Every day Broadcasters around the world rely on Sennheiser products to deliver the best audio quality. Their diverse line up is suitable for a wide range of activities, from Electronic News Gathering (ENG) to studio productions. Explore their wide range high performance products below and see how Sennheiser is delivering highest quality performance that you can count on.
Product Variants
MKH 416-P48
Increased directivity due to interference tube principle
Very low inherent self-noise
High sensitivity
Transformerless and fully floating balanced output
Rugged, suitable for adverse climatic conditions
Matt black all-metal body
Condenser
Super-cardioid
Shotgun mic
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MKH 8060
Super-cardioid/lobar pick-up pattern
Very natural sound, condenser
Undistorted off-axis sound
Exceptionally low inherent self-noise
Extremely low distortion
Transformerless and fully floating balanced output
High output signal
Rugged metal housing
Non-reflective Nextel® coating
Extremely weather-proof due to RF circuit
Ideal for camera mounting due to compact design
Timbrally identical with the other 8000-series microphones for optimum aural compatibility
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MKH 8070
Lobar pick-up pattern
Enhanced directivity
Very natural sound
Uncolored off-axis sound
Exceptionally low inherent self-noise
Extremely low distortion
Transformerless and fully floating balanced output
High output signal
Rugged metal housing
Non-reflective Nextel® coating
Extremely weather-proof due to RF circuit
Timbrally identical with the other 8000-series microphones for optimum aural compatibility
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MKH 418-S
Condenser
Figure-8/ Bi-directional
Increased directivity due to interference system (M)
High-resolution digital recording technology only makes sense when the microphone is up to par. The state-of the–art no-noise microphones of the Sennheiser MKH series definitely are. Leaving nothing out and adding nothing to the sound itself this series of truth-loving condenser mics is made for the requirements of high-class professional studio production indoors and outdoors.
Especially designed for the exterior are the MKH 8060 – a film, documentary and ENG specialist – and the MKH 8070, developed for major sports events and broadcasting. Thus you can now capture the overwhelming atmosphere of a sports event as well as the inspiring performance of a church choir or the triumphant sound of a world-class orchestra in full Sennheiser MKH quality.
High-tech with a strong sense of craftsmanship comes with the MKH classics as well as the MKH 800 and 8000 series. Superior no-noise microphones sporting a wide frequency response and dynamic range as well as features like five switchable pick-up patterns.
Its excellent directivity and off-axis linearity make the MKH 8070 your ideal team member for major broadcast and sporting events. Due to its pronounced lobar pick-up pattern it will reliably capture that magic moment even from a distance.
Even more acute directivity patterns can be achieved with the acoustic interference principle which is utilised with the “shotgun” microphones. The interference method operates well for medium and high frequencies depending on the length of the interference tube and thus the length of the microphone. At low frequencies the interference effect decreases, and the directivity passes over to the super-cardioid characteristic. The MKH series offers shotgun microphones with different lengths for all recording applications.
With the complete cancellation of lateral sound, the figure-8 pattern is particularly well suited for separating and supporting adjacent sound sources, e.g. individual groups of instruments within an orchestra. Also, distorting primary echoes from the floor or ceiling and the associated comb-filter effects can be effectively reduced. Due to the symmetrical design of the acoustic MKH transducer, the figure-8 pattern, uniquely, is the most neutral characteristic available. However, the proximity effect is even more pronounced than with the supercardioid pattern.
The more acute directivity of the super-cardioid pattern gives higher attenuation of off-axis sound from the side than the cardiod pattern. It reduces the potential for acoustic feedback, for instance on stage where the monitoring loudspeakers are positioned near the cancellation angle of the super-cardioid (120°). Due to its high lateral attenuation (10 dB), the super-cardioid is often preferred for recording or highlighting soloists where the requirements for lateral acoustic separation are higher. The proximity effect is more pronounced than that of the cardioid pattern.
This is the most frequently used directional pattern, suitable for almost any application. It considerably reduces the contribution of the reverberant room acoustic. This is helpful in rooms with poor acoustics or when disturbing sounds impinge mainly from the rear.
The wide-cardioid is a pattern halfway between omni-directional and cardioid. 10 dB rear attenuation causes a moderate off-axis sound reduction and a good reverberation balance at larger recording distances, especially in rooms with less than perfect acoustics. Like the omni-directional, the wide-cardioid pattern is ideal for large sound sources. It causes less bass emphasis when used for close-miking than the cardioid pattern.
The omni-directional pattern picks up the sound uniformly from all directions. It is the ideal characteristic for recording large sound sources. Even for close-miking techniques, there is no excess brilliance or proximity effect. If the acoustic ambience is not too reflective, this directional pattern provides very impressive recordings.
