustic guitar I prefered the Royers or Beyerdynamic cardioids or above all my weirdo vintage Fostex "printed ribbon" mic.

Haven't had them for long, so that's all I can report for now.


A
F
Old 23rd April 2015
  #7
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Thanks! ever try it on vocals?
Old 24th April 2015
  #8
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Quote:
Originally Posted by goldi View Post
Thanks! ever try it on vocals?


No, haven't tried it on vocals yet - but I have a lead & backing vocal session for a track I'm producing coming up tomorrow evening, and I'll give it a listen just to hear & compare, even if this particular track & arrangement call for a different type of sound/mic.

I'll report here.
Old 30th April 2015
  #9
Gear Maniac
Quote:
Originally Posted by andreaeffe View Post



No, haven't tried it on vocals yet - but I have a lead & backing vocal session for a track I'm producing coming up tomorrow evening, and I'll give it a listen just to hear & compare, even if this particular track & arrangement call for a different type of sound/mic.

I'll report here.
how was it on vocals ?
Old 9th May 2015
  #10
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Quote:
Originally Posted by optionalanalogue View Post
how was it on vocals ?


Hey there -

sorry for the delay (completely...analogue, btw! ), it's been a hectic couple of weeks.

Didn't manage to try the mic on that vocal session, but I did in the next one, several days later, with another artist.

We usually cut his vocals with an always fantastic M-Audio Sputnik via a Universal Audio 6176 pre & comp or a vintage Studer pre and a Tubetech CL2A, but for this one song I was looking for something mellower & less "shiny", didn't need to cut through in the mix as much.
Had a little shootout with the LRM-2, the Sputnik, a vintage Neumann and an even more vintage Neumann U67 tube.
Nothing scientific, mind U, it was just to pick a mic for the session, not to be a "test measurement & comparison" endavour - so we just auditioned all 4 mics with the guy singing and speaking separately into each at ear-matched levels trhu identical channels of a Studer Vista desk, flat & unprocessed, converted at 24bit 44.1kHz by the Studer converters into Nuendo.

The NoHype Audio LRM-2 was unsurprisingly the mellowest of the bunch, with a big fat but not bloated booty, a very soft but not at all unarticulated delivery, and I'd say more top end than most ribbon mics, but nothing spiky or sibilant. Delicious, in fact. Proximity effect was pronounced but less than other ribbon mics that I know of, that become close to unuseable really close up, which I needed because it was a more softly sung, sometimes half spoken vocal delivery in this track, by a male coarser/croakier voice.
It needed quite a lot of gain, so preamp quality and hiss/noise floor may be an issue depending on the quality of the gear available.
More surprisingly, along with the Sputnik the LRM-2 felt like the mic that most helped the singer (and he loved it), somewhat "drawing" the sound from his voice close even when he backed away, which I had him try to do on purpose while comparing the mics - the U67 went noticeably boxier and lost low end with the same manouvre, the U87 even more so, thinning out more.

(on a side note, the Sputnik was the brightest and more "pop-polished" sounding, with a hint of what a C12 does to the high end, and had the highest output level, felt too glossy for this track; the U87 was as always hifi and linear sounding if a bit flat and more 2D than the rest of the bunch here, didn't attract as much attention in the track; the U67 had its' distinctive midrange and sounded lovely close up, big & not too bright - so we went for the U67 in the end, via another, vintage Studer preamp and the Tubetech CL2A compressor, it sounded too thick thru the Universal Audio).

Here's a pic from my FB of the 4 mics lined up:
https://www.facebook.com/photo.php?f...4&l=ba46fe2f8a

I have 4 short snippets of him singing a verse through all for mics & slightly backing away, I'll post them later or tomorrow.


So, to get back to your question, definitely useable on vocals, make sure U have enough clean gain available and a good pop filter and U'll certainly like it, it's neither excessively dark nor boomy, to my ears & in my experience.



A
F

Last edited by andreaeffe; 11th May 2015 at 01:58 AM..
Old 10th May 2015
  #11
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andreaeffe's Avatar
There U go.

Snippet files attached.


