Sennheiser MKE 600 Review part#2

Sennheiser MKE 600 Review part#2

After taking a good listen to dialogue recordings with the MKE 600 I’m still impressed! I already told you how impressed I was with this mics ability to reach and hone in on longer lens B-reel shots (see Sennheiser MKE 600 Review part#1) but the mic sounded really good recording sound bites in the 1 to 2 meter range – an important and very necessary job an onboard shotgun mic must perform well.

Since the MKE 600 was connected to a 5D (1/8” mini) I wasn’t expecting much in regards to pristine dynamic sound. I was listening for excessive ambience surrounding talent and separation between dialogue and ambience. I compared the 600’s recordings to the duplicate recordings I made with my Neumann KM150 – the MKE 600 was being used as a sync mic on a Cannon 5D. Booming from above, the KM150 obviously controlled the ambience far better, but the MKE 600 did very well. I was impressed how the mic didn’t overshoot the talent increasing the ambience. Even with 2 people talking about 1.5 meters away in a location with excessive ambience the dialogue had nice separation from the surrounding ambience, and there wasn’t that distracting talking from behind or beside talent that medium hypercard shotguns can produce in a crowd type environment (we were shooting at the Santa Monica farmers market).

My only concerns regarding the MKE 600 are the physical length of the mic and the shock mount. The mic is a bit longer then the ME64 (my choice for camera mounted mic for close to 10 years) and that could become a problem with smaller video cameras. But my biggest concern is the shock mount. With a proper Softie windsock the mic does flop around – it gets sloppy. Not sure how it’s gonna fair in excessive heat, cold, and sun exposure either, just the daily grind in the field could destroy it in no time – only time will tell.

I think Sennheiser has a winner here. This mic is perfect for mounting on a video or DSLR camera. It worked perfectly with the 1/8” mini into a Cannon 5D and the recordings were probably as good as they could have been. It’s priced very well, and it sounds really really good – one will definitely be gracing my audio bag in the near future.

Dean

Now who’s gonna adjust my mixer….. oh yah, that’d be me!

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32 Comments

  1. Robin
    November 22, 2012, 8:16 pm   /  Reply

    Thanks for the part 2 of this review. This is instructive. I am surprise not to see more videos or audio tests for now. Nevertheless, here is the first video/audio test I was able to find about the MKE600

    http://www.youtube.com/watch?v=fzd2AzZ4yl0

    As it is in french, here a quick explanation of the video:

    – 1st sequence (0 to 57s): mic used without the wind protection with “response with linear frequences”
    – 2nd sequence (58s to 1min22): mic used with wind protection with “response with linear frequences”
    – 3rd sequence (1min23 to 1min40): mic used with wind protection with “response with linear frequences” + low cut
    – 4th sequence (1min40 to 2min35): internal mic of the Canon 5D

    Cheers.
    Robin

  2. Juan
    December 18, 2012, 1:04 pm   /  Reply

    Hi Dean.. Reading here from Caracas, Venezuela. I would like to know what kind of cable are you using to connect the mic to the 5D (pictured above) Is it custom made? I´ve read you need a certain kind of cable to match impedance, is that right wth this mic?

    • Dean Miles
      December 20, 2012, 11:53 am   /  Reply

      Hi Juan, aftermarket powered mics designed for the DSLR usually come with the proper cables. I’ve only ever used the new Sennheiser MKE600 shotgun on a DSLR and it came with an XLR to 1/8″ mini cable and it worked perfectly.

  3. Chris
    February 17, 2013, 4:09 pm   /  Reply

    Hi Dean – great video, great site and the iBooks are awesome!
    Quick question – further to Juans question about what is the cable pictured above the XLR from the MKE600 you’re using to the 5D as it’s not the KA 600 that Sennheiser sells as an additional sold separately accessory and they don’t include a XLR to 3.5 with the MKE600, maybe a custom cable?

    • Dean Miles
      February 17, 2013, 5:42 pm   /  Reply

      Chris, you are correct! A 3.5 to XLR did come with the mic…. Sorry for the confusion Juan.

      • Ben
        February 20, 2014, 11:23 pm   /  Reply

        Hi, Sorry to bother you about this subject again but I don’t quite understand your answers. The silver coloured XLR > 3.5mm cable in the photo at the top of this article coming from the mic to the camera looks REALLY nice due to it’s very short profile. Can you kindly explain what it is and where one might get it. All other such cables I’ve seen stick out an inch or so from the mic adding a lot to the overrall length of the on-camera mic. Thanks a lot…

        • Dean Miles
          February 21, 2014, 8:26 am   /  Reply

          No problem Ben, that cable came with the Sennheiser MKE600 (XLR – 1/8-inch mini). The XLR connected to the mic is just an elbow or right angle XLR connector, I think the angle of the photo makes it look even smaller but that’s what it is. They also used a very thin cable. This is something you can have made up at any camera rental house.

