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. Delivery prices are subject to change and delivery is not guaranteed due to circumstances beyond our reasonable control.

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'm looking for something to record dialogue with (indoor and outdoor). Usually a single speaker, but occasionally, I might need to cover 2 or more people. (I understand this will most likely require multiple mics). But, I'd love the mic I choose to be able to record some foley, atmospheric stuff, and other things too.

Well you’ve probably heard audio through it before if you’ve ever watched a movie – or television. It is a standard in the film and TV industries, often used outdoors for news casts and interviews as well as location shoots. Broadcast industry standard Rycote basket windshield for stunning wind noise protection and superior acoustic transparency Registered office: V12 Retail Finance Limited, Yorke House, Arleston Way, Solihull, B90 4LH. Authorised and regulated by the Financial Conduct Authority.

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.” Cost of return – The costs of returning goods to Raycom shall be borne by you, the customer, in all circumstances without exception, unless otherwise agreed upon with Raycom. I know you said 'just for fun' – fair enough – but surely with shotgun mics it should be very easy to mic up the same voice with 2 different mics? (Assuming one has more than one preamp.) Just measure the same distance and point'n'shoot, no? (Much easier than trying to cram two LDCs into the same airspace, for example.)

Customer Added Media

It’s one of the microphones with the “flattest” response which has earned it the accolade of the “NO EQ Microphone”. In other words, the MKH 416 isolates sound sources like no other and rejects ambient noise better than the other popular shotgun microphones. Some say that it ISN’T the best microphone for voice while others swear by it. However, I think that everybody agrees that it’s the perfect option for film sets. So,... kind of thinking... why don't I just get a 416? It's going to last me a long time. It's 2-3x what I would have hoped to spend, but if I cheap out now, I'm just going to end up buying one in a few years anyway... 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.

What other mics should I look into for situations where a 416 isn't the best choice? (Any budget, but would love something that punches above its weight). Professional-grade recording studios can use conventional condenser microphones like the CAD E100S (which is a popular option for voice-over). Any flaw to that logic? (I should add, the mic is currently on slight sale here, so it's an easier choice at the moment).

Similar Threads

On despatch, you will receive a notification from our carriers along with updates right up to the point of delivery. However, I will say that the top-end can potentially produce some sibilance, so a de-esser might be necessary for some voices. Of course, it depends on what you’re looking for. For example, some may prefer NOT using shotgun microphones when the situation doesn’t absolutely call for it. Lastly, I really appreciate the Sennheiser MKH 416’s ruggedness. It’s another one of those “indestructible” microphones, so you can have peace of mind when using it in the field. One of the reasons it’s so popular (especially for outdoor field recording) is due to its “laser-beam” focus. The interference pattern is one of the best I’ve ever worked with.

However, I agree that the best place to use the Sennheiser MKH 416 is OUTDOORS because that’s what it was designed for. 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). Also in this review I tested the Rycote Softie Windshield on the Sennheiser for an outdoor video test on a windy day. So, enough of the gushing – gimme details. Yes, I heard you. OK, here is the skinny. 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?

What Makes Our Sales Engineers Great?

I compared the Sennheiser MKH 416 against my mainstay, the Rode NT2-A large diaphragm condenser, recording a short bit of voice-over copy. I was really impressed with how much better the Sennheiser sounded than the Rode – and THAT has never happened to me. Hey guys, I'm a solo filmmaker, and am starting to take sound a bit more seriously. I'm shooting everything from Interviews, to TVC, and hoping to do more narrative.