AS I said above, NOT a scientific test & not meant to be one, he didn't sing into all 4 mics at once, they were placed side by side and connected 4 same Studer digital desk channels/pres, approximately gain matched (quite vast differences here, e.g. the Sputnik took +33 dB of gain, the U67 +35, the U87 +41, the LRM-2 took +57 dB - the desk has a 1dB increment numerical readout of mic input gain) and captured @24bit 44.1kHz via the Studer MADI converters.
The singer moves back from up close on the mic/pop filter as far as he can go with his head, without actually stepping back, so U can hear the proximity effect changing and how much it contributes to the sound plus how much the mics "draw" the sound out from the source or are less "helpful" to it, if that makes sense.

(in case someone wonders, the language is Slovenian, plenty of consonants, sibilants & other ch/shhh/zhhh type sounds there to put mic capsules to the test )

A
F
Attached Files

LRM2Mef 01.wav (1.21 MB, 5556 views)

SputnikMef 01.wav (1.27 MB, 5109 views)

U67Mef 01.wav (1.39 MB, 5173 views)

U87Mef 01.wav (1.40 MB, 5090 views)

Old 19th June 2015
  #12
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I have a NoHype LRM-2 with the Lundahl transformer now and plan to use it as spot mic for strings. After the first tests it sounds very natural to me, relaxed (which I am after) but interesting, I really like it. It is a bit on the dark side which I need, but it takes EQ very well if I need some more sparkle (I love Acqua EQs for that). This is not to say it sounds dull, not at all, just natural. I think at the present time it is perhaps the most natural mic for strings that I own.

I was astonished about the low self noise. Yes I know it is a passive ribbon yada yada. Nevertheless in conjunction with the Triton audio fethead and used with a line audio preamp I found this combination to have the equivalent of about 14 dB SPL self noise or 80 dB signal-to-noise ratio*. That is much better than I even had dared to hope.

*note: I compared this by ear with other mics, so it might be off 1 dB or so.

I got mine from Holger Siedler /THS studio in Germany who helped me over a first moment of irritation with non-matching impedance and such. Without that discussion I would perhaps have returned the mic, and to my loss. I am not affiliated with either the maker or the vendor but think this deserves a honorable mention.

Last edited by Hannes_F; 20th June 2015 at 12:09 AM..
Old 20th June 2015
  #13
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Thank you for the kind words - and yes, the Triton Fethead pretty much guarantees great results every time, almost regardless of the mic pre used (I typed almost). Most LRM-2 orders seem to come with an equivalent number of Fetheads these days. For location recording the Fethead is a bit of a lifesaver. The effect of impedance matching when it comes to ribbon mics is not an urban legend, as you found out.
Old 23rd June 2015
  #14
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The LRM-2 was actually my favourite out of all those clips, as it seemed to add a bit of "magic and intrigue" for want of a better expression. It was like I was listening to a story teller.

All sounded good in different ways and I think the U87 was the most natural. I have been wanting a Ribbon to use on vocals and was thinking about saving for a Samar, but I may get one of these in stead. I have a very clean pre, with about 60-65dB of gain, will this be enough?

Did yours (Andre) have the standard or Lundahl transformer?
Old 23rd June 2015
  #15
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One another question, the Buzz MA-2.2 I have has an Hi and low Z input. 3K and 1.2K respectively. Will the 3K be fine, or will I still benefit from the Fathead? It has 65dB of very clean gain.
Old 23rd June 2015
  #16
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Anyone got any more sound clips of the LRM-2?
Old 23rd June 2015
  #17
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Thread Starter
I only have samples of Horns, nothing else I can forward yet... if interested Email me, they're large audio files.
Old 23rd June 2015
  #18
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Thread Starter
3K input Z is a good starting point for most (passive) ribbons...
Old 23rd June 2015
  #19
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Horns will be good! I'll email you. Thanks
Old 24th June 2015
  #20
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The mic sounds nice in the couple of clips I've heard. Lundhal definitely adds some more low end (in a good way) but the lows on the standard transformer version are still nice. The standard has more bite to the sound. Both good.
Old 7th July 2015
  #21
Quote:
Originally Posted by Hannes_F View Post
I got mine from Holger Siedler /THS studio in Germany who helped me over a first moment of irritation with non-matching impedance and such. Without that discussion I would perhaps have returned the mic, and to my loss. I am not affiliated with either the maker or the vendor but think this deserves a honorable mention.
Hey there, could I ask you to elaborate on your experience with impedance on the LRM-2 mics and what the Fethead did for the signal? I just want to be clear on what you were describing here.

