MKH40 or 50 as next mic in my kit?

[Eric Toline]

MKH40 or 50 as next mic in my kit?

Group: rec.arts.movies.production.sound Date: Sun, Sep 14, 2003, 8:41am
(EDT-3) From: ***@yahoo.co.uk (Simon=A0G)
Hi
After completing my first couple of location recording assignments and
reading the excellent 'lavalier v boom' thread (and recognising the
weakness in using my 416 for dialogue in interiors and reverberent
spaces) I'm looking for a bit of advice as to what mic to consider to
compliment my kit-list. I have a 416 for exteriors and a 30/60 set for
m/s atmos/ambience/sound effects capture. So i'm looking at either a
MKH50 or MKH40 as my next mic (i can't afford more than one additional
mic at the moment) and was wondering on what advice you would give? Is
there much between the characteristics of these two mics?
Cheers for your advice,
Simon G. <<<<<<<<<<<<<<<<<<<<<<<<

The 50 is a great mic with lots of reach, if you pull it back a bit it's
almost the same pattern as the cardioid 40. Go with the 50, you won't be
disapointed.

Eric

[Oleg Kaizerman]

You might consider not to buy them at all,try the hyper cardioid Schoeps
cmc541or 641 ( 12-48v),and with the time add additional capsule with
cardioid pattern mk4,the Schoeps sounds extremely well on interiors shots
,you have the ability to add swivel for low sealing situations or cable to
separate the head from the body for plant mike setups ( it can sit behind
every bible that you will put on the table),with the time you might add
cut -1 or 2 for better locut ,that way you don't amplify low frequency to
mike amp stage and don't hear your booman hands ,the Sschoeps sounding
different from your other mikes , but it will be different if you will place
the 60 and the 50 in the same room.
The mkh have better rf protection but with this one you will be able to know
the attitude of the crew that sometimes starting to send sms in the middle
of the borring shotes.
Oleg Kaizerman (gebe) Hollyland

Post by Eric Toline
Hi
After completing my first couple of location recording assignments and
reading the excellent 'lavalier v boom' thread (and recognising the
weakness in using my 416 for dialogue in interiors and reverberent
spaces) I'm looking for a bit of advice as to what mic to consider to
compliment my kit-list. I have a 416 for exteriors and a 30/60 set for
m/s atmos/ambience/sound effects capture. So i'm looking at either a
MKH50 or MKH40 as my next mic (i can't afford more than one additional
mic at the moment) and was wondering on what advice you would give? Is
there much between the characteristics of these two mics?
Cheers for your advice,
Simon G.

[Phillip W. Palmer]

I'd go with the MKH50. It's a great sounding mic for dialogue with very low
self noise.

I have to say, I'm still having trouble with my 50's and RF. I've had them
back at Sennheiser for both mods, and they are still acting up occasionally.
Sennheiser does not guarantee that the mods will solve the RF sputtering,
and have admitted to not doing the mods at all on the 50's coming out of the
factory. The 60's and 70's are of a different design, therefore they have
modified them to reject RF interference quite well. The only time I get
into trouble is when I have the 50's in close proximity to Modulus TV
transmitters...which reside on top of ALL of our cameras. :(

Best of luck...
_______________________________________

Phillip W. Palmer
Production Sound Recording for Film & Television
www.palmeraudio.net

Post by Oleg Kaizerman
You might consider not to buy them at all,try the hyper cardioid Schoeps
cmc541or 641 ( 12-48v),and with the time add additional capsule with
cardioid pattern mk4,the Schoeps sounds extremely well on interiors shots
,you have the ability to add swivel for low sealing situations or cable to
separate the head from the body for plant mike setups ( it can sit behind
every bible that you will put on the table),with the time you might add
cut -1 or 2 for better locut ,that way you don't amplify low frequency to
mike amp stage and won't hear your booman hands ,the Sschoeps sounding
different from your other mikes , but it will be different if you will place
the 60 and the 50 in the same room.
The mkh have better rf protection but with this one you will be able to know
the attitude of the crew that sometimes starting to send sms in the middle
of the borring shotes.
Oleg Kaizerman (gebe) Hollyland

Post by Eric Toline
Hi
After completing my first couple of location recording assignments and
reading the excellent 'lavalier v boom' thread (and recognising the
weakness in using my 416 for dialogue in interiors and reverberent
spaces) I'm looking for a bit of advice as to what mic to consider to
compliment my kit-list. I have a 416 for exteriors and a 30/60 set for
m/s atmos/ambience/sound effects capture. So i'm looking at either a
MKH50 or MKH40 as my next mic (i can't afford more than one additional
mic at the moment) and was wondering on what advice you would give? Is
there much between the characteristics of these two mics?
Cheers for your advice,
Simon G.

