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R/E/P => R/E/P Archives => The Acid Test => Topic started by: Barry Hufker on October 23, 2008, 07:36:07 pm

Title: Milab DC-196 microphone
Post by: Barry Hufker on October 23, 2008, 07:36:07 pm
It was Michael Aarvold who got me interested in this microphone.  I didn't know he had until some months later when I began looking for another pair of mics and thought again about the 196s.  I started reading reviews about the DC-196.  Each of them, in magazines I trust (such as Sound On Sound) was very complimentary.  So I bought a pair.  Here is a first impression.

They are great little mics!

I didn't know what to expect.  I'd never heard any Milab mics except maybe once thirty years ago.  Those were the 96s as I recall.  They were fine but I was never dying to own them.  Now many years later, here is the 196 and I believe it to be quite a leap forward from that previous experience.

I've only been able to hear them using my voice but I think they would sound good with a number of instruments and could quite possibly be an oft-chosen vocal mic.  As my initial thought, I would describe the mics as crisp but without a harsh high frequency response.  There is a certain smoothness to them as well.  The bottom is good and proximity effect is well-controlled.

All three patterns (omni, cardioid, figure-8) seem to be quite useful.  I can imagine using these mics for acoustic instruments, but am eager to hear them especially on choir, which I record a lot.  Each pattern has its own sound of course (as is typical of so many microphones if not all of them), but I believe a very good recording could be made with the 196s in spaced omnis, X/Y, M/S and Blumlein.  Unlike many other microphones possessing a roll-off in both the highs and lows in figure-8, the 196 maintains its bass and treble.  This should result in quite a nice, full sound with M/S or Blumlein.  I'm not sure there is enough side rejection in figure-8 but more experimentation will determine that.

I *think* I read somewhere around this site that Milab EQs their mics to maintain the high frequency response.  If so, they've done a good job.  Again, the top end is crisp but not unpleasant.  A C12 for instance would probably possess a sweeter top, but I'm confident it also doesn't have the clarity, low noise and low distortion the 196 has.

And although you might believe from a picture the mic is the size of a U-87 (especially given the 196's shape), it is actually *very* small.  It's a little bit bigger than a KM 84 (184, 140).  But it has some heft to it for its size and is obviously well built.

I ordered a matched-pair and Milab didn't disappoint.  Both mics came with their own frequency plot and a third plot showing how closely the mics match -- and they do match quite closely.  Because Milab doesn't manufacture microphones on the same scale as Neumann, Schoeps or Sennheiser, making a match took a few weeks, but it was well worth the wait.

The mics come in a nice, black "leatherette" box, which is foam lined inside.  Accessories include a mic clip and foam wind screen, as well as some literature.  A pleasant surprise was finding a beautiful postcard of Sweden with a charming note from Mattias Str
Title: Re: Milab DC-196 microphone
Post by: maarvold on October 29, 2008, 09:41:38 pm
Barry,

I became interested in the idea of a rectangular capsule--or, for that matter--any capsule that would spread out the distribution of the high frequency resonant signature that seems to accompany all condenser mics; this would also have to include the new Bock Audio 5-Zero-7 (with elliptical capsule) as well.  Since it is talking with me that got you interested in the Milab's, I'm very glad you like the mics.  
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on October 30, 2008, 01:16:23 am
Mike,

I had a chance to hear the DC-196s today on piano -- VERY NICE...
The bass was firm, extended and never bloated.  The mid was smooth, clean, balanced.  The highs were emphasized but not overly so. They were rather sweet, clean and clear.

Yes, I'm very happy.

Barry
Title: Re: Milab DC-196 microphone
Post by: KB_S1 on November 29, 2008, 12:22:11 pm
I Have one of these mic's too and I agree entirely with your summary Barry.

I use it on snare, some vocals and acoustic instruments.
It is now my first stop mic' for fiddle.

I have also had success with it on upright bass where its uneven pickup pattern was very useful for a live band recording.

Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on November 29, 2008, 01:02:51 pm
I've now had a chance to use the mics in ORTF (near coincident pair) for choir.  The sound is quite good, being clear and clean with a great sense of space and very fine imaging.  The bass is a little lighter than what I'm used to with a spaced pair of Sonodore RCM 402 omnis, but it's not a fair comparison as I didn't have the 196s in omni.  Given the distance I had to work with, cardioid was the better choice as I couldn't place the mics close enough for omnis to work.

