Hi, Patrick:
I have been using an HM-2d lately for a couple of things. It belongs to a friend of mine, but I'm getting one from Santa next week. I won't be posting any soundclips soon, due to "internet security issues" on my PC, plus I question the audio integrity and accuracy of said clips. But here's what I've found so far:
A) Soprano sax: I tracked a local jazzer ( more of a Wayne Shorter than a Kenny G....thank God!). It was pretty smooth on the top end, definitely not harsh. Maybe not as smooth as a good ribbon- Beyer M160-but certainly better than a cheap one-Apex 210.
B) Guitar cab: I slammed it with a Mesa 2x12 driven by a Dual Retumfire.
Placed it about 6" off the grille. It took the bullet like a man. But at that close range, and with it's wide response, it was TOO much. It picked up all of the amps bad artifacts- hiss, hum, etc. So I ended up using it as a room mic, with a 57 up close. Aaah, mucho bueno...
C) Guitar combo amp: a '63 Fender Princeton/w. a reissue Jensen 10". This time it worked like a charm. Made that little amp BIG, sitting about 6" off the edge of the cone.
D) A Faith Hill wannabe vocal demo. Very good. Nice presence and size you'd expect from a LDC, but no shrillness on the high notes. I was shocked because it came so close to my AT4047s. My $550-a-piece AT4047s...
E) Drums- I made you read all that other crap before getting to what you are probably REALLY interested in :wink: Well, on a big band drummer (Buddy Rich style, endorses Pearls) at an outdoor concert, I used it like they show on the website: as an outside kick mic. I placed a pair of NT5's as OH's, put the Kel about 8-10" outside the 6" hole in the kick front head.
Fat and round, baby! Normally, I use a 421 on this guy, stuck into the hole. The Kel had more "girth" to it, and almost as much punch. If I had more time to play with its' positioning and maybe a bit more space on the riser...
I also used it on an LP percussionist. Here I usually use an ATM25. The Kel picked up more of the hand "slap" nuances and a lot more of the resonances of the drums. Plus, the higher-pitched instruments (bell tree, splash cymbal, shakers, etc) seemed to have more clarity. I was able to get away with a single mic on this dude's LP rig. In some cases, that's not so good, in this case it was.
Anyway, FWIW, I think it's a great bargain. I like mics that are multi-dimensional, and this one seems to be one of those.

Hey. Thanks for the details, Moon. My primary interest in the HM-2d is for vocals, and hopefully guitar amps beyond that.

I didn't like the HM-1s nearly as much as I hoped I would on my vocals -- that they're dark is beautiful, and their proximity effect works wonders on thin-sounding vocalists (i.e. me). But there's a resonance imparted (or at least acknowledged) by these mics that make them not the best choice for my voice. Hearing the HM-2d for voiceover work on Kel's website piqued my interest, though. There was a richness and control that reminded me of a nice SM7, and its tag about being "a unique large diaphragm condenser mic voiced to sound...like a quality dynamic mic" is exciting.

And I've never been crazy about any of my mics, which includes '57s and '58s, for my guitar amps. Even the chance that the HM-2d might serve a second purpose makes me antsy to get one. Yes, Kel mics are affordable. Yes, they have a great return policy. I'd just like to have more information on them before I leap.

Well, in regards with voices, I did try it on mine for some VO work. I normally use a Beyer M99 (or an RE-20) on my voice, which is the the opposite of yours- pretty deep. It was a no-go. The Kel was simply too full-sounding for me. Maybe that would work for YOU.

Suck. Thanks again for the insights. Why can't a company just make one mic that's the best choice on every source? Or better yet, make a mic just for me? It could be like a celebrity series: the Lauryn Hill, the Taylor Hanson, the Patrick_like_Static...

Any takers?

Intersting that you would say that. Later in 2008, I will be introducing the Moonbaby 5000 Holographic Electrodynamic Ribbo-Denser mic. It will have variable patterns over a 360-degree area, AutoProx proximity control/w. infrared distance detectors, coaxially-mounted capsules (LDC&SDC)/w. variable balance, and selectable output circuits with and without transformers (both Lundhal and Cinemag). A digital stepper motor automatically tensions the internal ribbon element, and moves it in/out of the pick-up path as needed. The moving coil dynamic section features a humbucking design and can double as a solenoid to engage the illuminated "Recording" sign on your CR door. An internal gyroscope eliminates the need for conventional shock suspensions, while the onboard GPS system will record the EXACT position of the mic at any given time, providing easily-reproduced placement. Internal DIP switches select between German/American/Danish/Russian/Nippon/Commie-Pinko-Red-Chinese voicing. A patented "Size" control varies
between "Whimpy/Whampy/Whumpy" to "Big/Bigger/Baddest MF".
It will be laptop-controlled via the USB port, and can be solar-powered.
Price TBA.

Moonbaby 5000

I heard it will also have connector - to - diaphragm shag carpeting, and a color coordinated beer coozy.

moonbaby wrote: [response]

Yipes. Just yipes. What have I done to my thread?

The shag carpeting and the beer cozy are options-part of the "Vintage Vibe" package. This includes the metalflake naugahyde carrying case...
Patrick: If you are not 100% satisfied with the HM-2d, and decide that you don't want it in your locker, and the folks at Kel don't come through, PM me and I'LL buy it back from you!!! Now stick your weenie out and give it a try!!! Merry Christmas...

moonbaby wrote: I'll buy you a Kel HM-2d. Merry Christmas.

That's awfully sweet.

I'm sure if I do just decide to buy one I'll find uses for it. I wouldn't expect Kel would put their name on something that flat-out sucked. Beyond that, they're a company I would trust to honor their return policy.