  4. Bobby
    March 3, 2013, 9:32 pm   /  Reply

    Hi Dean!
    Just starting out here! I’ve been looking to pair a microphone with my TASCAM DR-100mkII audio recorder. While also possibly using it on my GH2 (but I understand its a smaller camera and might not be doable.)

    Anyways, I was looking at the ME66/K6 combo for a while, thought that was the choice to make…But, then heard the ME66 wasn’t the best solution for indoors. So, I decided on the ME64/K6 combo…Then, saw your video review and was like, Geez, maybe the MKE 600 is the one!

    My question for you is: How does it do indoors and on a boom pole? Basically my ideal mic is something I can use to boom actors for short films AND in a pinch be able to mount onto my GH2 for run and gunning.

    • Chris
      March 4, 2013, 10:21 am   /  Reply

      I’m also thinking about the MKE600 after checking out the tests here on LocCrew. Hey Bobby, Dean did a great review of the Shure VP89M too, it’s on this blog and worth a read, the great thing about the Shures is they’re all Hypercardoid, designed first and foremost for outdoor work they’ll come in handy indoors to being that they’re Hypercardoid which is normally recommended for indoor, but the fact that Shure engineers decided to go this route makes me think that “Hyper” recommendation has been debunct as wrong.
      These VP’s like all Shures are built like tanks and the VPs are all interchangeable in length (S,M.L) so you could buy just a Medium and then maybe just the capsule of a L or small – giving you a great choice as the preamplifier is the same on each or just buy the Medium and get the Shure A89U adapter for $100 which shortens the length (double barrel style) by 6″ they’re all backwards compatible with the only Shotgun Shure ever made prior to these the legendary SM89 which was discontinued after 25 years and superseded by the VP’s – Shure are the fellas that gave us the industry standard mixers like the FP24 and mics like the Sm57, SM58 – invested in and part own sounddevices.com who sell the 7 Series greatest recorders on the market – Shure is the MIC company, don’t get me wrong I like Sennheiser but Shure is military grade stuff, they reign supreme in mic land in my eyes! and like that other 5 letter US company Apple they make some of the coolest tech on the planet.
      Awesome site guys!

    • Dean Miles
      March 4, 2013, 11:50 am   /  Reply

      Hi Bobby, I never threw the MKE600 on a boom pole, but from what I heard when we tested it I wouldn’t hesitate to give it a go. It has many characteristics I like in a shotgun and it sounded really good off axis. It’s pattern is comparable to a medium shotgun so indoors with low ceilings it could have too much reach, but I would say usable in most rooms for most shots. With a small XLR elbow it would probably fit in a small Rycote suspension as well making it lighter and easier to move around.

      Chris (next post) has some good advice as well.

    • Gabe
      March 24, 2013, 7:09 pm   /  Reply

      I don’t know if this answers your question… but I used the MKE 600 for this commercial both indoors and outdoors (except the dialogue under the super at the end).

      http://www.youtube.com/watch?v=Ks5Fpz7f2RE

      That was the first time I used the MKE 600 as previous projects I used the Sennheiser ME-66. I had a rycote suspension (no windscreen) and a rode boompole. Everything recorded onto a Roland R-44.

      This mic was amaaazing! for a $400 mic I honestly think it sounds nicer than the ME-66. It’s warmer and I agree with Dean’s analysis with the comparison of the ME-64 and MKE 600.

      before I bought this I also considered the K6 model to have a ME-66 and 64, but I’m glad I got the MKE 600.

  5. Bobby
    March 4, 2013, 5:19 pm   /  Reply

    Thanks guys! Unfortunately that shure is out of my price range. Was hoping to do 400 or under – that’s taking in consideration “used prices”. For example, I could probably swing the 64/K6 and a 66 for 450 used.

