Cascade VIN-JET (stock transformer)

Home recording since the 80's; currently using a 16 channel ADAT rig thru a vintage analog board.

Heard all the hoopla about these ribbon mics and thought I would try one out... chose the VinJet because it's published specs show some decent top-end freq response whereas most of the other designs take a deep dive after 5K or so, and I don't know if I could live with that. Cut to the chase, this thing is like magic on electric guitar overdubs!! Huge proximity effect with way too much bass if you put it right on the speaker... but back it off about 12 inches and it is absolutely fantastic. I've got a bunch of great mics for guitar amps: a Senheiser 421, (super smooth), Sennheiser e906, (punchy and aggressive), EV Blue Raven, (raunchy mids), and just before this I was using a Blue Bluebird, (biting clarity). The top end is not hyped like the condensor mics; I tried recording a tambourine with my Rode NT2a and it was all thin and brittle; with the VinJet it sounded fat and full... just like my ear heard it in the room. Doesn't work for everything... but if you've already got an assortment of dynamics and condensors, you might want to try one of these... especially for your guitar overdubs. (P.S.: Check out the shootout CD where they compare this to the $1000 AEA R84... pretty close if you ask me).

I have been playing guitar and performing for 40+ years and began learning recording techniques beginning around 1968. I have contributed to and been involved in sessions at the old Atlantic studios in NYC, Soundworks West in Hollywood, Bradley's Barn outside Nashville and many smaller private/demo studios. I no longer play full time but I help operate a private demo studio belonging to a close friend. We track using a Mackie analog 8 buss fitted with Mackie Ultramix automation into an Alesis HD24. At this time there is no DAW involved but we do have a good selection of dynamic and condensor mics, outboard gear and TC Finalizer Plus for mastering. We monitor through JBL 4311s and Yamaha NS10Ms.

I tend to rate gear conservatively and consider myself a reasonable critic/skeptic and have been blessed with a decent pair of ears. Having said that, I would rate this ribbon mic a solid 9 as far as sound/value/build and support. I stumbled onto Cascade's website one afternoon and was impressed with the content, testimonials, and sound clips and ordered one online. I don't usually purchase untried products without an in person audition, but I wanted a ribbon mic in the studio and can't afford REA or Royer products and Cascade offers a very good return policy. The VIN-JET is a long ribbon, figure 8 pattern mic w/shock mount and storage case, and can be ordered with optional Cinemag or Lundhal transformers at higher prices than the stock transformer. I have used this ribbon mic for particular instruments when condensors and dynamics come up short for what myself and the producers are listening for. I am using it for what I call "screechy/scratchy/brassy" instruments, e.g. violins, saxophones and horns. The resulting sound is smooth and even and a little experimentation with placing it gives very good results. The highs are tapered off slightly and mid range and lows are predictable. The first session I used it on was after a particularly disappointing afternoon of trying to record a sax solo on a jazzy arrangement using an AKG C414, C3000, D112, Rode NT-2A and even a Shure SM57. Regardless of the mic, the producer kept complaining that the sax sounds like a kazoo. I remembered being at old sessions back in the day when RCA ribbons made saxes sound full and warm and after a short break, I pulled out the VIN-JET and set it up about a foot up and away from the bell pointed at the lower keys. The sax player and I were getting levels and headphone mix together when the producer walked back in the control room and he immediately smiled and said "That's what a sax should sound like" and we cut the part and I got paid. The sax seemed to "breathe" and had an "airy" quality the condensors and dynamics missed. The figure 8 pattern also picked up a little of the room off the "back" side away from the horn adding to the fullness. I have since used it on violins, trumpet/trombone, some vocals and harmonica. This is a ribbon mic and you have to handle with care; No blowing or breathy sounds up close, no kick drums and although opinions abound concerning phantom power, I choose to simply turn it off altogether when using ribbons. Mine was ordered with the stock transformer. Ribbon mics generally are low output due to design but I ran this into the Mackie 8 buss mic preamp opened up w/o hearing any discernible noise. It is sensitive to handling noise but the shock mount works very well. The mic is very solid feeling with an attractive, kind of retro appearance. Model name and s/n are etched into the mic body and fit and finish are very good. The storage box is strong and well lined. One small complaint is that when the mic is fitted into the Neumann like shock mount, you can't disconnect the cable plug from the mic without removing it from the mount. The mic comes with very good documentation from Cascade including operating/using tips, care of ribbon mics in general and a frequency response chart and polar pattern diagram for the particular mic. I have talked to the owner of Cascade (he actually answers the phone himself) and he and his assistant are professional and very helpful. I also bought a Cascade FATHEAD ribbon mic and am very pleased with it as well. It may not be for the rigors of the road and a pop screen is essential for vocals, but they can be done with proper care. Overall, the VIN-JET is a good investment and well worth the money. With a little care and creative experimentation, it will reward the user when cool smoothness of sound is needed.