Andreas Scholl is widely regarded as the greatest countertenor of his generation. His voice is truly remarkable and his albums are delicate productions with lots of attention to details and sound quality. It comes as no surprise that Andreas and his team spend much time and energy to pick the best possible microphone to capture his voice.
Andreas has been using a Milab SRND 360 for surround and ambience recording for several years (one example), and when he was invited to do a live performance on Dutch radio show "De Klassieken", he decided to A-B test the SRND 360 against his usual (very expensive) valve microphone. Using a surround microphone for vocals may seem odd, but the SRND 360 is based on the same large capsule as the Milab DC-196/96C and when using only one channel it behaves like a conventional large membrane microphone. This is not a common feature and makes the SRND 360 much more versatile than other surround systems.
Andreas voice is quite unique with lots of overtones and the rectangular membrane of the SRND 360 was able to reproduce his voice in a more natural way than he had been used to and without overemphasizing certain frequencies that had been a problem with other microphones. As a bonus the engineer was able to use the surround channels of the SRND 360 to control room ambience - something that would be impossible with a conventional microphone.
You can watch the whole show on YouTube. The live songs with the SRND 360 start at 40:50, 1:40:57 and 2:08:20. Make sure to use the HD quality setting for the best audio experience.
Andreas own words about the SRND 360:
"The SRND sounds simply stunningly natural.
The flexibilty of this microphone is simply amazing. Even if I need a stereo 'only' recording today, having all six signals recorded will give me the opportunity to create a surround mix later on, so in a way using the SRND gives you future-proof surround capacity with the simplicity of only one microphone to place in the concert hall.
To me this combination of the fantastic 'life-like' quality of the SRND combined with the enormous flexibility it brings to surround AND stereo-recordings makes it truly one of my favourites."
The DC-96C is lining up one great review after another. This time Colorado-based Recording Magazine has tested and compared the DC-96B and DC-96C.
"This is one of those rare reviews where I can start by saying that these mics will work on anything... period.
The DC-96B is one of the most balanced overhead
or, better yet, mono front-of-kit mics I have heard, and gave me one of the rare times I will say "needed little to no eq" when mixed in with the rest of the drum mics.
On acoustic instruments, both mics excel.
There are a lot of great mics out there, and as a reviewer I have had the opportunity to play with a lot of them over the years. Every now and then a mic crosses my path that really turns my head and frankly blows me away. The DC-
96B and C are just such mics... just scary good on everything."