Once again, I'm extremely satisfied with this fine little microphone.

Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on December 02, 2008, 01:57:19 pm
What's the relationship between the 196 and the dc96?  I've used the 96's a few times over the years & always loved them, on lead vox, percussion, VO, sound effects recording & a few other things I don't remember.  It doesn't surprise me that they sound great on piano.  They do indeed have a very clear & extended low end, and one thing I liked was that when the proximity effect kicks in it's about an octave lower than it is in most mics.  

Gotta put those back on my list....

Title: Re: Milab DC-196 microphone
Post by: maarvold on December 02, 2008, 03:28:08 pm
Berolzheimer wrote on Tue, 02 December 2008 10:57

What's the relationship between the 196 and the dc96?


I'm pretty sure the 196's are substantially quieter... maybe a bit flatter too, although I can't remember for sure on that one.  
Title: Re: Milab DC-196 microphone
Post by: Schallfeldnebel on December 02, 2008, 04:13:39 pm
About 7 decibels more queiet. Probably transformerless. Could not find that on the website. http://www.milabmic.com

Erik Sikkema
Title: Re: Milab DC-196 microphone
Post by: J.J. Blair on December 02, 2008, 06:10:10 pm
All I know is that the VIP-50 looks like it should be labeled "Norelco."

http://www.milabmic.com/images/vip-50/vip-50.jpg
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on December 02, 2008, 06:26:37 pm
As I stated in my first post I don't really have any significant experience with the 96, but from the specs at the Milab site, the 196 is a great improvement.  I would bet that to be true.

It is however my estimation that you do indeed get a better, closer, cleaner shave with the VIP-50 than the 196.  But then again I'm a razor man...

index.php/fa/10576/0/


Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on December 04, 2008, 05:42:58 pm
J.J. Blair wrote on Tue, 02 December 2008 15:10

All I know is that the VIP-50 looks like it should be labeled "Norelco."

http://www.milabmic.com/images/vip-50/vip-50.jpg


That's the first thing I thought when I looked at my new acm-4:

index.php/fa/10597/0/

I've never used the vip-50 but a friend of mine who's used both the dc96b and the vip-50 tells me the vip doesn't sound nearly as good.  Same capsule but different body  & different electronics.
Title: Re: Milab DC-196 microphone
Post by: billiard on December 04, 2008, 07:17:56 pm
Funny thing, the model number sometimes escapes me because I still call these "shavers".


index.php/fa/10598/0/


Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on December 05, 2008, 01:53:40 am
maarvold wrote on Tue, 02 December 2008 12:28

Berolzheimer wrote on Tue, 02 December 2008 10:57

What's the relationship between the 196 and the dc96?


I'm pretty sure the 196's are substantially quieter... maybe a bit flatter too, although I can't remember for sure on that one.  


Interesting.  As it happens I was transferring some sound effects last night that I recorded with the dc96b, and there was nothing that sounded to me like microphone self noise on the tracks.
Title: Re: Milab DC-196 microphone
Post by: Daniel Farris on December 07, 2008, 11:05:48 am
I love my DC96, and I've always thought it was really quiet as well.

It has been in regular use for over 10 years at my place. Especially on ridiculously loud guitars. It's nearly impossible to overdrive one.

I'll look into the DC196. I'm intrigued.

DF
Title: Re: Milab DC-196 microphone
Post by: J.J. Blair on December 11, 2008, 03:54:19 am
It's an MD421.  There's actually a Paul Revere and the Raiders performance on Dick Clark or somethig, where Mark Lindsay pretends to shave with one of these.  


billiard wrote on Thu, 04 December 2008 16:17

Funny thing, the model number sometimes escapes me because I still call these "shavers".


index.php/fa/10598/0/




Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on December 11, 2008, 10:16:41 am
Those whacky guys...

Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on December 12, 2008, 09:24:21 pm
J.J. Blair wrote on Thu, 11 December 2008 00:54

It's an MD421.  There's actually a Paul Revere and the Raiders performance on Dick Clark or somethig, where Mark Lindsay pretends to shave with one of these.  

billiard wrote on Thu, 04 December 2008 16:17

Funny thing, the model number sometimes escapes me because I still call these "shavers".