  6. Diego
    May 31, 2013, 2:27 am   /  Reply

    Hi Dean
    A bit confused now, Im after a mic that I can have mounted on my C100
    Is the sound quality of the ME-64 as good as the MKE600, better for indoors you said right, smaller rooms and stuff? The thing is that I want to keep the camera nice neat and tight and inconspicuous
    Just got a deadcat for my NTG-2 and its huge on the camera and I guess the windshield its about the same size for the MKE600 because of the Slot lenght of those mic.
    ME-64 with the small Rycote on the C100 wud fit me best I Think both discreet outdoors and good indoors
    What do u reckon shud I probably just keep my NTG-2 =D
    Thanks a million

    • Dean Miles
      June 1, 2013, 9:34 am   /  Reply

      I’ve never used the NTG-2 so I can’t comment on sound usability when mounted on a camera, but you’re correct in keeping your camera tight, inconspicuous, and usable. Scot couldn’t agree with you more. That’s one reason we first went with the ME64.
      Once I started hearing the tracks back recorded with the 64 I was pleasantly surprised how well the sound worked with the pictures. Ambience was true to the frame, no handling noise, and dialogue sound bites sounded very very good – they cut well with recordings I had made.
      The 64 is a real work-horse. It’s been excellent and I’d recommend it to anyone looking for a usable camera mic. It’s not the warmest sounding mic but in my opinion it’s the perfect camera mic.

  7. Veronica
    August 13, 2013, 6:13 pm   /  Reply

    Hi,
    I’m a newbie video journalist (but a veteran newspaper/online journalist).
    I had the ATR 6550 for almost a year until I had to send it for repair.
    Cable problems, I think.
    I bought a Senn MKE 600 but I’m not sure if it works well with my Canon Vixia HF G20.
    Admittedly, I don’t know a thing about audio recording.
    I tried the MKE 600 indoors (my house) but it sounded like there’s too much echo in the background.
    My ATR 6550 never gave me problems — indoors and outdoors — until recently.
    As a journalist, I need the mic for interviews/soundbites and natural/ambient sound for b-rolls, both for indoors or outdoors.
    I can’t have a mic for indoors and another one for outdoors.
    I bring the mic where the action is.
    Pls. advise if I bought the right mic.
    I haven’t tried the MKE 600 outdoors yet but I need it for field work in less than 24 hours. 😉
    Thanks,

    • Dean Miles
      August 13, 2013, 10:19 pm   /  Reply

      Hi Veronica, You’ve got a very good mic in the MKE600 for grabbing sound bites. The trick for an onboard shotgun is to stay within a couple of feet from the talker, especially indoors. Reflections, echo, reverb, whatever you want to call it will reek havoc on ALL shotguns. If you can choose your locations, try and choose a room with as little reverb as possible and stay close to the talker. Outside, The mic should work very well if you stay close. Camera mounted shotguns like the MKE600 start to fall off when you get beyond 3 feet from talent, so if you’re in a location with a lot of ambience (busy street) you need to stay close to get quality recordings.

      Do you wear headphones? If not, get a pair and wear them. You’ll hear if there’s too much ambience or reverb. I did a comparison with the MKE600 against the mic I use, the Sennheiser ME64, and the MKE600 sounded great. Here’s the link:

      The only other issue I can think of, is when you plug in the 600, does the camera still record the built in camera mic on the other channel? If it does, disable it in the camera’s menu, or delete the second track when you import the audio into your computer. The second mic will create all kinds of phasing and reverb issues.

      I hope this helps,
      Dean

      • Veronica
        August 14, 2013, 5:12 am   /  Reply

        Hi,
        Thanks very much for the reply and tips.
        I’ve tried changing the “Audio Mix” options in my Vixia camera by minimizing input from the built-in mic and the effect’s almost the same. The reverb/echo’s still there, though minimized.
        When I do interviews, I usually put the mic as close to the subject as possible, without covering the person’s mouth. Ideally, mic should be at the chest level (especially for my standupper), I was advised by my technical producer.
        I also use a mic flag so as much as possible I try to capture the mic flag within the frame.
        For my field work today (in less than 12 hours), I’d be covering a street party/mass action/protest, and I’d be doing lots of man-on-the-street interviews.
        For interviews, I’ll use a longer cable to go with the Sennheiser KA600 adapter cable that goes (extra) with the MKE 600.
        For catching ambient sounds for the b-rolls, I’ll simply position the MKE600 on the shock mount attached to the shoe of my Vixia HFG20.
        I’ll try to use headphones instead of (Sony) earphones.
        I forgot to mention that I’m a freelance video journalist so I buy my own equipment + accessories. That’s why I’m always on the lookout for value-for-money tools I can use. 😉
        I don’t know video or sound editing. I submit my materials to video editing raw/as is.
        Thanks very much. 🙂
        Veronica

