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I like the Sennheiser MKE 200 audio characteristics and hardware. Granted, it’s bulkier than other shotgun mics and sits on the higher end of the price range, but it certainly looks professional, stable, and capable. The built-in wind protection inside the capsule design means it’s more forgiving when used without the furry windshield, which I tend to do all the time so that also comes in handy.
The best audio would probably be a balanced line level output from the mixer (although of course the ATEM doesn't have a balanced input, so you'd need to convert it). The best microphone in the world on the camera is not going to be as good as a microphone that's right in front of whoever is speaking.The MKE 600 shotgun mic is a versatile and high-quality option for on the go recording. It has an impressive range of features that make it ideal to use with journalists or videographers, such as its excellent directivity - which eliminates noise coming from all angles except frontward ones to help you hear what's going on. This makes capturing audio clear even if there are distractions like other people talking next to them plus battery power means no need worry about running out during deadline moments. I understand that the principle is the similar to pressure zone microphones and that its main purpose was to provide ambience from the entire area of a sports ground during a match... Benton Collins wrote:But whatever he chooses, the main takeaway is don't use a shotgun for interior work.
This mic is such a great deal that every videographer should have it in their arsenal. You may eventually want to add some hypercardioids and a medium shotgun too, so you can be technically prepared for everything. Nevertheless, when it comes to short shotguns Sennheiser MKE 600 is the deal. Of course, it is more expensive than other entry-level models, but you get the performance. Better are only professional shotguns, but they’ll cost you minimum 3 times as much, and will require a good source of phantom power. Pros The MKE 600 from my early hands-on time delivers practical, lightweight, professional audio for different audio scenarios. The battery and phantom power options put it in a unique category, satisfying the needs of creators and professional field shooters for high-fidelity audio that can still be used in run-and-gun situations. I use this microphone for both video and audio work, mostly as a boom mic or on-camera in run-and-gun situations where I still want cleaner audio than what I get with the built-in microphone on the camera. It's a shotgun, but it's not your average tube screamer. The MKE600 frequency pattern is nothing short of epic and I love that curve above any other shotguns-it really stands out from those dull sounding ones with an annoying peak in the upper range as well as being reasonably flat enough so you don't get fatigued listening over longer periods without getting lost at individual peaks or valleys along its length when compared side by side against more traditional designs whose tonality may change drastically depending on what channel they're played through because there isn't just one output volume level available across all channels like we have here. I was looking for a microphone with which to write movies and do re-recordings. In fact, initially I wanted to take a Rode microphone, but my love leaned more towards the Sennheiser company, and therefore I decided to take this one. Due to the limited budget, it was necessary to choose the perfect option, and I found it!
In the mean time, I will try tapping the Church Sound Mixer speaker feed for my YouTube LiveStream of our Services. The headset output caused buzzing/humming weather I set the ATEM to mic or line. Ideally the output impedance of a device should be one tenth the input impedance of the device you plug it into for the best sound. The microphone works very well and copes with dialogues, I really like working with it, I just love this velvety and rich sound, even better than ntg3. Of course, many sound engineers can say that I'm talking complete nonsense here, but when I showed my processed work, no one could really tell what the sound was recorded on, so it works very well. If you want to work on a more directional sound then this is the Mkh-416, but again the Mk600 is ideal if you're mixing with lavalier mics. Le bruit de fond est moins présent que sur le ntg4+ (même si il est plutôt faible et très correct sur ces deux micros).
Sorry Benton, but I've got to qualify here. This statement, and those that have stated this previously in this thread, is simply wrong. To say you can't use shotgun mics for interior work, simply isn't true. More testing and recordings are needed before I finalize my thoughts on the MKE 600 and 200, but my early impressions of the two are positive. The MKE 600 has a professional swag with a few important features for modern-day creators and videographers, while its versatility to switch between shooting environments and the way it handles itself is very attractive. Noise is kept to a minimum which offers wiggle room for post-processing. A single battery charge is said to provide up to 150 hours or just over 6 days of continuous use. Note, that there’s no auto-power-down feature. Power and low-cut filter switch are the only buttons on the MKE 600 itself.
The controls on the shotgun are really well designed. Unlike with other Receivers, you won't need any pins because it can easily switch between modes using just your fingers. The new product is a step up from the rest, as it offers you an on/off switch for your battery so that during conversation you don't have to interrupt what's being said with another person. This way we can still hear each other clearly while talking without having worry about listening positively or negatively judging someone else's point-of view because they were not able to talk yet. If you're looking to buy yourself some professional tools - whether we're talking about recording equipment like headphones and monitors; interface boxes which connect various devices together so they can share data like FTP. Digital conversion boards used during post-production processes such as colour grading"- then there's no doubt about who makes your best option: SENNHEISER. Buy Sennheiser MKE 200 Professional Shotgun Mics Both the MKE 200 and MKE 600 are attached to my Sony A7 IV. Both the AT 897 and MKE600 microphones are professional balanced -4 dB level devices, not -10 dB level consumer ones. There is an impedence mismatch. They are designed to output a sine wave with + and - voltages on the 3 pins. You are only using the + side of the wave.
I've even used it to mic a guitar amp cabinet while the drums were playing with about 0,5m of space in between but I placed the mic at a 90 angle from the drums with the low-cut on and the recording was almost completely clean. This is not only about the quality but also about design. The MKE600 can be more convenient than both AT897 and Rode NTG2, it performs great even in close-up or open spaces without relying on post EQ tweaks to make up for its weaknesses with one mic performance that might not sound as good when needed most during loud live shows like concerts where distortion often happens due of how many people are yelling/singing at once while instruments play loudly behind them all together which sounds terrible if something goes wrong . It seems Sennheiser took best elements from each microphone they tested before creating this gem. Frequency pattern of MKE 600 is nothing short of epic and I love that curve above any other shotgun. It is reasonably flat and while peaking in the upper range with a slight 2-3 dB boost it gives just about enough presence not to sound “dull”. However, unlike with harsher AT897 this transition is very smooth, natural and unobtrusive. The lower end initially rolls off at 100 Hz, while the “low cut” switch sets it at 200 Hz. With this move, Sennheiser outsmarts both AT897 and NTG-2 whose “low cut” switches are set at 100 Hz and can’t roll off any further. The thing is, anything below 100 Hz is hardly usable anyway as it’s mostly mud and noise, but, it doesn’t stop there and sometimes you may want to cut it further. Sennheiser MKE 600 gives you that opportunity. 200 Hz is the range that often contributes to some annoying boominess, also amplifying wind and machinery noise – so this can be a great fix especially for run and gun /ENG situations.
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Sennheiser MKE 600 is a fantastic quality, 10” short-range shotgun. Although considered an entry model, which is available at rather modest price, it has just about professional performance! Moreover, I’d say this mic is probably the best raw performer in its range. This is not only about the quality but also about the design. It may appear modest, but it’s certainly more convenient than both AT897 and Rode NTG2. It also performs great in both close and open areas without relying on post EQ. It seems, Sennheiser took best of both mics for their MKE 600, and then improved it even further. Sound & quality La batterie rechargeable du ntg4+ peut sembler un atout pour les tournage, mais je suis encore méfiant sur ce qui est des batteries rechargeables (sur les micros), sachant que a forcer de les charger-décharger cela peux vraiment diminuer la durée de vie de celle-ci. Comme je n'enregistrer que sur un enregistreur externe avec une alimentation Phantom, pas besoin de batterie intégré.
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