I gave a talk at the LA Film School on Wednesday and a 421 is what they put in front of me.  I have to admit I was tempted.....

Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on December 14, 2008, 04:08:41 pm
Working with the 196s the last few days, the mic sounded very good on trumpet, flute, sax, harp and french horn.  Today in figure-8 and cardioid, the mic sounds a bit too full in the mid-bass as the main pair for an ensemble of chorus, piano, strings and flute.  While that can be corrected with a little EQ, what still shines through are the wonderful mids and sweet highs.  This is indeed a very fine mic.

Title: Re: Milab DC-196 microphone
Post by: Adam The Truck Driver on January 25, 2009, 08:19:07 pm
I've called the outfit that deals these Milab microphones in the US...the only place that does I supose. I think I will get a pair, or at least one.

I am only theorizing...these (DC196) would be a superior replacement for C414 applications?

I am also curious about the VM44 and the VIP50. What is the word on those?

Barry are you using the Gordon pres? I am curious about those too.

Thanks
AB



Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on January 25, 2009, 11:26:19 pm
Adam,

I have no experience with any Milab mic other than the DC-196.  It is my understanding from a person I've known (long deceased) who told me the VIP-50 has "no high end".  I can believe this based on the mic's frequency response charts.  But that could be a nice thing for brass if the response is along the lines of a ribbon mic...

Yes, I'm using Gordon preamps.  I love them.  I own four 2-channel units and think superior to every other design I've heard, which is API, Neve, Grace, Universal Audio, Focusrite, Harrison, Millennia, Studer...  At the university we have the new Duality by SSL.  I haven't compared that with the Gordon but I'd like to think the Gordon would be audibly cleaner and more neutral...  Grant Carpenter's design is unique (as far as I know) in the realm of preamps.

Give him a call.  He's a nice guy and will set up a demo for you.  The people at Milab (in Sweden) are very nice.  I didn't work with anyone in the U.S. as there was no U.S. distributor at the time I purchased.

I have no affection for AKG 414s... I think the Milab 196 to be a superior mic...

Barry
Title: Re: Milab DC-196 microphone
Post by: Adam The Truck Driver on January 26, 2009, 12:54:34 am
Thanks Barry.
Title: Re: Milab DC-196 microphone
Post by: mgod on January 27, 2009, 10:26:06 am
Tim deParavacini used to use the Milab dual rectangular capsule in his mic. He later switched to the Pearl version.

Back at Toad Hall in the early 90's we called these Darth Vader's razors.

index.php/fa/11081/0/

DS
Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on January 27, 2009, 07:21:48 pm
mgod wrote on Tue, 27 January 2009 07:26

Tim deParavacini used to use the Milab dual rectangular capsule in his mic. He later switched to the Pearl version.

Back at Toad Hall in the early 90's we called these Darth Vader's razors.

index.php/fa/11081/0/

DS


I've heard that Tim's version is an amazing mic, what 'd you think, Dan?

Title: Re: Milab DC-196 microphone
Post by: maarvold on January 28, 2009, 10:48:54 am
You can hear Tim's mics as the main pickup on many of the Water Lily Acoustics records.  I think the one I bought is the one with Ry Cooder.  The mics sound very good and extremely smooth and natural to me (like the way real acoustic instruments sound).  
Title: Re: Milab DC-196 microphone
Post by: mgod on January 29, 2009, 11:08:31 am
I think empirically they're the best mics I own. He doesn't make them anymore, but I'm happy to lend them, or if you have a bodget, rent them.

DS
Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on February 06, 2009, 12:38:05 am
maarvold wrote on Wed, 28 January 2009 07:48

You can hear Tim's mics as the main pickup on many of the Water Lily Acoustics records.  I think the one I bought is the one with Ry Cooder.  The mics sound very good and extremely smooth and natural to me (like the way real acoustic instruments sound).  


Those certainly are some gorgeous recordings.  I have "Meeting by the River" (I think that's what it's called) around here somewhere, I'll have to dig it out again.....

