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LOW STOCK

VIP-60

Premium multipattern studio condenser microphone

LOW STOCK

OUR PRICE

$4,299.00

$4,299.00

Milab VIP-60 premium large diaphragm condenser includes five polar patterns and a selection of filters and pre-attenuation pads.

37 years after the introduction of its predecessor, the brand new VIP-60 boasts an updated capsule and optimised circuitry to bring the sound of the classic VIP-50 into the 21st century.

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 recognise the unique sound with its ribbon-like warmth and sparkly highs – and, of course, the extremely smooth off-axis response.

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.

Factory matched pairs are available on request.

 

 Product name: Milab VIP-60
 Type: Condenser
 Frequency response: 20 to 20,000 Hz
 Polar pattern: Cardioid, Wide Cardioid, Hypercardioid, Omni, Bidirectional
 Filters: 200 Hz & 500 Hz (switchable)
 Pre-attenuation pad: -10 dB & -20 dB (switchable)
 Max. SPL (1 % THD at 1 kHz): 118 dB
 Max SPL with 10 dB pad: 128 dB
 Max SPL with 20 dB pad: 138 dB
 Sensitivity at 1 kHz: 14 mV/Pa (± 1 dB)
 A-weighted noise level (IEC 179-A): 14 dB
 Power supply: 48 ± 4 V Phantom (DIN/IEC)
 Current consumption: 4 mA
 Output impedance: <200 Ω
 Minimum load impedance: 1 kΩ
 Connection: 3-pin XLR
 Length: 170 mm
 Width: 47 mm
 Depth: 50 mm
 Net weight: 400 g

FROM THE SHOP FLOOR

“It rejects off-axis sounds brilliantly, so there’s no danger of other drums or instruments bleeding into the kick drum recordings. This saves a lot of time and effort during the EQ stage of the mixing process.”

Darren, Head of Technical Sales

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