Endorsements
Integer RMP2 Testimonials
Robert L. Smith - Defy Recordings, Oscar and Grammy award-winning producer/engineer/mixer
"Just wanted to update you, in that your preamp is working out just great. I've been mixing some of the albums I've recorded with it and each time the tracks sound perfect. Smooth, noiseless, and no fuss needed later on. One of the best compliments when tracking is when the players don't say anything about the sound. They assume it will be great when I bring my own gear in, and that little blue power light is a sign that they are in good hands." defyrecordings.com/
Robert George - Sound Temple Studios
"I'm really enjoying the Integer RMP2 and my students are really impressed as well. My ribbon mics have never sounded this good. On piano with my Michael Joly modified Vinjet ribbons, the RMP2 was much more detailed than our other transformer-less "straight wire" type preamp. The tone was much the same as what I was used to but there was much more clarity without extra brightness. I could hear all the notes in chords on the left hand with the RMP-2 but with the other preamp I heard the "chord" and not the notes in the chord. Interesting. Yesterday I used it on a large stringed instrument from Rwanda called an Inanga. My R-121 sounded amazing and with about 70 db of gain there was no noise. Very impressed - it was the best the R121 ever sounded.” http://soundtemplestudios.com/
Alex Venguer - Grammy award-winning recording and mixing engineer
"Got to use the preamp at Avatar on Monday on alto and soprano sax through the RCA77's (one for alto, both for the soprano) and then again today with the Mesanovic 2S as my main room microphone for a session and in both cases it sounded great! For the sax it was particularly amazing because the RCAs felt (extremely) full and nicely open and I never felt that I had any noise/level issues to even think about - just bring the pre up and you’re there! Between the tone of the player, the room, the RCA and the pre, the alto felt almost as wide as a tenor in terms of tone which I loved." http://alexvenguer.com/
Dave Darlington - Grammy award-winning producer/engineer/mixer
"I just tried the new RMP2 on a session and I’m blown away by how warm, yet open and clear the ribbon mic’s are sounding!
There is plenty of headroom and yet a virtually silent noise floor. For both vintage and modern design ribbons the RMP2 is my new favorite!”
Shawn Murphy - Academy Award winning sound engineer
"We have been using the preamp on brass overall for the last several sessions. Excellent sound, definition, depth, etc. Speiden/Royer SF12. I think you have a great piece of gear and would be interested in purchasing several units."
"We recently used the preamps on principal strings (Royer SF1) on a John Williams CD project."
Nathan James - Vault: Classical
"Spent some time with it last week and I'm sold. I have a couple recordings using the R88 which sound wonderful.
Low noise and more open and enveloping than my other options. I'm really happy with it." http://vaultclassical.com/
Reid Shippen - Robot Lemon, multiple Grammy award-winning producer/engineer/mixer
"In a word, it sounded amazing. I used an R88 over a vintage Ludwig kit with a little bit of Maag EQ. Everyone loved it. I’ll know more when I mix it."
Deni - Mesanovic Microphones
"So the studio session yesterday went extremely well. Your preamp was fantastic! The two engineers at Solid Sound in Ann Arbor were very impressed, and so was I. We recorded drums, acoustic guitar, and a Yamaha C7 using the RMP2 and the new Model 2 Stereo Ribbon Mic I'll be releasing at the NAMM show. We all agreed that the preamp had TONS of gain, was incredibly quiet, had a very wide bandwidth and dynamic range (which is a must to use the Model 2 to its full potential). All in all, it performed exceptionally well. In the acoustic guitar track there are two guitarists performing into both sides of the mic. They were probably two feet away from the mic, yet there is no noticeable noise floor in the recording. We cranked up the gain to about 70 and we're hitting the converters fairly hot. This was very impressive. The preamp rocks. Great job!"
Adam Kagan - 2 Degrees Productions
"I think the Integer is an excellent preamp and could find a lot a fans out there. I love super clean preamps and I categorize them by how boring or exciting they are. I think yours falls in the clean and neutral category - which is a sweet spot to be. For me, the Integer would be a top contender for an under $1k pre, and a great choice for classical or jazz recording where transparency and detail are king. I totally get the product and its purpose and I would love to see it get some attention. I found it very useful and would certainly use it often enough. For my SM7 or passive ribbons, the Integer is fantastic. Folks who are looking for wide bandwidth, low distortion and super pure gain will love the Integer."
Marc - Blue on Blue Recording Studio
"The R44 was going through your RMP2 preamp - biggest, baddest, snarliest upright bass sound. Hit me in the chest when Eric dropped the low D. But dead quiet when he wasn't playing - in fact when I first brought it up I thought I had miss-connected it because there was no sound. I asked him to play something and out comes this huge sound!"