Title: Re: Milab DC-196 microphone
Post by: boojum on February 09, 2009, 01:39:10 am
Please help me here as my experience is limited.  I have a pair of CMC64's and wonder how these mics would compare, if only in their card form, to the CMC64's.

Thanks.
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 09, 2009, 12:14:15 pm
I don't have any direct experience with (Schoeps?) CMC64s... Having said that, I do have a lot of experience with Schoeps MK5 and MK2S capsules and the M221B (934B).

The Milabs are quite different.  Their rectangular capsule gives them a characteristic which is between large and small diaphragm.  It kind of offers the best of both.  And because the capsule has a different length than width, its resonances are spread more than a circular one.  I've come to think of the 196 as sort of a solid state AKG C12.  The mic has a personality but it is a very enjoyable one.  And tho' that personality varies according to the pattern, all three patterns are usable and likable.  The high end is extended but is never brittle or harsh.  The mids are quite nice and there is enough low end in cardioid to make for a full sound.

Most recently I used a pair for recording the Saint Louis Chamber Chorus, a group I record often.  I chose M/S (a technique I largely despise) because I wanted to hear the 196s in something other than simple omni or cardioid.  So the M was cardioid and the S was Figure 8 (of course).  Normally I prefer spaced omnis.  The comment from the conductor was that I had managed to "outdo yourself" in terms of recording quality.  Now, that is saying a lot considering the nice microphones I have access to.

Having used the mics a lot lately,I can easily say they have sounded good on everything I've tried.  I am *very* pleased.

Barry

Title: Re: Milab DC-196 microphone
Post by: boojum on February 10, 2009, 01:11:32 pm
Barry -

Thanks.  I have used your link to your page and will D/L the tacks of the SLCC to listen.

This is a bit off topic, so pardon it, but what is the general resistance to MS?  

Thanks.
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 10, 2009, 02:51:19 pm
Boojum,

None of the SLCC tracks on my site use M/S.  I recorded their last concert with that but haven't posted anything from it.  Now I think of it, there are no M/S recordings at all on my site...

Marc Aubort, legendary recording engineer of Elite Recordings (NYC) and a mentor of mine once said M/S stands for "Maybe Stereo".  Marc always uses spaced omnis.  I like that technique as well but will use what is necessary.  Sometimes that's M/S.

I don't like M/S for at least two reasons:
1. It is not mono compatible.  In monaural, the S signal is canceled out and with it some of the information available in stereo.  This is not true of Blumlein or X/Y.

2. It contains no time of arrival information, which I think is vital to the full enjoyment of a performance recorded in stereo.

Barry
Title: Re: Milab DC-196 microphone
Post by: tom eaton on February 11, 2009, 08:06:54 am
Barry-

MS is not mono compatible?  It's the ONLY multi-mic stereo recording format that presents the center of the soundstage with no phase issues when presented in mono.

I really don't like working in MS, but if I know something WILL come down to mono it's WAY easier to get a great sound from that M mic and then add the S to help those who will hear it in stereo.

I nearly always prefer XY to everything else for stereo sonic purposes, though!

t
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 11, 2009, 11:48:06 am
Hi Tom.

I know it's heresy - and I may be overstating the case - but I don't believe M/S to be mono compatible.  If "mono compatible" is defined as the percentage of signal loss due to phase cancellation between the two mics, then M/S fails the test I believe because the S signal is completely canceled, and along with it most of the ambient information.

Barry
Title: Re: Milab DC-196 microphone
Post by: boojum on February 14, 2009, 09:44:49 pm
Barry Hufker wrote on Tue, 10 February 2009 11:51

Boojum,

None of the SLCC tracks on my site use M/S.  I recorded their last concert with that but haven't posted anything from it.  Now I think of it, there are no M/S recordings at all on my site...

Marc Aubort, legendary recording engineer of Elite Recordings (NYC) and a mentor of mine once said M/S stands for "Maybe Stereo".  Marc always uses spaced omnis.  I like that technique as well but will use what is necessary.  Sometimes that's M/S.

I don't like M/S for at least two reasons:
1. It is not mono compatible.  In monaural, the S signal is canceled out and with it some of the information available in stereo.  This is not true of Blumlein or X/Y.

