Out of interest would love to hear how they compare to the Bock as well.

Those who want THE 251 sound will likely go for Beesneez or Heiserman 251 mics.

Bock's 251s are amazing but different, such as a low end that goes down to 10hz and to me, the mic has quite a different tone. Not better or worse in general, but different. I would much rather have the Bock than a Tele USA 251.

Gotcha....that's one of the reasons I'd like to hear the difference
Not just in terms of 'how close are they to XYZ', but what do they sound like compared to each other?

So nobody’s talking about Bens C12 clone?
With the swivel it must be a beauty, and that’s a mic that is really hard to make it sound good without sounding spitty like some other clones. I’ve heard some saying the Fleas are not worth the 5k…is bens clone exactly the same length as the original?

It's crazy to me that 1 guy can be this good like that. Out of everyone in the world, there's 1 guy who really makes great mics? Seems crazy to me.

There are other manufacturers making good mics. Some are trying to make mics that sound like the classics, but others are trying to do something original -- whether broadly inspired by specific mics of yore, or not. Ben Sneesby has done both, but what seems to have really gotten people going is his recent line of what we might call "sonic clones", sold at very competitive prices. This is different undertaking than the part-for-part cloning strategy of FLEA or Telefunken USA. Those companies are making physical clones but (mostly) relying on other suppliers to build them suitable capsules. Ben has sort of flipped that on its head: he may sometimes OEM bodies to save cost, but he's maintained direct control over the sonically important elements like capsules and transformers. (Sadly, nobody can get original tubes.) He's able to do this at reasonable cost because his manufacturing is so vertically integrated. I think the AUS to US exchange rate doesn't hurt, either.

Personally, I love good mics, and I don't particularly care how "authentic" they are. That's why I own flagship mics from Brauner, Josephson, Manley, and Myburgh. I think Ben has the experience and capability to make mics like that but, sadly, the market doesn't care. People want classic sounds for less money. Fortunately, he knows how to do that, too.

I've posted a couple links ( last page back ) to songs done using Ben's C12 clones as drum overheads and on acoustic guitar.
Can't say if they're the exact same length as the originals though.

-pete

Hi Mate.

The c12 body size we are using at the moment is indeed the same size as one of the originals (there was two different sizes used but both look the same to the untrained eye). We are planning on making another batch of bodies later this year and just to mix things up, they will be the other version which is just a few mm longer but will still look the same.
You may ask why we are moving to the different size; we plan to make the new batch this way so we can make the internals just like the original too!

Geez probably the first time I've referenced YT "Influencers", without making fun of them. (At first )
But...

I do think some of the GS Members (including you! )...
Do have some Influence on potential buyers "caring".*
Chris
*But a backwards cap/tattoos and a visible can of Red Bull...
Can only enhance your YouTube street cred David!

That, and the obligatory "Yo, whassup - this is your boy David Rick and today were gonna be talkin' about mic capsules. Let's get started."

I'm usually gone right after "Yo . . . "

I don't really consider myself an "influencer" but I seem to have had a hand in convincing three different people to purchase Josephson C725's. I've "sold" a good number of other mics too: OC818's, TLM 107's and '193's, DPA and Schoeps SDC's. I've definitely been pitching Ben's mics to people when I thought they were a good fit, but I'm not certain I've logged a win yet. In case you're wondering, I don't get commissions or kickbacks from anyone.

I do get a lot of questions about certain very specific things. Right now, I'm working on a giant comparison between 12 different mics that I consider to be most useful for recording cello in close quarters. My idea is to provide both "dry" and "wet" tracks showing how my custom-programmed reverb patches affect the results. I hadn't really considered putting it up on YouTube, probably just in the shootouts forum here. Simply getting that many mics placed well and their levels correctly matched has been a lot of work, and I'm not too keen on complicating things further with video. Plus, with that many mics and stands up, there's no clear line of sight.

David

Have you compared the BN251 to your H251? Very curious your thoughts on that.

I don’t have an H251 yet.

did u cancel your order?

if im not wrong u order some right?

You mentioned you ordered a pair of H251's in April. I assumed they had arrived already. Looking forward to hearing the comparison.

No they are slow to arrive and I really needed them a week ago. I really hope they compliment the BN251’s which are magical.

I appreciate that David, it can be extremely flattering but exhausting having trusted ears.
I get pm’s where people have nervous breakdowns about making a decision between 2 mics. There are a few brands I respect and Beesneez is one of them. There are lots that just take liberties once they are established.
I don’t know how these YouTubers find the time (and they seem to age quicker than world leaders.) I’d love to educate online but I would never get any music made which is my real passion. So I leave it to people like Rick Beato who enjoy teaching and are brilliant.
The reason I can influence is because after engineering and producing for 30 plus years I spend time recording at my own pace in my own space and I do not do a quick shootout with a film crew and pull silly faces and make ridiculous claims for click bait.
As you say making measured calculations can be complicated and people generally seem to either criticise our endeavours or wait for the reveal and talk rubbish.
I consider your opinions vital and it’s great gear space still has such valid contributors in an age where it is taken for granted.
Music is at a difficult stage in its evolution right now where everyone is encouraged to be a recordist regardless of experience or skills.
Some people take to it naturally but many just flood the internet with tripe.
We need solid gatekeepers like the staff producers of yesteryear who developed artists properly but I don’t see a return to that as the “Big 3” only invest in 30% of modern music and rely on the effortless profits of back catalogues. I apologise that turned into a rant I’ll stop there.
I for one can say I’ve invested in or demoed the microphones you promote.

How is the 67 resolution? It takes eq/comp and modern over processing well?

As well as any other U67. Ben makes great k67 capsules.
Why would you want to “over process” ?

My resolution is take my BU67 and have it buried with me.
Like the 'ol Egyptian Mummies.*

I realize it's only a bandage solution.
Chris
*Maybe my main doctor too.
Gotta uphold Tradition.

perfect.

about ur question, there are some songs that needs "extreme" vocal productions in some sections (bridges, post chorus, transitions between sections, some ear candy..) and some mics take better than others this kind of process

I think “extreme” sounds a lot more intentional than “over” - after all if the song needs it, it’s not over processing is it? It’s appropriately processing it, which is always the goal

There’s a density in the mids / upper mids which you can’t eq out but it’s part of the magic of the 67.
Other than that, sculpt like a freak and it takes it like a sunday stroll.

I like that way to think

Sometimes u need 10db gr or crank some distortion with weird eqs to do creative things in vocals

Amazing! Just asking cause im used to use the chandler redd for example and that one have tons of resolution

Have a listen to the audio examples in this thread, particularly how the mids and high end feel compared to other mics , like Ben’s elam 251 or the M49 or c12.
If it’s a modern pop sound you’re going for, the open high end and lots of exaggerated air might lean you towards the others.
I’m kinda guessing here though as I haven’t had hands on experience with the other mics (other than the BU67).

All good about balance, was curious just about resolution thanks

Funny you should say that. I have found that if I have to do extreme processing later, such as 'tuning' - and more of it than I would prefer to do, anything with a K47 capsule doesn't cooperate as well as a similar or same mic with an M7 capsule.
Your Mileage May Vary!

It handles 3 L2 limiters in a row without a hitch!

Why 3 L2? A tiny bit of processing on each to minimize artifacts?