Many of the following sound clips were submitted by our customers. Thus, you will get to hear our mics through a variety of different recording rigs as they capture instruments of varying quality and players of differing levels of recording experience.
Hopefully you will get an idea of how our microphones might perform in your own studio. When known, specific technical details of the recording chain used for each clip are included at right.
You'll need a player such as Windows Media Player or Real Player in order to play these clips.
And please check back often for more clips. We are constantly testing and experimenting with our microphones and want to help you make better recordings with them in your own studio.
Enjoy!
Hopefully you will get an idea of how our microphones might perform in your own studio. When known, specific technical details of the recording chain used for each clip are included at right.
You'll need a player such as Windows Media Player or Real Player in order to play these clips.
And please check back often for more clips. We are constantly testing and experimenting with our microphones and want to help you make better recordings with them in your own studio.
Enjoy!
Mail Voiceover through the HM-1 and a Behringer Xenyx mixer Thanks to Thomas Aldrich of Orlando, Florida for submitting this clip. Great voice, sounding fine through an HM-1.
HM-2d Mic Comparison Here's a simple comparison of the HM-2d on male narration and electric guitar amplifier versus a variety of other popular mics. (Note: a new window will pop up.)
HM-2d on Kick/Front of Kit These unprocessed clips feature the HM-2d in use outside kick drum (phase flipped), to pick up the kick and front of kit, blended with one pair of HM-1s on overheads in ORTF. Thanks to Daniel Roy of Winnipeg for manning the drums. There is no EQ or compression on these tracks. Everything you hear is a combination of the drummer, drums, space, mic selection and placement, mic pres (Focusrite ISA428 impedance set to medium for the HM-1s and Amek/Neve 9098 DMP for the HM-2d) and converters (Lucid) (Note: a new window will pop up.)
More HM-2d clips coming soon!
Acoustic Guitar and Percussion Here's a couple of acoustic guitars, shaker and talking drum recorded only with HM-1s. All recordings were made with Yamaha PM-1000 channel strips direct to hard disk with Nuendo and MOTU 1224 and no processing, EQ or compression of any kind during tracking. Special thanks to Josh Karnes and Dan Vogel of Olive Tree Studio in round Rock Texas.
HM-1 Acoustic Guitar Solo This nice sounding clip was sent in by Sean Roberts of Toronto. A pair of HM-1s was set up in X-Y just off the 12-th fret/neck/body area of his Washburn. Mics went into a Great River MP-2NV pre (Loading button in / Impedance out) into an M-Audio delta 1010. Slight EQ was used around 200 Hz.
HM-1 on Electric Guitar Amp 1
HM-1 on Electric Guitar Amp 2
Here's Sean Roberts again, this time with a clip of his Tele through a vintage Valco amp. We'll let Sean fill in the details ... "These two clips are of a wonderful 1951 Valco I restored. It's the model with the Volume & Tone. The guitar is a plain Jane 91 American Standard Fender Tele straight into the amp. Mics are going into the Great River pre>Delta 1010>PC. The amp is miced up in my favourite recording room... my kitchen! I used two HM-1's to help get some natural room. On the first clip one HM-1 was about 3 inches in front pointing straight at the speaker about an inch off center. The second HM-1 was placed about 1.5 feet in front pointing straight at the speaker about an inch off center. Mics were checked for phase & panned hard right/left. On the second clip I wanted to roll off the bass response a tad so I pulled the first HM-1 back about 6-8 inches in front pointing straight at the speaker about an inch off center. I also moved the second HM-1 to a few inches in front of the amp but pointed roughly at a 45 degree angle down towards the speaker & floor. Again about 1-2 inches off center. Both clips had nothing done to them afterwards, no EQ, compression or reverb.
The next few clips were submitted by Jean Nadeau, an excellent drummer from Montreal. The drums were mic'd with HM-1s on overheads in an A-B arrangement. ATM25s were used on toms, SM57 on snare (top and bottom) and Beta 52 on Kick. Drums were DW shells and Zildjian cymbals. You can read more about Jean here.
