Eric, a little later than usual, but I got a chance to listen to your C12 samples. I know you appreciate feedback on those and I agree more members should listen and respond to samples. In the end this is what it's all about. Also, a maker will need both confirmation and possible ways of improvement.
I'll focus on the vocal take for now.
Overall, the vocal take sounds pretty good to me. It's on the bright side, but that's totally normal for a C12. It's a little sibilant, too. At least part of that is due to the lifted treble and as such can get EQ-ed out if need be. But there may also be a non-linear part here which would be a little trickier to remove, although de-essing is a common thing nowadays.
The vocal itself is what I would call a pop/rock voice with some gravel on it. This non-electrical or human made distortion adds some noise or escaping air that doesn't translate in resonating sound. Also, it typically takes away some core or clearly ringing mids, if that makes sense. To compensate for this, one would sooner reach for a K47 type capsule than a CK12 type. This will both add core and attenuate breathiness. On the other hand, one could also choose to highlight rather than compensate, especially since many of such singers actually create this distorted sound (while their speaking voices are a lot cleaner). In the latter case, i.e. if one chooses to highlight, one does have to make sure the track will not drown in the mix. But there are several other ways to achieve that.
Oh, and six inches is a good place to start, but many vocalists will come in a little closer.
In short, it does sound promising, but I'd have to hear more samples (female?). I'm not sure yet about the sibilance thing and, as you may know by now, I'm kinda sensitive to that. What I'd love to hear is an A/B with an original CK12 in the same circuit or, more practical and realistic, an A/B with one of Tim's capsules. That is quite a challenge, but I know you have the guts.
Henk
