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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.
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. It is perhaps useful to note that [in almost every case] I use the A10s on all microphones - not just for the lavaliers. 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!! Delivery prices are subject to change and delivery is not guaranteed due to circumstances beyond our reasonable control. Of course, there are very many more possible scenarios. . .and my selections for these few are just 'maybe' answers at best. Ultimately it depends on other environmental issues. And the DPA 6060 lavalieres answer is a cheat as they usually involve expensive wireless transmitters/receivers as well. But sometimes, it seems there is just no other way.
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Others on this forum will have far more expertise on your specific collection of microphones. More detail about what kinds of things you expect to produce will help them understand - and contribute ideas to - your application. Perhaps you can elaborate. . . 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). 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.
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. 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.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. 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. In other words, the MKH 416 isolates sound sources like no other and rejects ambient noise better than the other popular shotgun microphones. Our team has worked with nearly every popular microphone on the market in multiple capacities, and the one thing we can say is that a high price point does not always correlate with the microphone quality. For that reason, we'll be trying to determine not only the pros and cons of the MKH416 but also whether or not it's deserving of the high price tag.
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. 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 [. . .]
Table of Contents
No boom operator with multiple actors moving around: DPA 6060 lavalieres [ok, I'm already breaking the single mic rule] We’ll start by running through our selections and then dive into the details of each one. If money isn't an issue and you only want the best, skip down to number 5, the Neumann KMR 81i, because it's by far the best-grade shotgun microphone on this list. 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. 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. Okay… Maybe it’s a little expensive, but I’ll tell you what I did to pay it LESS later. For now, let’s just focus on the features that make this microphone indispensable.
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