Jean Nadeau Smooth Jazz Drums (HM-1 Overheads)
Jean Nadeau Funk Mix (HM-1 Overheads)
HM-1 on Overheads This minimally processed clip features Daniel Roy playing an Ayotte Custom Maple kit. The drums were recorded in a small studio and this mix features only the overheads (HM-1 in ORTF about 4' above Daniel's head) and the HM-4 (discontinued) on kick (just inside the cutout on the front head. Slight bus limiting was applied and a roughly 3 dB cut was applied around 200 Hz, otherwise there was no other EQ of any kind. Listen for the full sound of the kit.
P-1 on Overheads This clip also features Daniel Roy, as above except a pair of P-1s was used for overheads instead of HM-1s. Setup was the same as for the previous clip. This clip really shows the difference in feel that can be achieved simply by choosing different mics for overheads. Listen for the more open sound of the kit, compared to the HM-1.
Rock Drums This clip features the HM-1 on overheads and toms, and the HM-4 (discontinued) on kick (blended with a prototype dynamic kick mic). Snare was a prototype dynamic instrument mic. Tracks were recorded through a Neotek Elite console to a RADAR at Winnipeg's Private Ear Recording. Drums were tracked by Lloyd Petersen, mixed by Kelly Dueck and played by Aaron Smith.
Mono HM-1 Mando and Guitar Clips Jason Mercer is a talented multi-instrumentalist based in New York, currently playing bass for respected singer-songwriter Ron Sexsmith. Jason was kind enough to send us some thick warm HM-1 tracks. The first clip is of Jason playintg a mandolin tracked through a Neve module. The next two clips feature the excellent Daniel Marcus on acoustic guitar, tracked by Jason through the same Neve module. Dan is a founding member of Crescent and Frost, a great New York folk band. (Note: a new window will pop up.)
P-1 Stereo Pair on Banjo Before you run for your ear plugs, listen to this clip. The banjo can actually have a mellow sound -- even in an uptempo tune. This clip features Daniel Koulack playing a sweet sounding Daryl Perry open-backed banjo. No EQ or compression were applied to this clip. The tracks were recorded through a Focusrite ISA 428 with the digital card option. Mics were set up in an X-Y configuration about 30" from the centre of the banjo head.
Acoustic Folk Group Here's the Whizbang Shufflers with a live reocrding made in a living room, treated with several acoustic baffles to control flutter echo. The main instruments are guitar (recorded with a P-1), open-backed banjo (recorded with an HM-1) and mandolin (P-1). These were recorded through a Focusrite Octopre. Acoustic bass guitar was recorded direct. Everything went into a Motu 828 mkII.
Male Voice This clip features a male voice recorded with the HM-1 into an Amek/Neve 9098 mic pre. The narrator was roughly 8 inches away from the mic. No EQ or compression were used.
More clips coming soon ...
HM-2d Mic Comparison Here's a simple comparison of the HM-2d on male narration and electric guitar amplifier versus a variety of other popular mics. (Note: a new window will pop up.)
HM-2d on Kick/Front of Kit These unprocessed clips feature the HM-2d in use outside kick drum (phase flipped), to pick up the kick and front of kit, blended with one pair of HM-1s on overheads in ORTF. Thanks to Daniel Roy of Winnipeg for manning the drums. There is no EQ or compression on these tracks. Everything you hear is a combination of the drummer, drums, space, mic selection and placement, mic pres (Focusrite ISA428 impedance set to medium for the HM-1s and Amek/Neve 9098 DMP for the HM-2d) and converters (Lucid) (Note: a new window will pop up.)
More HM-2d clips coming soon!
Acoustic Guitar and Percussion Here's a couple of acoustic guitars, shaker and talking drum recorded only with HM-1s. All recordings were made with Yamaha PM-1000 channel strips direct to hard disk with Nuendo and MOTU 1224 and no processing, EQ or compression of any kind during tracking. Special thanks to Josh Karnes and Dan Vogel of Olive Tree Studio in round Rock Texas.
HM-1 Acoustic Guitar Solo This nice sounding clip was sent in by Sean Roberts of Toronto. A pair of HM-1s was set up in X-Y just off the 12-th fret/neck/body area of his Washburn. Mics went into a Great River MP-2NV pre (Loading button in / Impedance out) into an M-Audio delta 1010. Slight EQ was used around 200 Hz.
