Hello everyone, hope you’re doing marvelously nicely!
I like reviewing microphones by making music. Recording an entire track tells me way more
a couple of microphone than speaking about it in isolation. How does it seize a drum equipment? Can it
ship a helpful bass sound? How does it deal with guitars and vocals?
For this demo, we put the Milab VIP-60 by way of its paces with a canopy of The Beatles’ “I Really feel
Positive”, that includes me on vocals, guitars and bass, with Aaron taking part in drums. Then, at Blackbird
Studios in Nashville, we recorded the fantastic Pete Mroz and in contrast the Milab towards
two of my favorite microphones: a Neumann KM54 on acoustic guitar and a Neumann M269
on vocals.
There’s additionally a possibility to win a VIP-60 your self!
Enter to win a Milab VIP-60 microphone
A Rectangular Capsule and Sensible Controls
One of many first stuff you discover concerning the VIP-60 is its rectangular capsule. It instantly
stands out, however what pursuits me most is listening to what this microphone brings to a recording.
The Swedish-built VIP-60 feels strong and substantial, and I actually like the sensible design. Its
suspension mount holds it securely, whereas the controls strike a smart steadiness: they’re straightforward to
regulate intentionally with out feeling as if an unintended brush will change your settings.
You will have 5 polar patterns to select from: omnidirectional, extensive cardioid, cardioid,
hypercardioid and figure-of-eight. There are additionally switchable 200 Hz and 500 Hz low-frequency
filters, plus −10 dB and −20 dB pads.
That provides you loads of flexibility when transferring between sources, which is precisely what we did.
Recording “I Really feel Positive” with One Microphone Mannequin
The thought was to make use of the VIP-60 all through the recording, transferring it between devices and
vocals. We additionally captured bass and electrical guitar DIs, providing you with extra choices when mixing
the multitracks.
This wasn’t about completely recreating each element of the unique Beatles recording. It was about
studying the components, having enjoyable and discovering out how a lot we might obtain with one microphone
mannequin.
And studying these components gave us a contemporary appreciation for the performances on the unique!
One Microphone on the Drums
The mono drum recording was in all probability my favorite a part of this complete take a look at.
I positioned the VIP-60 over the drummer’s shoulder on the floor-tom facet, trying throughout the equipment
in the direction of the snare, rack tom and kick. There’s no flooring tom half in our association, so the
precedence was getting the suitable steadiness of the devices Aaron was truly taking part in.
It’s a place that usually works nicely for me when recording a equipment with one microphone. Placement
turns into your steadiness management: transferring the microphone or adjusting the equipment could make an enormous
distinction.
We even moved the journey cymbal to carry it into the image correctly, which gave poor Aaron a
reasonably attention-grabbing bodily problem whereas taking part in the groove!
The VIP-60 captured a remarkably full equipment sound, with clear low finish and loads of influence.
After we switched from the microphone we’d been utilizing whereas studying the components, the additional
weight was instantly noticeable.
It additionally delivered loads of output into the Focusrite ISA 428. I drove that recording chain fairly
enthusiastically for slightly grit and pleasure.
Within the combine, a Pultec-style increase round 60 Hz helped carry out the underside finish, and chamber
reverb added house. Within the video, I additionally flip the reverb off so you’ll be able to hear what the only
microphone captured.
Bass and Guitars
For the bass, we recorded the VIP-60 on a Fender Bassman, alongside a DI by way of the SSL.
The miked sound already labored nicely earlier than the extra processing, which is at all times a great
signal.
The guitar layers included a Yamaha Revstar and my cheap Squier Thinline
Telecaster by way of a Vox AC30, plus a Takamine acoustic performed by way of the AC30.
That mixture gave us completely different textures whereas protecting the microphone constant. There’s
additionally some gloriously extreme Softube Spring Reverb within the combine. Typically you need to
take pleasure in your self!
Vocals and Harmonies
I sang the lead vocals and harmonies, together with the doubled lead components. And sure, I’m completely satisfied to
admit I tuned a number of notes!
The vocal processing was simple: some low-frequency roll-off, Waves Renaissance
Vox and UAD Capitol Chambers for atmosphere. I used the identical chamber on the drums to assist
carry the recording collectively.
Throughout the association, the Milab delivered helpful sounds on each supply. The drums had been the
standout for me, however the bass, guitars and vocals all held their very own.
Obtain the “I Really feel Positive” multitracks
Pete Mroz at Blackbird Studios
For the second demo, we needed to listen to the VIP-60 alongside microphones we already beloved on
Pete.
The Neumann KM54 is my favorite acoustic guitar microphone. The Neumann M269 is a
fantastic vocal microphone, notably on Pete’s voice. These had been our reference selections, and
we introduced within the Milab to listen to the way it in contrast.
Acoustic Guitar: Milab VIP-60 vs Neumann KM54
The KM54 had that pretty sparkle and transient element I take pleasure in a lot on acoustic guitar. The
Milab sounded extra managed, with a stronger sense of midrange presence.
Neither acoustic guitar recording was compressed within the comparability.
Wanting on the analyser supported what we had been listening to: the Milab had extra power by way of
the center frequencies, notably across the 700–900 Hz space, whereas the KM54 recording had
a extra recessed high quality by way of a part of that vary.
These had been observations from this efficiency and setup, reasonably than laboratory
measurements of both microphone.
I beloved each sounds. The KM54 had that acquainted magic, whereas the Milab introduced the guitar
ahead in a manner I might simply use in a mixture. I typically increase acoustic guitar mids anyway, particularly
once I need the instrument to talk clearly in a busy association.
Vocals: Milab VIP-60 vs Neumann M269
Pete has a strong, naturally mid-forward voice, so this was an attention-grabbing comparability.
Once more, the Milab’s midrange character got here by way of. The M269 captured extra of the
upper-frequency element on this setup, whereas the VIP-60 gave us a considerable, current vocal sound.
We tried 4 microphones on Pete’s voice, and the Milab and M269 emerged because the favourites.
Preferences modified with the phrase: one line favoured the Neumann fairly strongly, whereas
one other introduced the room a lot nearer to a good break up.
That’s why I like doing these comparisons with precise performances. The singer, the track and
the actual phrase all matter.
My Ideas on the Milab VIP-60
I used to be very impressed by the VIP-60, notably as a single microphone on drums. The low-end
weight, readability and general steadiness made that recording enormously gratifying.
It additionally proved versatile throughout bass, amplified guitars, acoustic guitar and vocals. Alongside two
classic microphones I like, it provided a definite sound that was helpful in its personal proper.
Thanks ever a lot to Milab for sending the microphone over for us to strive. I like having an
excuse to file music, and this was a very enjoyable one!
Watch the video, hearken to the comparisons and obtain the multitracks to strive your personal combine.
And don’t neglect to enter to your probability to win a Milab VIP-60.
Enter to win a Milab VIP-60 microphone
Technical specs checked towards the Milab VIP-60 consumer guide.
