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As we've mentioned earlier, rarely, we don't have anything to critique. The Sennheiser MKH416 is one of the few microphones we've reviewed that truly deserves the 10/10 score and one we recommend with total confidence. As we cover our favorite parts about the MKH416, we're going to talk about some of the more technical details. We're going to try our best to make sure it's understandable for all audiences as these specific features play a massive role in how microphones maintain maximum quality. Professional-grade recording studios can use conventional condenser microphones like the CAD E100S (which is a popular option for voice-over).
On despatch, you will receive a notification from our carriers along with updates right up to the point of delivery. I did notice in the first test that the 416 produced a little more sibilance (the high hissy “ssssss” frequencies) than I normally like. Then I remembered that I have a bit of EQ permanently set on my preamp to reduce the lows and increase the highs. I did that because the Rode sounded a bit heavy in the low end without it. I know that last one is a curve ball. But you would be an all-in-one force with that set up. There are tons of gigs out there that want someone to use a 4K DSLR camera and a decent mic setup to record things. If you're looking for one of the best microphones to use for your next project, you can't go wrong with the Sennheiser MKH416. The sound quality is outstanding, the noise control and weather handling are industry standard, and you can feel the level of quality in the materials used. It's so well-rounded and one of my favorite microphones on the market. Due to its operating principle, the MKH416 P48U3 is relatively insensitive to wind and pop noise. The MKH416 can often be used as a soloist and broadcast microphone, without the need for an additional pop shield. However, for outdoor recordings, the use of an additional windshield is recommended to help with creating the best possible recording.
But because there was no windshield of any kind, the wind was still pretty loud. For video 3 using the foam windshield that came with the mic, the wind noise was noticeably less of a problem. For final video we used the Rycote Softie Windshield. And though there was a pretty significant breeze, it was amazingly quiet. Dedicated boom operator with multiple actors [outdoors, or indoors with adequate room between actors and ceilings]: Schoeps MiniCMIT However, I agree that the best place to use the Sennheiser MKH 416 is OUTDOORS because that’s what it was designed for. This mic has a hypercardioid pattern, which rejects sound coming from behind it in about a 120-degree field. The 416 is also different from regular condensers in that it uses something called RF biasing rather than the more common DC-biasing.
Personally, I think shotgun microphones like the Sennheiser MKH 416 sound great even in “controlled” environments. I mount it on my desk and use it for my YouTube videos and any other voice-over work I might need to do.
Sennheiser MKH 416-P 48V Shotgun Mic
The 416 is fast becoming one of the most popular microphones in the voiceover industry, which has traditionally been dominated by large diaphragm condenser mics (LDC). Often times you’ll see shotgun microphones mounted on top of cameras or used as boom microphones suspended from a long pole. Regardless of what you’re looking for or the room in your budget, our list will have you covered. I'll let others speak to the delta between the MiniCMIT & MKH 50, etc. My recent experience is more limited to the Schoeps. For reference, I mostly use the Schoeps CCM 41 Lg [supercardoid] and/or MiniCMIT [shotgun] microphones along with DPA 6060 [lavalieres] microphones for cinema/video location recording work. It is perhaps useful to note that [in almost every case] I use the A10s on all microphones - not just for the lavaliers.
However, I will say that the top-end can potentially produce some sibilance, so a de-esser might be necessary for some voices.
Sennheiser MKH416 P48U3 Shotgun Microphone
The audio would have been truly awesome if we had a 3rd person holding the mic on the end of a boom pole (sometimes called a fish pole) mic holder with the mic just above my head and out-of-frame, pointing down at my mouth. I’ll do that test another day. hidden in the scene near the performance, say in the four feet range. I guess I’m asking to see if anyone has actually done something similar and realized it’s end result was not worth the struggle.
You can read the technical details of this in this article, but RF ( radio frequency, btw) biasing has some benefits, such as that the mic becomes less sensitive to moisture ( a good thing in an expensive mic commonly used outdoors), has a wider frequency response, and is extremely low noise levels. Other features? Ray H.This helps tremendously. The scenarios you depict are definitely relevant. I’d say interiors with just one, sometimes a few actors would be the most representative of what I’d be working with. With exteriors coming second (the lavs might be best suited in these situations). The cmit definitely has that schoeps character to it that I like. I didn’t think of getting high quality lavaliers. I was thinking down the line I could get cheaper ones like the Sennheisers, but now I’m thinking that would be an interesting solution. Though, affording a wireless transmitter like the A10 is not in my luxury at this current time. And avoiding RF interference would be a huge hurdle to deal with in certain situations if that’s my only option...
Other awesome features of the 416 make it nearly indestructible (not that I put that to the test with the review mic:)), less sensitive to plosives (p-pops), and less sensitive to the proximity effect, which is that thing where the low bass frequencies get more hyped the closer the mic gets to the source. Voice-over folks may think, “hey I like it when my voice sounds deeper when I get close to the mic.” I should have mentioned in my original post that I got a camera kit! I have a GH5, several nice lenses including an anamorphic build - plus I just got an aputure 120d ii!! Also, which one would be the most future proof? In terms of budget the MKH 50 sounds the most appealing to me, but I’d rather spend more money on something that lasts me for a very a long time. Using a more versatile approach to the microphone capsule to allow these shifts in patterns is one of the single reasons this microphone is worth the price tag. Working with the different frequencies in audio is its own challenge, and using a microphone that knows what's good & bad will save you a lot of hassle in the long run.
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