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Post by recordingengineer on Aug 9, 2022 10:54:26 GMT -6
While everyone is discussing the M49V, I’m actually somewhat contemplating which mic I’m going to pick up next, eventually: the Sanken CU-44x mkii or the Milab VIP-60.
I swore up and down that I’d grab the VIP-60 as soon as it became available, as I miss my VIP-50 (a mic I liked but definitely felt could use some improvements, even back then), but I ended-up putting a number of other gear priorities in front; as I already have way way way more mics than I truly need.
Still, I eventually would like an all-around mic I’d pulled out for capturing great tones of great players, for things like brass and jazz guitar players or the like; places the Samar VL-37A might find itself.
Ideally, I’d love to try the two mics side-by-side, but short of owning both mics, that’ll never happen.
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Post by EmRR on Aug 9, 2022 14:25:22 GMT -6
Love to know the results.
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ericn
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Post by ericn on Aug 9, 2022 14:59:41 GMT -6
While everyone is discussing the M49V, I’m actually somewhat contemplating which mic I’m going to pick up next, eventually: the Sanken CU-44x mkii or the Milab VIP-60. I swore up and down that I’d grab the VIP-60 as soon as it became available, as I miss my VIP-50 (a mic I liked but definitely felt could use some improvements, even back then), but I ended-up putting a number of other gear priorities in front; as I already have way way way more mics than I truly need. Still, I eventually would like an all-around mic I’d pulled out for capturing great tones of great players, for things like brass and jazz guitar players or the like; places the Samar VL-37A might find itself. Ideally, I’d love to try the two mics side-by-side, but short of owning both mics, that’ll never happen. That’s the Sanken with the the larger bass diaphragm and the smaller treble right? It’s often a great mike, I have known voice over guys and a couple of singers who swear by it, but on some voices the crossover between the 2 diagphrams is a phase nightmare. Haven’t heard the VIP 60, 50 would have been a world class FET if it wasn’t for the noise floor. Sold a couple of the Sanken and the VIP50, I would love both as part of a mic collection , but if it was going to be my one go to mic I would make sure I could audition before committing to either. |
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Post by recordingengineer on Aug 11, 2022 1:06:41 GMT -6
I agree, auditioning is key here. And yes, it’s the 2-way mic… Speaking of which, I wonder what the real difference is between the CU-44x mkii and the CUX-100k.
The only other negative thing I’ve heard of CU-44 is not-so-good off-axis sound. By the way, vocals would probably be the last place I would use this mic; although the VIP-50 one of the best on my brother, with his tenor/baritone tone.
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Post by sean on Aug 11, 2022 6:24:08 GMT -6
I haven't used the CU-44 but use the CU-41, and I don't know how many VIP-60's are out in the wild. But, I love the Sanken microphones on piano, cello/bowed bass and overheads, they really capture high end detail really well without being harsh. I can't say I've had much success with the Sanken on vocals.
I've used the CUX-100K on a session with Jamie Lidell and it's a bit sterile/bright to me but where he uses it with great success if when he wants to pitch a source down. For example, on a snare drum, it doesn't sound as "good" as the KM56 he recorded at the same time, but pitched down several times it sounded amazing because it captured 100Khz so even pitched 4 octaves it still had top end detail, where all the was lost when the KM56 was pitched down. If I did more "creative" mixing or foley work I'd own a CUX-100K without question.
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Post by recordingengineer on Aug 15, 2022 23:26:26 GMT -6
Well they just announced a very decent intro sale on the VIP-60. That may have helped make a decision.
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ericn
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Post by ericn on Aug 16, 2022 9:04:57 GMT -6
Well they just announced a very decent intro sale on the VIP-60. That may have helped make a decision. A sale always helps, but call around, I remember many a “ special sale” that I could have beat any given Thursday. |
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Post by Hudsonic on Aug 17, 2022 8:37:07 GMT -6
As a user / driver of each brand mentioned, (Sanken CO-100K, Sanken 44 variants, Sanken CMS-2 m/s stereo mic + Milab DC196 Milab VIP 50)) may I offer that Sanken is a much different "house tone" than Milab? Sanken is somewhat cold and scientific sounding. It does have its place and is super valuable, but in a narrower range of uses than the VIP. Sanken can be successfully used as a microscope on elite level players. Milab is a much warmer--especially the Milab VIP series. For example, Milab DC196 is one of the KING vocal mics. Listen to Andreas Scholl at: player.vimeo.com/video/46890236VIP 60 has updated, quieter electronics and updated capsule for 21st. Century VIP sound. Seize VIP60 today. |
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Post by recordingengineer on Aug 17, 2022 18:32:57 GMT -6
Great info! Helps immensely! Just like, in my applications, I generally enjoy Shoeps over DPA, I’m guessing I’ll enjoy Milab over Sanken. I also wonder of Ehrlund, but I still haven’t heard any online samples I’ve enjoyed.
Speaking of of DC196, what’s the sound/application difference, now to the VIP-60?
My PML DC-63 definitely seems to be its own thing!
Speak of which, how does anyone chose between Milab and Pearl for sound/application?
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Post by christopher on Aug 20, 2022 22:33:50 GMT -6
Sanken mics are fantastic. Cold and scientific is not exactly how I'd characterize them, especially if you're running them into preamps and processors with tons of iron and tubes. Own CU-41s, CU-55s and a CO-100K - everything is just a reflection of what you put in front of it and after. And the off-axis sound of their microphones is second to none. Most underrated company in audio as far as I'm concerned and the way their mics are often characterized is quite off-base. I believe this is a Sanken on Chris Isaac, one of my favs |
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Post by Hudsonic on Aug 29, 2022 7:24:17 GMT -6
In general the difference between Milab and Pearl is that Pearl is aimed more at the purist who eschews pads, bass roll-off switches, and really any features on the microphone itself. The two brands are distinct in sound as well with Pearl offering a very extended treble freq. response, especially in the Pearl CC22 cardioid. The Pearl capsules are different from the Milab capsules. Mostly here I have been a Pearl freak since 1998 and I recently got into the Milab DC196 sound (excellent).
I use Pearl CC22 cardioids as the basis for my choral records primarily. I have also had fantastic results with the Milab 196 on men's singing voices, strings, brass, horn, and woodwinds. Exceedingly natural sound without a presence peak defines both Milab 196 and Pearl CC22.
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Post by recordingengineer on Sept 6, 2022 21:12:34 GMT -6
Well I grabbed the VIP-60 today! I’ll be out of town for a four days, so I won’t have them ship it until next week.
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Post by Hudsonic on Sept 7, 2022 13:24:34 GMT -6
Oh YEAH Baby!
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Post by recordingengineer on Sept 18, 2022 20:59:12 GMT -6
It arrived and works! Dark on my baritone speaking voice, without any EQ, like I remember the VIP-50. Now gotta put it in from the of a guitar cabinet and try it in an M/S on piano and drums. Eventually, some brass too. Attachment Deleted |
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Post by recordingengineer on Sept 26, 2022 11:03:58 GMT -6
Excited to report that the VIP-60 performed exactly the way I hoped it would on electric guitar amp! Attachment Deleted |
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Post by recordingengineer on May 15, 2023 10:43:43 GMT -6
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