  8. Veronica
    August 14, 2013, 5:52 am   /  Reply

    Shotgun vs. Cardioid?
    Hi again,
    Is the MKE600 better than the MD46 cardioid (http://en-us.sennheiser.com/high-quality-reporter-microphone-md-46) for my needs?
    As I mentioned earlier, I’m a freelance video journalist who does both indoor and outdoor shoot and interviews.
    My preference for the cardioid is its length. I can hold the mic as close as possible to my or my subject’s mouth without covering the face/mouth and the mic flag is visible within the frame.
    Sound quality-wise, I’m not sure.
    But the Sennheiser website says the MD46 is an “ideal interview tool” and “The MD 46 cardioid interview mic focuses on the subject, increasing clarity while reducing background noise.”
    I won’t use the mic for interviews alone. I’ll also use it to capture ambient sounds or even NATSOTs (natural sound bites) as well.
    Will I need a windscreen accessory for this, if there’s one available?
    Please advise.

    • Dean Miles
      August 14, 2013, 11:28 am   /  Reply

      Hi Veronica, I misunderstood the original question. I was unaware you were doing reporter style hand held interviews. For that style of interview you want the MD46, it’s exactly what you need. It won’t do a very good job recording ambience, so you’ll still need the MKE600. I know it means carrying two mics but for good dialogue and ambience recordings you’ll need both.

      Another thought, if the ambience recordings aren’t super vital, the built-in onboard camera mic would do a good enough job for general ambience recording. Just a thought.

      Regarding a wind sock for the MD46, The foam wind sock won’t help much if it’s windy – they’re also pretty big in the frame.

      Dean

  9. September 9, 2013, 1:29 pm   /  Reply

    After watching your shotgun showdown video comparison of the ME64 vs MKE-600, I thought the MKE-600 sounded great. We bought one to use at my job, so far we’ve had great results. Although on one occasion I did use it to do an interview in a small conference room, and the echo from the bare walls and floor were very noticeable, I think thats what is referred to as “wet”.

    In the future if I ever shoot in that type of confined space, I’m wondering if the ME64 would give better results. Also on the same note, would the ME66 capsule be more attuned or similar in sound to the MKE-600?

    I’m also looking to buy a good audio set up for my personal use, and I’m wondering if the best bang for the buck is the ME/K6 system. It looks to be very versatile and affordable after the initial purchase of the K6 power module. From your video, the MKE-600 was warmer than the ME64 when out on the street. For inside use do you think the ME64 would be better suited to that type of environment?

    • Dean Miles
      September 10, 2013, 10:36 am   /  Reply

      Hey Travis, glad the comparison helped out. I like the sound of the 600 as well but I’m still using my 64’s.

      The 64’s won’t make that much difference inside. They do have a cardiod pattern but in a live or wet room shotguns are susceptible to reverb. I like my Neumann KM150 indoors but I still get hammered if the rooms live. The only thing that can help is getting as close to talent as possible or put a lav on them.

      Regarding the ME66 capsule sounding like the 600? I haven’t compared the two, but I do remember the ME66 being thinner sounding like the 64.

      For your own rig first I need to know are you a camera op putting together a sound package or a sound op looking at buying a mixer, mics, etc?

      Cheers, Dean

      • Travis Kelleher
        September 10, 2013, 1:28 pm   /  Reply

        Hi Dean, most of the time I’m a one man crew-camera op.

        With my personal set up, I shoot with a Panasonic GH2 mounded on an ikan rig/cage. I have a zoom h1n that I’ve been using either on camera, or off camera mounted on a small boom stand depending on the situation. I also have a Samson UM1 wireless combo with an Audio-Technica lav.

        I’ve had great results with the wireless lav so far, and usually when time permits that’s my go to mic. But I’m looking for a good on camera mic that I can use both as a sync track and also for sound bites or impromptu interviews.

        After working with the MKE-600 at my job, I’d like to get something similar for my personal projects. I’ve considered buying a MKE-600 for my personal use, but since it’s my own money, I always try to way out my options and make the best decision with-in my given budget.

        I was trying to stay in the $250 range.
        Here are the mic’s that I’ve been considering.
        AT875, AT897, Rode NTG-2, Used K6/ME64 or ME66.

        In the used market I can get the K6/ME64 combo for a good price.

        The K6/ME system is interesting to me due to it’s versatility of being able to switch out capsules depending on the situation. As a freelance guy I never know what the next situation will be, so versatility is a big plus. But versatility is only 1 factor, the sound quality is just as important.

