Milab VIP-60 | Multi-Pattern Large Diaphragm Condenser Microphone

The Milab VIP-60 Multi-Pattern Large Diaphragm Condenser Microphone is an update to the iconic VIP-50 with a refined capsule and optimized circuitry, reducing self-noise while retaining the magic and unique ribbon like warmth. The VIP-60 is an optimal performer with five different polar patterns and a selection of filters and pre-attenuation pads.

THE MAGIC
How do you reinvigorate an iconic microphone without losing the “magic” in the process?

The Milab R&D team used a careful and meticulous approach which included an 18-month testing period with feedback from a number of highly skilled engineers in Sweden, Germany, the UK and the US. The result is a microphone with a superior performance when compared to its predecessor – most notably a significant reduction in self-noise – but fans of the VIP-50 will still recognize the unique sound with its ribbon-like warmth and sparkly highs – and, of course, the extremely smooth off-axis response. “A well-judged update to a cult classic, delivering improved technical performance without compromising the sound that Milab devotees know and love.” – Sound on Sound This is a microphone that has been designed to be the crown jewel of any studio, and it has the sparkly Nextel metallic finish to prove it. The VIP-60 will not only be the champion of the vocal booth, but will also do a beautiful job on many other sources. The unusual 500 and 200 Hz roll-off filters are useful for dealing with the proximity effect when close-miking sources like a guitar amp or a double bass. The VIP-60 offers five different polar patterns and a selection of filters and pre-attenuation pads. It is delivered in an SKB 3i waterproof case with a Rycote InVision USM shockmount. Factory matched pairs are available.

A NEW VIP
The new VIP-60 uses the same body, head basket, controls and features as the VIP-50. The primary visual difference is that the VIP-60 uses a metallic gray Nextel coating while the VIP-50 was fished in a black coating. Both mics are housed in a 6.7″ tall, 1.85″ wide and 2″ deep slanted rectangular body that looks like a cross between an army surplus relic and a vintage electric shaver. The capsule sits inside a large open-screen mesh. Just below the capsule on the front of the mic are a trio of plastic multi-step circular switches. The top switch selects among five polar patterns: omni, wide cardioid, cardioid, hypercardioid and figure 8. Next is a three-position bass rolloff switch (flat, -6dB/oct. at 200 Hz, or the same at 500 Hz). Last is a three-position pad switch (0, -10dB, -20dB). Under the controls is red phantom power indicator light.

The XLR connector and a built-in European threaded mic mount are on the bottom. Note, this was previously used to connect a ball-and-socket stand adaptor, but now the mic ships with a Rycote InVision USM shock mount in a deluxe hardshell SKB case.

SOUND
The VIP-60, like the VIP-50, is a very smooth, rich, neutral-toned microphone that would be easy to categorize as vintage by today’s open and airy mic standards. It inhabits the same sonic spectrum as classic pencil condensers like the Neumann KM84 or even a classic ribbon mic—not that it sounds like either, only that it captures sound similar to each where no sound is pushed, sculpted or hyped. As such, it would be easy to label the VIP-60 as dull or even warm, but actually it’s the mic’s neutrality that creates this perception. In some ways, the VIP-60 has two personalities; in wide-cardioid and omni modes, the capture sounds open and dimensional.