2. It contains no time of arrival information, which I think is vital to the full enjoyment of a performance recorded in stereo.

Barry


Barry -

I have heard the old saw about "lack of stereo information" and "maybe stereo" but I have not found this the case in real world recording.  I understand why some like near concident and AB over coincident.  However, MS decoded is a near coincident image close to ORTF.  I have good luck with MS for stereo image and spread.  I am confused.

I cannot upload a sample of a jazz track I recorded MS for you.  Sorry.

Cheers

Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 14, 2009, 10:13:13 pm
I don't understand how M/S is "a near coincident image close to ORTF".  The M and S capsules are supposed to be as coincident as possible while ORTF calls for a separation of 17 cm (7 inches) at an angle of 110 degrees.  Even with a small separation of capsules in a practical M/S system it doesn't approach 17 cm...

Now *I'm* confused...

EDIT: The website doesn't allow uploaded audio files...
Title: Re: Milab DC-196 microphone
Post by: boojum on February 16, 2009, 02:10:01 am
Barry -

I cannot find it in a quick google but I thought I had read in Earlge or Bartlett that MS decodes to a near coincident image even though it is, itself, coincident.  I will check my manuals.  You may very well be right.

However, back to the main point: lack of stereo cues.  This has not been my experience when recording with MS.  I get very good localization and a good stereo spread.  It is adjustable, of course.  And I get pretty good ambiance or "air."  I like MS as it is a good quick and dirty setup when I am rushed in a venue I am not familiar with and need to get set up in a hurry.  It is pretty good other times, too.  

In short, MS is a valuable tool in my tool bag.  It is not  the only tool, but it is a good one.

And I will check Eargle and Bartlett and get back on that one.  

I guess this thread is pretty hi-jacked by now and I apoligize to all for that.


Cheers
Title: Re: Milab DC-196 microphone
Post by: boojum on February 17, 2009, 01:53:43 pm
Barry -

I do not know how you did it, but you got Eargle, Bartlett and the others to revise what they said, and wrote in the books I already have.  It now says that MS decodes into coincident, not near-coincident!   LOL   I was wrong; you were right.


Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 17, 2009, 02:03:45 pm
It just shows you can't believe what you read in books!  Smile

Barry
Title: Re: Milab DC-196 microphone
Post by: tom eaton on February 17, 2009, 03:51:36 pm
1984 all over again.
Title: Re: Milab DC-196 microphone
Post by: mgod on February 17, 2009, 04:17:35 pm
Barry Hufker wrote on Tue, 10 February 2009 11:51

Marc Aubort, legendary recording engineer of Elite Recordings (NYC) and a mentor of mine once said M/S stands for "Maybe Stereo".

Barry

Well this is some news. You've been holding out on us Barry . I love his recordings.

DS
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 17, 2009, 05:42:00 pm
He's a fantastic guy.  And with his late partner, Joanna Nickrenz, has made many wonderful recordings.  Joanna died a few years ago of lung cancer.  Together they treated me like family when I was just getting started.  I had the pleasure of writing a couple of articles about them them for audio industry publications.

I see him every once in a while at AES conventions.  May he live forever (if he wants to!).

Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on February 18, 2009, 03:55:22 pm
boojum wrote on Sun, 15 February 2009 23:10



However, back to the main point: lack of stereo cues.  This has not been my experience when recording with MS.  I get very good localization and a good stereo spread.  It is adjustable, of course.  And I get pretty good ambiance or "air."  



I think what Barry was saying, and I agree with him, is that ther's a loss of ambience not when listening in stereo but when the L & R are combined to mono- and of course then the side pickup is cancelled out completely and you're left listening only to a hyper-card.
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 18, 2009, 03:56:37 pm
That's exactly what I meant.  Thanks!


Barry


Title: Re: Milab DC-196 microphone
Post by: tom eaton on February 18, 2009, 04:23:20 pm
Right, but if you get a great sound of that M (doesn't have to be hyper- or even cardioid) mic before you add the S (fig-8) you'll know EXACTLY what people will hear when the program comes down to mono, and it won't have any of the notching and hf loss one almost always gets when pulling an xy down to mono.

t
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on February 18, 2009, 05:17:15 pm
Of course one doesn't have to use hypercardioid, but can use any pattern.