In my experience, the ribbon mics are susceptible to impedance changes which can be a useful tool for changing up the tone of the signal. I think what your experience is suggesting is when setting up a stereo pair, if the mic preamp input impedance from one channel to the next is not a perfect match, the tone between the two mics will not be a perfect match which equals Trouble, with a capital T and that rhymes with P and that stands for imPedance. goof

So anyway, if I am reading your experiences correctly, the Fethead must have a critically set impedance from one unit to the next, thus ensuring a matched impedance from one mic to the next upon input to a preamplifier… or in this case, basically whatever second-stage preamp one is using, as the Fethead is in reality a preamp itself.

To conclude, you clearly were able to hear the difference of impedance mis-match of your stereo pair. Were you able to tell she you first set up the mics at home, being a really obvious difference, or was it not until you were able to critically listen to recorder music that you could tell there was an impedance mis-match? That is, was it subtle, or an obvious thing? Just curious. Oh, and do you think the impedance mis-match is a mic preamp thing or microphone output transformer thing? Again, just curious.

Thanks so much for your insight.
Old 7th July 2015
  #22
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Quote:
Originally Posted by Puffer Fish View Post
Hey there, could I ask you to elaborate on your experience with impedance on the LRM-2 mics and what the Fethead did for the signal? I just want to be clear on what you were describing here.
Hi there, thanks for asking. In hindsight I should say that due to the Fethead I think the impedance of the preamp does not matter much. My problem actually was either a defunct Fethead or perhaps a faulty cable plug. Anyways I returned/exchanged the Fethead and now all is working fine.

I have two LRM-2 now and could do a test with both the Line Audio preamp and the D.A.V. BG1. I think due to the Fethead there will not be much difference but if you are interested I can test that when I am back next week.

Cheers, Hannes
Old 7th July 2015
  #23
Hannes, no need for testing unless jot is something you really wanted to do. : )

But you are saying that at this point you are not using the Fethead at all? Am I reading your post correctly? Or are you saying you exchanged a bad Fethead for a good one and are indeed using the Fethead inline with your ribbon mics? I am just trying to understand your signal path. It is a simple thing really, but that one component in or out of the signal path does matter.

And if you are using the Fethead with your ribbon mics, do you generally prefer the impedance set by the Fethead versus letting it land wherever the preamp sets the impedance? Maybe it is more about setting a useful level of gain in this case.

Thanks for your response.
Old 8th July 2015
  #24
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Quote:
Originally Posted by Puffer Fish View Post
are you saying you exchanged a bad Fethead for a good one and are indeed using the Fethead inline with your ribbon mics?
This.

Quote:
And if you are using the Fethead with your ribbon mics, do you generally prefer the impedance set by the Fethead versus letting it land wherever the preamp sets the impedance? Maybe it is more about setting a useful level of gain in this case.
Yes. I let the Fethead do the thinking.
Old 8th July 2015
  #25
Quote:
Originally Posted by Hannes_F View Post
Yes. I let the Fethead do the thinking.

Old 21st July 2015
  #26
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Quote:
Originally Posted by Mr Funk View Post
The LRM-2 was actually my favourite out of all those clips, as it seemed to add a bit of "magic and intrigue" for want of a better expression. It was like I was listening to a story teller.

All sounded good in different ways and I think the U87 was the most natural. I have been wanting a Ribbon to use on vocals and was thinking about saving for a Samar, but I may get one of these in stead. I have a very clean pre, with about 60-65dB of gain, will this be enough?

Did yours (Andre) have the standard or Lundahl transformer?


Hi -

sorry for the (all analog ) delay in answering.

Standard transformer on my LRMs macthed pair.

On a personal note, I've usually been not too impressed by Lundahls & Jensens on audio gear - I mean, of course they do their job excellently, but if it's an extra I pay for to get "colour/mojo", then usually stuff like Cinemag, Haufe or Carnhill & Marinair is what tickles my taste buds. U get the drift.