HM-1 on Electric Guitar Amp 1
HM-1 on Electric Guitar Amp 2
Here's Sean Roberts again, this time with a clip of his Tele through a vintage Valco amp. We'll let Sean fill in the details ... "These two clips are of a wonderful 1951 Valco I restored. It's the model with the Volume & Tone. The guitar is a plain Jane 91 American Standard Fender Tele straight into the amp. Mics are going into the Great River pre>Delta 1010>PC. The amp is miced up in my favourite recording room... my kitchen! I used two HM-1's to help get some natural room. On the first clip one HM-1 was about 3 inches in front pointing straight at the speaker about an inch off center. The second HM-1 was placed about 1.5 feet in front pointing straight at the speaker about an inch off center. Mics were checked for phase & panned hard right/left. On the second clip I wanted to roll off the bass response a tad so I pulled the first HM-1 back about 6-8 inches in front pointing straight at the speaker about an inch off center. I also moved the second HM-1 to a few inches in front of the amp but pointed roughly at a 45 degree angle down towards the speaker & floor. Again about 1-2 inches off center. Both clips had nothing done to them afterwards, no EQ, compression or reverb.
The next few clips were submitted by Jean Nadeau, an excellent drummer from Montreal. The drums were mic'd with HM-1s on overheads in an A-B arrangement. ATM25s were used on toms, SM57 on snare (top and bottom) and Beta 52 on Kick. Drums were DW shells and Zildjian cymbals. You can read more about Jean here.
Jean Nadeau Smooth Jazz Drums (HM-1 Overheads)
Jean Nadeau Funk Mix (HM-1 Overheads)
HM-1 on Overheads This minimally processed clip features Daniel Roy playing an Ayotte Custom Maple kit. The drums were recorded in a small studio and this mix features only the overheads (HM-1 in ORTF about 4' above Daniel's head) and the HM-4 (discontinued) on kick (just inside the cutout on the front head. Slight bus limiting was applied and a roughly 3 dB cut was applied around 200 Hz, otherwise there was no other EQ of any kind. Listen for the full sound of the kit.
P-1 on Overheads This clip also features Daniel Roy, as above except a pair of P-1s was used for overheads instead of HM-1s. Setup was the same as for the previous clip. This clip really shows the difference in feel that can be achieved simply by choosing different mics for overheads. Listen for the more open sound of the kit, compared to the HM-1.
Rock Drums This clip features the HM-1 on overheads and toms, and the HM-4 (discontinued) on kick (blended with a prototype dynamic kick mic). Snare was a prototype dynamic instrument mic. Tracks were recorded through a Neotek Elite console to a RADAR at Winnipeg's Private Ear Recording. Drums were tracked by Lloyd Petersen, mixed by Kelly Dueck and played by Aaron Smith.
Mono HM-1 Mando and Guitar Clips Jason Mercer is a talented multi-instrumentalist based in New York, currently playing bass for respected singer-songwriter Ron Sexsmith. Jason was kind enough to send us some thick warm HM-1 tracks. The first clip is of Jason playintg a mandolin tracked through a Neve module. The next two clips feature the excellent Daniel Marcus on acoustic guitar, tracked by Jason through the same Neve module. Dan is a founding member of Crescent and Frost, a great New York folk band. (Note: a new window will pop up.)
P-1 Stereo Pair on Banjo Before you run for your ear plugs, listen to this clip. The banjo can actually have a mellow sound -- even in an uptempo tune. This clip features Daniel Koulack playing a sweet sounding Daryl Perry open-backed banjo. No EQ or compression were applied to this clip. The tracks were recorded through a Focusrite ISA 428 with the digital card option. Mics were set up in an X-Y configuration about 30" from the centre of the banjo head.
Acoustic Folk Group Here's the Whizbang Shufflers with a live reocrding made in a living room, treated with several acoustic baffles to control flutter echo. The main instruments are guitar (recorded with a P-1), open-backed banjo (recorded with an HM-1) and mandolin (P-1). These were recorded through a Focusrite Octopre. Acoustic bass guitar was recorded direct. Everything went into a Motu 828 mkII.
Male Voice This clip features a male voice recorded with the HM-1 into an Amek/Neve 9098 mic pre. The narrator was roughly 8 inches away from the mic. No EQ or compression were used.
More clips coming soon ...