"Just wanted to update you, in that your preamp is working out just great. I've been mixing some of the albums I've recorded with it and each time the tracks sound perfect. Smooth, noiseless, and no fuss needed later on. One of the best compliments when tracking is when the players don't say anything about the sound. They assume it will be great when I bring my own gear in, and that little blue power light is a sign that they are in good hands." defyrecordings.com/
Robert George - Sound Temple Studios
"I'm really enjoying the Integer RMP2 and my students are really impressed as well. My ribbon mics have never sounded this good. On piano with my Michael Joly modified Vinjet ribbons, the RMP2 was much more detailed than our other transformer-less "straight wire" type preamp. The tone was much the same as what I was used to but there was much more clarity without extra brightness. I could hear all the notes in chords on the left hand with the RMP-2 but with the other preamp I heard the "chord" and not the notes in the chord. Interesting. Yesterday I used it on a large stringed instrument from Rwanda called an Inanga. My R-121 sounded amazing and with about 70 db of gain there was no noise. Very impressed - it was the best the R121 ever sounded.” http://soundtemplestudios.com/
Alex Venguer - Grammy award-winning recording and mixing engineer
"Got to use the preamp at Avatar on Monday on alto and soprano sax through the RCA77's (one for alto, both for the soprano) and then again today with the Mesanovic 2S as my main room microphone for a session and in both cases it sounded great! For the sax it was particularly amazing because the RCAs felt (extremely) full and nicely open and I never felt that I had any noise/level issues to even think about - just bring the pre up and you’re there! Between the tone of the player, the room, the RCA and the pre, the alto felt almost as wide as a tenor in terms of tone which I loved." http://alexvenguer.com/
Dave Darlington - Grammy award-winning producer/engineer/mixer
"I just tried the new RMP2 on a session and I’m blown away by how warm, yet open and clear the ribbon mic’s are sounding!
There is plenty of headroom and yet a virtually silent noise floor. For both vintage and modern design ribbons the RMP2 is my new favorite!”
Shawn Murphy - Academy Award winning sound engineer
"We have been using the preamp on brass overall for the last several sessions. Excellent sound, definition, depth, etc. Speiden/Royer SF12. I think you have a great piece of gear and would be interested in purchasing several units."
"We recently used the preamps on principal strings (Royer SF1) on a John Williams CD project."
Nathan James - Vault: Classical
"Spent some time with it last week and I'm sold. I have a couple recordings using the R88 which sound wonderful.
Low noise and more open and enveloping than my other options. I'm really happy with it." http://vaultclassical.com/
Reid Shippen - Robot Lemon, multiple Grammy award-winning producer/engineer/mixer
"In a word, it sounded amazing. I used an R88 over a vintage Ludwig kit with a little bit of Maag EQ. Everyone loved it. I’ll know more when I mix it."
Deni - Mesanovic Microphones
"So the studio session yesterday went extremely well. Your preamp was fantastic! The two engineers at Solid Sound in Ann Arbor were very impressed, and so was I. We recorded drums, acoustic guitar, and a Yamaha C7 using the RMP2 and the new Model 2 Stereo Ribbon Mic I'll be releasing at the NAMM show. We all agreed that the preamp had TONS of gain, was incredibly quiet, had a very wide bandwidth and dynamic range (which is a must to use the Model 2 to its full potential). All in all, it performed exceptionally well. In the acoustic guitar track there are two guitarists performing into both sides of the mic. They were probably two feet away from the mic, yet there is no noticeable noise floor in the recording. We cranked up the gain to about 70 and we're hitting the converters fairly hot. This was very impressive. The preamp rocks. Great job!"
Adam Kagan - 2 Degrees Productions
"I think the Integer is an excellent preamp and could find a lot a fans out there. I love super clean preamps and I categorize them by how boring or exciting they are. I think yours falls in the clean and neutral category - which is a sweet spot to be. For me, the Integer would be a top contender for an under $1k pre, and a great choice for classical or jazz recording where transparency and detail are king. I totally get the product and its purpose and I would love to see it get some attention. I found it very useful and would certainly use it often enough. For my SM7 or passive ribbons, the Integer is fantastic. Folks who are looking for wide bandwidth, low distortion and super pure gain will love the Integer."
Marc - Blue on Blue Recording Studio
"The R44 was going through your RMP2 preamp - biggest, baddest, snarliest upright bass sound. Hit me in the chest when Eric dropped the low D. But dead quiet when he wasn't playing - in fact when I first brought it up I thought I had miss-connected it because there was no sound. I asked him to play something and out comes this huge sound!"
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