thoughts and decisions for a creative edge

Super Sennheiser September

It’s been a great month of getting new toys in this September. After a quick projection on the work in progress, we’ve acquired a list of mics needed in the studio to get the field job done. And you’ve read it – all of them happen to be from Sennheiser.

Sennheiser EW122p G3

We started our month with the Sennheiser wireless lavaliere EW122p G3 series. The frustration from not being able to mic up an interview clearly due to the fact that that last project was in a crowded space helped us make this decision to pick up a wireless lav. The main difference with the EW122p is that it comes packaged with a cardioid ME4 mic. Some folks reckon it might be a hassle to use a directional mic on a lavalier system, but I want to be able to direct the capsule to the talent in a controlled space. If I know that I will be capturing audio from the talent in the open but not in a sit-down-interview situation, then the ME2 mic (an omni) would do best. We got in the T+R packs along with spare BA 2015 batteries and the optional L2015 Dock Charger that should enable us to transmit continuously.

Sennheiser MKH 416 p48

This one is the industry standard. The go to mic that Hollywood or ADR studios would use to make overdubs. It’s a phantom powered hyper cardioid shotgun mic thats been used for over 2 decades and trusted by many ENG works.

I’ve heard so much about it and in fact never planned to buy this mic. Never thought I’d be able to afford one really.. But I got really lucky and found somebody here in Holland that was selling it at a pretty affordable price after giving up an old hobby of sound collecting.. Pretty strange I thought that he used the MKH416 which is mostly best suited for collecting dialogue for TV. No rules in audio they say..

I tested the mic thoroughly when I was there to collect it. I had my Roland R-26 close to be sure that it is able to power the 416.. This way I’d also be sure that my R-26’s circuitry works fine with the mic. It’s the only way that this mic can be powered. Interestingly the guy selling it had a Fostex FR-2LE CF Field Recorder, so we’re happily comparing gears over microphones and tea.. yes microphones.

One conversation led to another, so I asked I asked since he was into ENG and EFP, what else does he have in his collection. At this point he was reluctant, but he finally said he has this vintage shotgun that he is actually didn’t intend to sell. Didn’t intend to sell?? What does that mean.. What was it he had? A pristine 20+ year old combo still-in-box Sennheiser ME80+ME40 with a working K3U preamp.

The ME80 have been a workhorse for some documentary producers. The newer version of this mic is the ME66 which uses the K6 preamp instead of the K3. Click on picture to see what folks of Gearslutz think about it.

Sennheiser K3U pre with ME80 + ME40 Capsule

Wait. Isn’t that the original electret that’s replaced with the new ME66+K6 module?? Yep. That’s the holy grail… I’ve actually read about these. I didn’t know I’d stumble into one.. while purchasing the MKH 416.. what luck. But was he planning to sell it or not was the better question.

Since it was there, I asked his permission to test both mics (or 3 mics considering that there’s the ME40 cardioid capsule there too). And I loved them both!! Instantly with the ME80 you could tell that its got a long throw of pick up. Not as warm as the MKH416 but its clear, crispier in its higher end peaking at 8KHz thus giving it that brighter response. But if you’ve seen the difference in this mic to the newer ME66, that’s where it gets interesting.

With the ME66 you need to use it in close proximity or the mic is not going to pick up frequencies from 2Khz and above. But that’s not the case with this ME80 which has an even response throughout the 10dB difference. SO which one is better you think? Well depends.. If you need sound rejection from the rest in the crowd, keeping this mic close to the voice will keep it isolated while rejecting the background noise further away from the mic. But for Field Recording, the ME80 will give you a gorgeous response in all registers.

The accompanying data sheet (published in 1987) reports the following specifications:

Electrical impedance: approx. 130 ohms

Frequency response: 50 – 15 000 Hz
Sensitivity at 1 kHz: 5 mV / Pa +-2.5 dB
S/N ratio according to DIN 45 405 and CCIR 468-2: >67 dB

The most important difference between the K3/ME80 and the K6/ME66 is the much higher sensitivity of the ME66 (50 mV/Pa vs. 5 mV/Pa). Thus, the ME80 would require a quieter preamplifier. The equivalent self-noise level of the K3/ME80 is about 6 dB higher than the K6/ME66. The specified S/N ratio of 67 dB corresponds to an equivalent (CCIR
468-3 weighted) noise level of 27 dB (which would be about 16 dBA)

Why yes, you guessed it. I ended up coming home with a bunch of mics. I have to thank Han for trusting me to take over his precious collections. I’m sure he had more in there but I wouldn’t be ready for Schoeps CMIT 5 U. This is bad enough for now.

I’m looking to see if we should enable customers to rent out this mics.. But if you really do need them while in Holland for your shoots, do drop us a note about it.

Next blog will be about our new upgrade for a friendly mixer for both Audio and Video – Avids MC Control v2, the Artist Series


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