HoboRec HR1 Ribbon Microphone


Hi, I'm Ulf at HoboRec. I designed and built this microphone.

The basic idea behind the HR1 microphone was to create a unique design that suited my specific needs for a microphone for electric guitar. What came out was a pretty neat microphone made with high quality components put together in a way that also allows a pretty neat price.

Application and Use

Since the initial idea was to fill a void in my own microphone locker when it came to recording electric guitars, that of course is my number one recomended field of use. For me it has also worked great for drum overheads and snare drum. It would basically fit any situation where you want a pronounced low end, well detailed mid and soft highs that are not exaggerated like a lot of other microphones, especially among cheaper condensers.

If you want a really meaty guitar tone you're well of with just one HR1, but if you want that meat and still some more bite in the highs it often works great to combine the HR1 with a common dynamic microphone, or a quality condenser that often has a presence bump.

The microphone gives a very good figure of eight pattern with equal frequency response on each side, and 20db reduction on the sides. This makes it perfect to use for Blumlein and MS Stereo microphone techniques.

In a situation where you have a softer sound source like acoustic guitar, or soft vocals, you really need a good quality preamp that can deliver a lot of clean gain to avoid noise. The passive ribbon microphone is by nature not so hot.


As a passive ribbon microphone it's well suited for loud sources, BUT it's strongly recommended to put a pop filter between the microphone and the source. This is because speakers, at loud volume, move a lot of air and may stretch the ribbon or, worst case scenario, break it.

Another way to protect the ribbon at high volumes can be to tilt it a bit forward so the air and sound don't hit straight on the ribbon. The same recommendations goes for kick drum where you might want to use it because of it's well defined low end. Don't put it in front of the air hole!

To make it short, keep it away from bursts of air. Use pop filter!

I've got questions about if it's bad to put 48v phantom power through it. I've tried it without any problems but with a little bad luck there can be a shortage or a voltage peak that can break the ribbon. I've experienced that before. So, since it doesn't require phantom power I'd say it's best to leave it out if possible.

Technical Data

  • Acoustic Operating Principle: Electrodynamic pressure gradient

  • Polar Pattern: Figure-8 (-20db at 90º)

  • Generating Element: 2.5-micron aluminum ribbon, 50mm x 4mm

  • Magnets: Rare Earth Neodymium N42

  • Transformer: Lundahl LL2912

  • Output Connector: Male XLR 3 pin

  • Frequency Response: 30 -10,000 Hz +/- 5dB

Demos and clips

At the moment I just have a simple test session.

The complete demo is just four tracks, so one microphone on the drum kit, one on bass and one on each guitar. It's obviously mixed, so it's not a raw demo of the microphone.

Compare the two guitars (HR1 and SM57) to get a raw sonic picture of the microphone. This was mic'd up at a 60cm distance so it's quite roomy.

Sorry about my sloppy playing, and there will be more here soon!


I give full warranty on the microphones for two years. Included in that, and extended to life time, is one free ribbon exchange. There is only two things that are not inculded in the warranty, and that is the threadings in the microphone holder and where it's screwed in to the microphone. Those parts are made of aluminum so the threads are a bit soft. Just treat them gently and they will probably last forever.

If something breaks after two years, or if more than one ribbon exchange is needed, just contact me and we'll work something out.

Note: In case of warranty service, shipping is paid by the customer.

Order yours now!



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