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milab dc-196 info
Old 16th July 2013
  #31
Using a similar set up for string quartets, except the outriggers are MKH8020s.
Attached Thumbnails
milab dc-196 info-dc-196s-8020s.jpg  
Old 16th July 2013
  #32
bee
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Quote:
Originally Posted by Lotus 7 View Post
Using a similar set up for string quartets, except the outriggers are MKH8020s.
Awesome setup! Do you have any sound clips?
Old 16th July 2013
  #33
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Quote:
Originally Posted by GES View Post
In this case....Prokofiev....in mexico! :-)
its a NOS pair (dc196) plus the AB
here a little picture...
Ahh Prokofiev yes - please remind me what more exactly!
Thanks for the picture...

::
Mads
Old 16th July 2013
  #34
Quote:
Originally Posted by bee View Post
Awesome setup! Do you have any sound clips?
Sure - In fact I've actually got some real Shostakovich!

Small church, not great acoustics, some air handler rumble so used a 62 Hz/24 dB-octave HP filter. A-B 8020s mixed in at approximately -4.5 dB. These crummy MP-3s are from the 16 bit CD, not the original 24 bit files
Attached Files

Ravel Mvmt-2.mp3 (1.43 MB, 628 views)

Shostakovich SQ-9.mp3 (1.82 MB, 563 views)

Old 16th July 2013
  #35
GES
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Quote:
Originally Posted by mljung View Post
Ahh Prokofiev yes - please remind me what more exactly!
Thanks for the picture...

::
Mads
you are welcome!

Romeo and Juliet...
fantastic piece!
And this hall...its just a dream to record in....
Old 16th July 2013
  #36
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Quote:
Originally Posted by Lotus 7 View Post
Sure - In fact I've actually got some real Shostakovich!

Small church, not great acoustics, some air handler rumble so used a 62 Hz/24 dB-octave HP filter. A-B 8020s mixed in at approximately -4.5 dB. These crummy MP-3s are from the 16 bit CD, not the original 24 bit files
Yes the "air-handler" is still present, but what a fine string sound.


::
Mads
Old 16th July 2013
  #37
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Quote:
Originally Posted by GES View Post
you are welcome!

Romeo and Juliet...
Typical - the most popular pieces are ones I have most trouble recognizing, but yes it's lovely...

::
Mads
Old 17th July 2013
  #38
Quote:
Originally Posted by mljung View Post
Yes the "air-handler" is still present, but what a fine string sound.
::
Mads
Thanks. It was a live concert on a warm day so the air system had to be left on. I didn't want to cut into the beautifully-played cello at all so kept the low-cut to a minimum.
Old 17th July 2013
  #39
bee
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Quote:
Originally Posted by Lotus 7 View Post
Sure - In fact I've actually got some real Shostakovich!

Small church, not great acoustics, some air handler rumble so used a 62 Hz/24 dB-octave HP filter. A-B 8020s mixed in at approximately -4.5 dB. These crummy MP-3s are from the 16 bit CD, not the original 24 bit files
Thanks for taking the time to post those clips! They sound great.
Old 18th July 2013
  #40
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Quote:
Originally Posted by Lotus 7 View Post
Sure - In fact I've actually got some real Shostakovich!

Small church, not great acoustics, some air handler rumble so used a 62 Hz/24 dB-octave HP filter. A-B 8020s mixed in at approximately -4.5 dB. These crummy MP-3s are from the 16 bit CD, not the original 24 bit files
Thanks Lotus7 for the link. Professional set up. Pleasure to listen. And the music is great!
Old 18th July 2013
  #41
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Quote:
Originally Posted by mljung View Post
Very nice - are we in Shostakovich land..?
Was it a Faulkner phased array type of recording or..?

::
Mads
Death of Tybalt from Romeo and Juliet by Prokofiev
Old 19th July 2013
  #42
Gear Nut
So how would you compare these to say, a TLM 170 for choral or solo voice? I really like the idea of the smaller container, and those samples sounded great
Old 19th July 2013
  #43
Quote:
Originally Posted by VillageOp View Post
So how would you compare these to say, a TLM 170 for choral or solo voice? I really like the idea of the smaller container, and those samples sounded great
I've not used the DC196s on voice, but there is a video of famous countertener Andreas Scholl speaking with Grammy winning engineer Philip Siney about their experiences using the DC196 on a supurb recording of Scholls. Apparently he is very happy with the results.

Here is a link to parts of the performance to get an idea of the sound of the DC196 on a countertenor. It's hard to imagine improving on this sound! The A/B DC196s are clearly visible in the video.

I have a gig coming up in a few months to record a 30-voice choir in a good-sized church with organ. Was planning on using (4) spaced MKH8020s on the singers, but may run a extra pair of the DC196s near the center 8020s for comparison. I only have (2) DC196s.

The question is: Should I set the DC196s to omni for a direct comparison to the center 8020s, OR should I set the DC196s to cardioid so that they can be used for a "closer" focus on the chorus if needed?

It's interesting how these Gearslutz threads often result in more questions than answers....

Opinions, suggestions and creative solutions are always welcome!
Old 20th July 2013
  #44
bee
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Quote:
Originally Posted by Lotus 7 View Post
I've not used the DC196s on voice, but there is a video of famous countertener Andreas Scholl speaking with Grammy winning engineer Philip Siney about their experiences using the DC196 on a supurb recording of Scholls. Apparently he is very happy with the results.

