This is a simple spoken word recording of the HM-7U into an Amek 9098. No EQ, filters, compression. The mic was positioned about 5 inches from the narrator, on-axis

Here's a quick clip so you can hear the sound of the HM-2D compared to the HM-7U, same set-up as above.

This old-time country tune features HM-7U on lead vocals and banjo, HM-2D on back-up vocals, HM-1 on guitar and mandolin. Upright bass was direct (pickup). No EQ except some LF roll-off on the banjo and mandolin (below 50 Hz), no compression.

Here is the same old-time country clip, this time with only the lead vocal (HM-7U) and rhythm guitar (HM-1)

Mono mic with light stereo reverb. No EQ or compression.

Mono Mic with light stereo reverb. No Eq or Compression.

Stereo pair of HM-1s on each instrument, roughly 2 feet straight out from the guitar and three feet from the sax.

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 from Round Rock Texas.

Thanks to Thomas Aldrich of Orlando, Florida for submitting this clip. Great voice, sounding fine through an HM-1.

This clip features  the supremely talented 12 year old Logan Murrell of Knoxville, TN. Darrell Puett is on harmony vocals. All vocals were tracked with an HM-1 into a Korg workstation. No information is available about the backing tracks, which were pre-recorded.

Here's a simple comparison of the HM-2D on male narration and electric guitar amplifier versus a variety of other popular mics.

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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.)

Mark Bussiers writes ... "Thought that I would send you a quick and dirty sound clip using one single HM-2D into a FMR RNP and RNC. The guitar is a Mexican made Muddy Waters tele played through an ancient humming, crackling, fully cranked, Gibson GA-8T with the tremolo engaged. I've tried to capture a 'warts and all' lo-fi vibe and in my opinion the HM-2D was instrumental in helping me do this."

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.

Here's Sean Roberts again, this time with a clip of his Tele through a vintage Valco amp. Two HM-1s were used, one about 3 inches out front  between the centre and edge of the speaker and 45-degrees off-axis and the other about 2 feet up and out. The recording was done in his kitchen!

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. .

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.