[Ray Collins]

I agree with Oleg, I found the Schoeps warmer the 50 had a more brittle,
harsher sound to my ear, or maybe it was just the one I was listening to.

Post by Oleg Kaizerman
You might consider not to buy them at all,try the hyper cardioid Schoeps
cmc541or 641 ( 12-48v),and with the time add additional capsule with
cardioid pattern mk4,the Schoeps sounds extremely well on interiors shots
,you have the ability to add swivel for low sealing situations or cable to
separate the head from the body for plant mike setups ( it can sit behind
every bible that you will put on the table),with the time you might add
cut -1 or 2 for better locut ,that way you don't amplify low frequency to
mike amp stage and don't hear your booman hands ,the Sschoeps sounding
different from your other mikes , but it will be different if you will place
the 60 and the 50 in the same room.
The mkh have better rf protection but with this one you will be able to know
the attitude of the crew that sometimes starting to send sms in the middle
of the borring shotes.
Oleg Kaizerman (gebe) Hollyland

Post by Eric Toline
Hi
After completing my first couple of location recording assignments and
reading the excellent 'lavalier v boom' thread (and recognising the
weakness in using my 416 for dialogue in interiors and reverberent
spaces) I'm looking for a bit of advice as to what mic to consider to
compliment my kit-list. I have a 416 for exteriors and a 30/60 set for
m/s atmos/ambience/sound effects capture. So i'm looking at either a
MKH50 or MKH40 as my next mic (i can't afford more than one additional
mic at the moment) and was wondering on what advice you would give? Is
there much between the characteristics of these two mics?
Cheers for your advice,
Simon G.

[Stiletto2]

I love my schoeps until they break out a dimmer! Grrr! I'm considering a 50 or
similar as well for just these situations.
Tom

[Glen Trew]

The Sennheiser MKH-50 sounds fantastic when properly placed, but it is not
as forgiving off-axis as the Schoeps MK-41. Sometimes it seems that if you
have the Schoeps anywhere in the same room as the actors it sounds pretty
good. You can "cheat" off-axis with the Schoeps and still be OK. But with
the MKH-50 if you go past the "corner" of the pattern then you quickly sound
off-mic. This is probably the reason some mixers prefer the MKH-40 cardioid
over the MKH-50 hypercardioid. But, when things are right, nothing sounds
sweeter than the Schoeps.

Glen Trew

Post by Stiletto2
I love my schoeps until they break out a dimmer! Grrr! I'm considering a 50 or
similar as well for just these situations.
Tom

[Steve Grider]

I have a MKH 50 and sometimes you can use the dropoff of the pickup
pattern to your advantage. In situation where you want "less of the
room" the well-defined pattern of the MKH 50 can help a boom person
zero in on the dialog and
get less reverberation, generator noise, AC you can't turn off,
traffic, crowd noise, 5k-on-a-dimmer-buzz, insert your favorite
nuisance here___________.

Post by Glen Trew
The Sennheiser MKH-50 sounds fantastic when properly placed, but it is not
as forgiving off-axis as the Schoeps MK-41. Sometimes it seems that if you
have the Schoeps anywhere in the same room as the actors it sounds pretty
good. You can "cheat" off-axis with the Schoeps and still be OK. But with
the MKH-50 if you go past the "corner" of the pattern then you quickly sound
off-mic. This is probably the reason some mixers prefer the MKH-40 cardioid
over the MKH-50 hypercardioid. But, when things are right, nothing sounds
sweeter than the Schoeps.
Glen Trew

Post by Stiletto2
I love my schoeps until they break out a dimmer! Grrr! I'm considering a

50 or

Post by Stiletto2
similar as well for just these situations.
Tom

[Simon Bishop]

<<get less reverberation, generator noise, AC you can't turn off,
traffic, crowd noise, 5k-on-a-dimmer-buzz, insert your favorite
nuisance here___________.>>

It used to be Roberto, but he seems much better these days !! ;-))

JOKE, Roberto, JOKE!!

Peace be with you all,

Simon B

P.S. - Anyone got any more news then on this two channel file recorder from
Fostex, is it the FR2?

[Phil Brouwer]

Just to add my vote to the list. I own the MKH 40 and love it. It
compliments my 60 very nicely. Being broad enough to be useful when
the 60 doesn't catch it. And the lack of a rear lobe is a bonus.
Phil

[kaizero]

Post by Phil Brouwer
Just to add my vote to the list. I own the MKH 40 and love it. It
compliments my 60 very nicely. Being broad enough to be useful when
the 60 doesn't catch it. And the lack of a rear lobe is a bonus.
Phil

[kaizerman oleg]

test

Post by Phil Brouwer
Just to add my vote to the list. I own the MKH 40 and love it. It
compliments my 60 very nicely. Being broad enough to be useful when
the 60 doesn't catch it. And the lack of a rear lobe is a bonus.
Phil