Mono: I don't worry about mono compatibility (OK I do, but I also don't). If someone is still listening in mono then screw them.  This is the age of stereo (and for some, surround).  That's why I like spaced omni.  If we're going to have stereo, then let's really have stereo!!


Title: Re: Milab DC-196 microphone
Post by: 3rd 4thT on March 07, 2009, 12:08:07 am
[quote title=Berolzheimer wrote on Wed, 18 February 2009 14:55]
boojum wrote on Sun, 15 February 2009 23:10


I think what Barry was saying, and I agree with him, is that ther's a loss of ambience not when listening in stereo but when the L & R are combined to mono- and of course then the side pickup is cancelled out completely and you're left listening only to a hyper-card.


I first learned about that with some Aaron Copland recordings made for CBS/Sony in London by Helmuth Kolbe. In stereo, awash in reverb. In mono, dry as a bone. Quite startling.

Cheers,
3rd&4thT
Title: Re: Milab DC-196 microphone
Post by: Eric H. on March 07, 2009, 11:00:13 am
Barry Hufker wrote on Wed, 18 February 2009 22:17

Mono: I don't worry about mono compatibility (OK I do, but I also don't). If someone is still listening in mono then screw them.  This is the age of stereo (and for some, surround).  That's why I like spaced omni.  If we're going to have stereo, then let's really have stereo!!




+1
Title: Re: Milab DC-196 microphone
Post by: Berolzheimer on March 10, 2009, 11:01:23 pm
Eric H. wrote on Sat, 07 March 2009 08:00

Barry Hufker wrote on Wed, 18 February 2009 22:17

Mono: I don't worry about mono compatibility (OK I do, but I also don't). If someone is still listening in mono then screw them.  This is the age of stereo (and for some, surround).  That's why I like spaced omni.  If we're going to have stereo, then let's really have stereo!!




+1


+2. And that's why sometimes on recordings that are not meant to be realism- psychedelic rock & the like- sometimes I'll intentionally NOT use matched mics in a stereo pair.  To get them to be a bit more different from each other.
Title: Re: Milab DC-196 microphone
Post by: Ted Olausson on March 11, 2009, 08:16:23 am
Barry Hufker wrote on Wed, 18 February 2009 16:17

Of course one doesn't have to use hypercardioid, but can use any pattern.

Mono: I don't worry about mono compatibility (OK I do, but I also don't). If someone is still listening in mono then screw them.  This is the age of stereo (and for some, surround).  That's why I like spaced omni.  If we're going to have stereo, then let's really have stereo!!





Still? A lot of cheap batterypowered gears with headphones will play stereoMP3s/radio but has only mono out. Often with one channel phasereversed.

However, i have about two dozens of milab/pearl microphones and i really likes them. They are also very rugged, some of mine has been on the road for almost 40years and are still in mint condition.
Title: Re: Milab DC-196 microphone
Post by: Barry Hufker on March 11, 2009, 12:06:51 pm
"...some of mine has been on the road for almost 40 years and are still in mint condition."

I think that sentence says as much about your care towards your gear as it does about the microphones' construction quality.

Title: Re: Milab DC-196 microphone
Post by: strangeandbouncy on March 13, 2009, 02:18:49 pm
Hi,


There was a pair of Tim de Paverencini's mic's at Nomis studios in the early '90's. Nobody every used them but me. They were not beloved at all for vocals, but often on acoustic gtr and percussion. - til we discovered Calrecs . . .
 Never tried them on choirs or string sections, but I bet they were the nuts.

 Kndest regards,


ANdyP
Title: Re: Milab DC-196 microphone
Post by: Ted Olausson on March 13, 2009, 07:06:14 pm
Barry Hufker wrote on Wed, 11 March 2009 11:06

"...some of mine has been on the road for almost 40 years and are still in mint condition."

I think that sentence says as much about your care towards your gear as it does about the microphones' construction quality.




Not really, they (Milab LC-25/LC-28,as in the picture) are very sturdy built and can take abuse that would send most other mics to the scrapheap.

index.php/fa/11661/0/

Oops, i can see that the camera in my cellphone has taken some beatings. sorry...