        I know there is no do-it-all solution, but I’m trying to find the closest thing to it.

        Also I plan on purchasing a Tascam DR-60d to use as a mixer/preamp/recorder. The DR-60d will allow me record my wireless and a shotgun at the same time, with it’s other 2 channels as safety tracks.

        I’ve also considered going with the smaller class of on camera shotguns like the MKE-400, Video Mic Pro and the newer Shure VP83. I’m not sure of their quality and durability compared to the bigger XLR shotguns. I wonder if their attached 3.5mm audio cables could potentially become a weak point after a while.

        So to boil it down,
        If you had a budget of $250-$350 and had to choose 1 mic for run-n-gun indoor and out door situations, what would you use?

        • Dean Miles
          September 13, 2013, 10:16 am   /  Reply

          Travis you’re in that place I call “the tipping point”! That’s when you’re not ready to work with a sound op, yet you want the quality of sound one will produce. There isn’t a wireless/lav combo that compares to a shotgun wielding sound op with a mixer. You need to ask yourself, am I a professional or hobbyist, because quality sound is the big indicator that separates the two.

          I realize there are times you’ll have to go it alone, but there’s no perfect mic, lav, small mixer combo that won’t distract from taking great visuals. When you move into more sound gear, you move into more attention needed to get it right. I see some ridiculous camera rigs online that just aren’t practical for most video production, but camera ops are being seduced by these crazy set ups.

          With that said, you definitely want to put a descent shotgun on your camera (go with the 600), but when it comes to recording quality dialogue, especially with DSLR’s, you need a sound op.

          I hope this helps,
          Dean

  10. Ting Tian
    September 28, 2013, 11:33 pm   /  Reply

    Hi Dean, thank you for your awesome review!
    I have some experience and thoughts to share as well. After decided to upgrade my audio gears from DSLR mounted 3.5mm shotgun and zoom H1 to XLR mic+XLR audio recorder, I rented and borrowed a few mics to compare. So far I have tried Rode NTG-2. NTG-1, Sennheiser MKE600, and ME66, both directly into DSLR camera, or through the line out on zoom H4n, Tascam DR-60D, and directly record to H4n/DR-60D without camera. For the sound quality, I would say it is more like a personal preference thing, but the Rode mics are warmer than sennheisers. NTG-1 and NTG-2 sounds exactly the same, and they are slightly warmer than MKE-600. MKE-600 is warmer than ME66. I have never used an ME64, but I think the ME64 and ME66 sounds very similar after watching your review.
    I have a question here as well, as I noticed that you guys used the MKE600 on 5D with XLR-3.5mm directly plugged in. I have tried this with nikon D800 and Canon 5D Mk3, but I got very noticable hiss due to the poor quality preamp in DSLRs(audio level set to about 11 out of 20 on D800, and similar position on 5D). The MKE600 is not a hot mic compared to ME66(19mV vs 50mV), which forced me to set the audio level high to capture usable sound. However it looks like the MKE600 was working alright for you guys with the 5D. I am just wondering how did you do that? I stop increasing input level when there is noticable hiss coming in. Up to now, it is only the ME66 which has 50mV sensitivity that actually works for me as a DSLR mic as I can set the audio gain to around 4 or 5 out of 20 to have a very minimum hiss. The MKE600 works good for me when recording to a field recorder DR-60D using phantom (it becomes 21mV then), and the Rode NTG-2 (15mV) was not giving me enough volume when recording to H4n. It would be awesome if you could comment on how you work with the MKE600 on 5D and the noise level. Really really appreciate your help Dean! Thank you very much!

    • Dean Miles
      September 30, 2013, 10:32 am   /  Reply

      Wow Ting Tian, thanks for the incredibly thorough test with DSLR audio. You’re right-on about how bad they sound.

      For Scot and I, working with the DSLR was all about work-arounds compared to shooting with a proper video camera – there were many changes both of us had to make. On the audio side, clean solid ambience would be compromised due to how crappy the sound was on the camera and I’d have to record ALL dialogue on a second system – I’d also have to do a lot more work in post to get it sounding descent. It’s not the most efficient way to work (especially in post) but it does the job.

      Since we had dealt with the small video camera/shotgun mic issue years ago, the ME64 was our starting place. A mic that wouldn’t get in the way was super important. When we tried the MKE600 it was physically a little bit longer but it did the job. The poor sound quality (hiss) on the DSLR had it sounding very close to the ME64. We didn’t even entertain the thought of using the ME66 because of it’s size.

      Again, thanks for the thorough testing, many readers will find value in it.