And JP's standard transformers work perfectly fine for me.


I guess your Buzz audio pre should also do perfectly fine, and the 3k impedance is where I'd set it, but of course, the ear rules - whatever sounds best.


R.e. my audio clips, I also though that on the voice on its' own the LRM ribbon sounded the most intrigueing & rich - my different choice for the actual recording was due to viewing it in context of the way he behaves when singing & what "helps" him most, and of course in the context entire song & the mix, later.

BTW, if U guys are curious, here's the finished song, recorded/produced/mixed by yours truly, mastered by Riccardo Ricci @ Velvet Room Mastering:


The LRM2 ribbons were also used as stereo drum room mics, some 3.8metres from the kit and pointing at the floor, for this song - the kit is a 60s vintage Ludwig, recorded in what I call an "Augmented Glyn Johns" fashion, the usual 3 mics (AKG C414 B-TLIIs) with-a-little-help-from-my-friends an inside kick mic (AKG D112) & a snare top mic (Shure Beta 57), plus the room mics.

A
F
Old 21st July 2015
  #27
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...and here is the LRM2 doing R&R guitars, in combination with the usual suspects (and then some).
Attached Thumbnails
NoHype Audio LRM-2 ribbon mic out now-marshallcabs.jpg   NoHype Audio LRM-2 ribbon mic out now-recskalp9.jpg  
Old 23rd July 2015
  #28
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Ooops - forgot to add that on the above track (YT video) the LRM2 ribbon is also on the main electric guitar, on his Fender amp alongside a Shure SM57 - classic configuration, the blend is about 60% Shure / 40% LRM2; Amek 9098 preamps & eq, Tubetech CL2A compression.
Old 27th July 2015
  #29
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Quote:
Originally Posted by andreaeffe View Post
Ooops - forgot to add that on the above track (YT video) the LRM2 ribbon is also on the main electric guitar, on his Fender amp alongside a Shure SM57 - classic configuration, the blend is about 60% Shure / 40% LRM2; Amek 9098 preamps & eq, Tubetech CL2A compression.
Hi Andre,
Thanks for sharing your experiences with the LRM2. After reading some of the above posts i'm a bit confused with the whole fethead thing. I'm looking at getting this mic and intend to use it to dual mic a guitar cab just as you have. Will I need a fethead in this situation? If so, which one is the right one to get?

Thanks,

Greg
Old 27th July 2015
  #30
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Quote:
Originally Posted by Strumlord View Post
Hi Andre,
Thanks for sharing your experiences with the LRM2. After reading some of the above posts i'm a bit confused with the whole fethead thing. I'm looking at getting this mic and intend to use it to dual mic a guitar cab just as you have. Will I need a fethead in this situation? If so, which one is the right one to get?

Thanks,

Greg


Hey Greg -

oh no, recording guitars (or bass, or drums, or any loud or loud-ish source) U won't "need" a Fethead or any similar ribbon-gain-makeup inline device, the LRM2 is perfectly useable by itself (as are most other ribbon mics too, except...well, very poor designs or very very vintage ones with an abnormally low output).
So rest assured it's not that U absolutely need to purchase both to do some good recording.

A Fethead would be useful when quiet acoustic instruments/sources, or when recording vocals, especially quieter/semi-spoken vocals like the example I posted. But even there, I wasn't using a Fethead, as I don't own one yet, but the preamps did the job fine, it's not like there was a ton of hiss or anything.

To put that all in numbers, if I recall correctly the figures on the Studer digital desk, which displays preamp gain in dBs, on the vocal it was 56 or 57, on the electric guitars it was usually 36 to 40 - while the SM57 on the same amp/cone took 22 to 27.
The situations in which I'd consider a device such as the Fethead useful are the ones in which U need to go "over 50" (nooo, it's not an age discrimination thing, ha ha! ) with preamp gain, in which case hiss & other low level noise might become noticeable, depending on your preamp, signal path & outboard, room.

Hope this helps un-confuse things.


Kind regards,

A
F


PS: I'll post some heavy guitar/more R&R examples further on, tracking guitars with another band next weekend.
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