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We've got you covered if you’re looking for the best shotgun microphones. As microphone specialists, we know a lot about what it takes to record audio for film, YouTube, or travel vlogging. Professional-grade recording studios can use conventional condenser microphones like the CAD E100S (which is a popular option for voice-over). 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 for using studio mics, I think you nailed it with the application of planting them within the scene cleverly, which I was thinking of doing. Like putting my Coles 4038 or my CAD m179 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. The other scenario is in a pharmacy, which is a little more standard setup with the actor behind the cash register. Though once again I plan on doing a decent amount of coverage with most of the shots close up and little movement from actor(s).
In other words, the MKH 416 isolates sound sources like no other and rejects ambient noise better than the other popular shotgun microphones.
Sennheiser MKH416 P48U3 Shotgun Microphone
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.
Anyway, the way I see it is that a lo cut filter is mainly useful for dialogue recordists. I only really record sound effects so I don't mind at all - can fix things in post if really necessary, and I don't have to run around with a boom pole, worrying about low frequency rumble from handling or cable noise. On despatch, you will receive a notification from our carriers along with updates right up to the point of delivery. 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.
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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.” The frequency response intentionally has a slightly rising characteristic at high frequencies. The microphone has a low proximity effect and therefore provides a well-balanced sound Ray H.Thanks man, it’s been a long time coming! At the moment I’m really only thinking of the scenario(s) involved with the short film I’ll soon be shooting. Though, I imagine a lot of the choices I make for that will translate into proceeding projects.
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 Sennheiser MKH416 is the industry standard for film/tv work. Sound designers like to use it too (things like recording car doors closing and motorcycle engines, etc.). That would be the one to benchmark against. You mentioned interview work, so a lavalier is also usually part of the scene. I also got some mics for music producition that I’ll experiment with (Coles 4038s, AKG D12, Shure 55s, RCA Varacoustic, and etc). Having a really high quality sound that brings a nuance to my production(s) is a precedence. Though, if I can get away with saving money, I will go with that option in a heartbeat.Hi anvesh -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. The mics in question, 2 are hyper cardioids (the schoeps and MKH 50) and the dpa is a shotgun (I think?). If I don’t plan on building up my kit beyond one mic at this point, which one would be the most sensible choice? 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. No boom operator with multiple actors moving around: DPA 6060 lavalieres [ok, I'm already breaking the single mic rule] 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.
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