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blackle « It's tough to do without! »
Published on 06/20/11 at 01:53See global opinion.
OVERALL OPINION
The recipe for this microphone is simple: a very low noise and very good resistance to pressure. These factors give quite naturally to a dynamic micro chip.
The MKH 40 is primarily a studio microphone with cardioid static type of two switches, a low cut from 250 Hz to 6 dB per octave and a -10 dB attenuator. Besides, I wonder if this attenuator is useful in view of its Coptic intrinsic capacity to withstand intense pressure. That said, this reduction of 10 dB increases obviously holding the sensor when approached by intense overpressure, we can work more close with no change in transistors and get a hyper-realism that gives the feeling to be involved in Even within the sound material.
The capsule of the microphone is low-section and in fact it reduces the excessive diffraction phenomena. In addition the sensor location, close to the sources, is easily done.
With this microphone I made a recording of music for saxophones, the full range of sopranino to bass sax (the spectrum was 25 Hz to 18 kHz). No less than forty re-recording with successive sub-mix, as well as percussion, strings, piano and voice. The sound is full, never hard chiselled non-aggressive, accurate and the fever is a natural absolute natural with the medium is a certain homogeneity. The grave in turn is by no means redundant, it is surprising firmness.
Having resolved to reduce the lower end of the spectrum of 3 dB from 40 Hz appears to be a rational solution. Indeed, the excessive linearity of the micro up to 40 Hz, if it is exceptional, is not always paid in practice.
When used in stereo phase with a pair of MKH 40 the stability of the sound image is restored to near perfect and the realism is second to none.
This is a tool for micro studio first. His reaction to friction is average, indicating that the membrane is suspended, but it is particularly sensitive to wind and proximity effect. On the other hand, the rejection back is good, which adds to the precision of the useful field.
OVERALL OPINION
The recipe for this microphone is simple: a very low noise and very good resistance to pressure. These factors give quite naturally to a dynamic micro chip.
The MKH 40 is primarily a studio microphone with cardioid static type of two switches, a low cut from 250 Hz to 6 dB per octave and a -10 dB attenuator. Besides, I wonder if this attenuator is useful in view of its Coptic intrinsic capacity to withstand intense pressure. That said, this reduction of 10 dB increases obviously holding the sensor when approached by intense overpressure, we can work more close with no change in transistors and get a hyper-realism that gives the feeling to be involved in Even within the sound material.
The capsule of the microphone is low-section and in fact it reduces the excessive diffraction phenomena. In addition the sensor location, close to the sources, is easily done.
With this microphone I made a recording of music for saxophones, the full range of sopranino to bass sax (the spectrum was 25 Hz to 18 kHz). No less than forty re-recording with successive sub-mix, as well as percussion, strings, piano and voice. The sound is full, never hard chiselled non-aggressive, accurate and the fever is a natural absolute natural with the medium is a certain homogeneity. The grave in turn is by no means redundant, it is surprising firmness.
Having resolved to reduce the lower end of the spectrum of 3 dB from 40 Hz appears to be a rational solution. Indeed, the excessive linearity of the micro up to 40 Hz, if it is exceptional, is not always paid in practice.
When used in stereo phase with a pair of MKH 40 the stability of the sound image is restored to near perfect and the realism is second to none.
This is a tool for micro studio first. His reaction to friction is average, indicating that the membrane is suspended, but it is particularly sensitive to wind and proximity effect. On the other hand, the rejection back is good, which adds to the precision of the useful field.