Here is a link to parts of the performance to get an idea of the sound of the DC196 on a countertenor. It's hard to imagine improving on this sound! The A/B DC196s are clearly visible in the video.

I have a gig coming up in a few months to record a 30-voice choir in a good-sized church with organ. Was planning on using (4) spaced MKH8020s on the singers, but may run a extra pair of the DC196s near the center 8020s for comparison. I only have (2) DC196s.

The question is: Should I set the DC196s to omni for a direct comparison to the center 8020s, OR should I set the DC196s to cardioid so that they can be used for a "closer" focus on the chorus if needed?

It's interesting how these Gearslutz threads often result in more questions than answers....

Opinions, suggestions and creative solutions are always welcome!
Great video, thanks for the link. I'd definitely like to pic up a pair of these mics.
Old 20th July 2013
  #45
Quote:
Originally Posted by bee View Post
Great video, thanks for the link. I'd definitely like to pic up a pair of these mics.
If you do, be sure to "shop around". I picked up an in-stock, matched pair of black ones in a custom 2-mic SKB case with the factory shock-mounts at a good discount by phoning Full Compass. Re: shock-mounts: The MiLab "donut" mounts have decent isolation, but IMHO are a real PITA to install and remove from the mics. They are also expensive if you buy them separately.

I switched to using the On-Stage Stands Model MY420 shock mounts. they also have excellent isolation (probably better than the MiLab factory mounts) and are very easy to install and remove quickly, as well as being much less expensive.
Old 22nd July 2013
  #46
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Quote:
Originally Posted by Lotus 7 View Post
I've not used the DC196s on voice, but there is a video of famous countertener Andreas Scholl speaking with Grammy winning engineer Philip Siney

I have a gig coming up in a few months to record a 30-voice choir in a good-sized church with organ. Was planning on using (4) spaced MKH8020s on the singers, but may run a extra pair of the DC196s near the center 8020s for comparison. I only have (2) DC196s.

The question is: Should I set the DC196s to omni for a direct comparison to the center 8020s, OR should I set the DC196s to cardioid so that they can be used for a "closer" focus on the chorus if needed?
Difficult question. You may find that the cardioid pattern is a bit more ideal, on a dual diaphragm condenser as opposed to omni. On the other hand, it could be very interesting to hear how well the omni pattern works, compared to 8020, and would, as you say, be a more "direct comparison". So if "comparison" is the main objective, go for the omni... [and do post the results ;->]

::
Mads
Old 2nd October 2013
  #47
Gear Head
 

Quote:
Originally Posted by GES View Post
here a little picture...
I always wonder where you guys get those long and nice microphone bars?
When I search for them I got no results. Are they specially ordered?

By the way, I found this thread because I am searching for options regarding a main cardioid pair and those neat DC196's wake my interest a lot... although they aren't real sdc's and have a side address, but nevermind ... Good to hear that someone likes them! Curios how they would compare to Nevaton MC49's.

+ Prokofiev sounds nice!
Old 2nd October 2013
  #48
Quote:
Originally Posted by Girts View Post
I always wonder where you guys get those long and nice microphone bars?
When I search for them I got no results. Are they specially ordered?
....
We use (and absolutely love) the Grace Spacebar, possibly the best engineered mic bar ever designed, and also the AEA SMP 17 and SMP -1M which are very nice and extremely rugged. The AEA SMP-1M is the perfect size for recording a Steinway D.

Have both sizes of the AEA, and have also made custom length bars from standard-sized, easily available aluminum bar stock which fits perfectly.

Also use the Sabra Som ST-4 for mounting (2) DC-196s and (2) MKH 8020s. It's not as rugged as the Grace or AEA bars, but is much less expensive and is fine when a light weight, smaller, less conspicious mic bar is called for.
Old 2nd October 2013
  #49
Gear Head
 

Thanks a lot Lotus 7!

May I ask: do you think the sound of DC196 would be comparable to older AKG C414 EB (P48, nylon cap)? Because people here are talking about smoothness regarding DC196 and mention the fact that in omni or fig8 mode it exceeds similar multi-patern condensers.

Right now I'm considering if I have to upgrade my C414EB with a Tim Campbell's CT12 capsule or I'll be better off to get rid of C414 at all and try something like this particular Milab - or even a pair of them.


Girts
Old 3rd October 2013
  #50
I haven't used an older C414EB, so have no opinion as to how the DC196 would compare. I think the DC196 sounds smoother, or at least less bright, than a current C414 B ULS, but it's hard to compare a mic like the DC196 with its different vertical and horizontal polar patterns with a mic with a symmetrical polar pattern (like a C414).

In "live", less then ideal, reverberant spaces, I generally like the sound of the DC196 over many other mics. In a "dry" space or a studio, it's a matter of personal taste and the sound one is trying to get. I will say that the DC196 seems to fit well as an instrument spot, or a center-fill when added to a pair of spaced MKH8020s or CMC62s. I've also had some success using them on classically trained solo voices, but then I also have had sopranos who sound great (at least to me) and who love the sound of their voices through a AT4050 CM5, in a good hall.

I'm embarrassed to say that I haven't tried the DC196 set to omni or "Fig. 8" on any serious recordings (I have other omnis, that I'm very familiar and comfortable with, so I tend to stay with them). When I get a chance, I am planning on comparing the DC196 in "Fig. 8" with a ribbon or two as a cello solo mic.

As is the case with all microphones, there is no "one-size-fits-all" solution, but for many applications the DC196 does work well.
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