      Dean

  11. June 11, 2015, 9:08 am   /  Reply

    Hey Dean,
    i am using MKE 600 with my 5D MIII but it is recording audio only for left side. Please help.

    • Dean Miles
      June 11, 2015, 9:21 am   /  Reply

      Could be the cable or the connector on your camera. Those little 1/8-inch mini connectors are notorious for becoming intermittent!

      Are you using the cable that is supplied with MKE600? 1/8-inch mini cables can come in several configurations, make sure it’s the right one and it’s wired properly.

      Your still fine with only one channel recording on the camera if it sounds fine. You would blow off one of the channels and pan the other to the centre to prevent phasing when editing anyway.

      Cheers,
      Dean

  12. Nathan
    June 14, 2015, 9:10 am   /  Reply

    Hi Dean and Scot,

    Thanks for the great reviews, your page is probably the best I’ve stumbled across searching for that green pasture of knowledge! – to the point and nicely explained.

    My main queries are:
    ME64 (K6) or MKE 600
    Zoom H4n or H5 or H6
    And whether you think that this combo works: ME64 (K6) or MKE 600 with Zoom H?

    In your review you mentioned, ‘Scot climbed a 15 meter embankment and recorded pristine high quality ambiance of a jogger running down the road.’ – Would I be right in suggesting that the MKE 600 is better at a distance compared to the ME64?

    I understand a lot questions in this field is subjective so I will explain my needs:

    Zoom H? – record interviews, ambient sounds, live street music and act as my field recorder.

    Shotgun mic – camera mounted run and gun impromptu (bare bones) recording with subjects spontaneously moving towards and away from the camera, as well as me blabbing away in front of the camera at times, mounted on my tripod.

    An earlier post commented, ‘Rode NTG-2 (15mV) was not giving me enough volume when recording to H4n.’ – Would this combo be at risk of having similar issues?

    I Have looked at more expensive options but I really don’t want to fall into the trap of buying into tech when I’m just starting out. For a long time I was contemplating getting the Rode NTG 3 or Sennheiser MKH416 mainly because my conditions could at times demand quite humid conditions. – But since seeing your site and a few other reviews I think the cheaper mics should suffice.

    Your feedback will be greatly accepted. Thank you for any assistance you can offer.
    Nathan

    • Dean Miles
      June 15, 2015, 8:12 pm   /  Reply

      Thanks for the kind words Nathan, I’ll answer what I can.

      The 600 does have more reach. It is a shotgun pattern mic compared to the 64 which is a cardioid pattern. The 600 has more warmth as well, and would do a better job recording ambiences and music. For interviews the 64 (if used as a camera mic) will give you a more even sound and better coverage if there is more then one talker, where the 600 will more likely yield better results for interviews in noisy locations.

      The H recorders would do a fine job as a recorder for what you’re doing. The 64, 600, and NTG3 are all louder mics so you shouldn’t have any trouble getting good levels. I haven’t used the H5 or H6 but I still use my H4n with it’s two little built in mics to record ambiences on location.

      I hope this answered your questions.
      Cheers,
      Dean

  13. Jon Baca
    February 8, 2016, 4:02 am   /  Reply

    Hi Dean,

    First, GREAT post and happy it’s still getting responses years later! I had a quick question, I am gearing up to start production on a web series and looking to get the best audio possible (for audio is key to professional quality). I am planning on buying the Sennheiser MKE 600 for shot gun purposes and want to pair it with a great field recorder (on a budget). My budget is very limited and see the Zoom h4n, Tascam DR-40 and Tascam DR-100mkll however every video I’ve found on youtube has only Rode mics being tested with each field recorder. Do you have a preference for which field recorder will work best (eliminate all excess noise) with the Sennheiser MKE 600? Only thing I truly care about is getting great, clean, professional audio during our shoot! We will be shooting inside and out. Any advice would be much appreciated. Thank you! Cheers

    • Dean Miles
      February 15, 2016, 12:01 am   /  Reply

      Hey Jon, a small field mixer is very important to your sound. The mic pre’s and the limiters will be far superior to the ones on all the recorders you’ve mentioned. I’d look at a little Sound Devices 302 (due to budget) to better your sound and prevent distortion. Here’s a video on Youtube by Roland Comfort showing how this works. https://www.youtube.com/watch?v=cRNd9DT0_is&feature=youtu.be

      I hope this helps.

  14. Jon
    February 15, 2016, 1:38 am   /  Reply

    Great, thank you for the info! Helps tremendously.

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