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While the MKE 600 and 200 cater to different needs and it would be unfair to directly compare them to one another, it serves as a reference to the Sennheiser MKE 600’s ability to handle more complex environments with less dramatic falloff the further away you are from the mic. To be honest, I'm willing to work on this mic, the only reason I'd change it to a 416 is because of the low noise and better directivity. The Sennheiser MKE 600 shotgun microphone is the perfect choice for all of your recording needs! It has just about professional performance, at an affordable price. You won't find another mic that will perform as well or sound any better than this one in its range - it's truly amazing what they're able to do with such simple technology these days. If there’s one manufacturer that comes to mind when you bring up shotgun mics, it’s Sennheiser. With the Sennheiser MKH 416 serving as an undeniable industry standard, it’s no question that the company has become the go-to for sound engineers and crew in the film and TV industry. With a lightweight yet durable design, incredible sound, and all-around fantastic quality, the MKH 416 has proven its quality again and again. Better is to use a balanced to unbalanced converter. These are available as passive boxes that don't require any power. All they are is usually just a high quality 1:1 transformer properly wired. Often they can be used in both directions. Personally I like the Radial StageBug SB-6 which can do this but there are many different brands that have similar devices."
In this week’s episode, we have a look at and a listen to the Sennheiser MKE 600 shotgun microphone. This medium sized shotgun mic — in Sennheiser’s words, a ‘microphone for video journalists’ — is highly directional and can be used both as a traditional shotgun mic or as a camera-top vlog microphone. The included XLR to 3.5 mm TRS cable also allows you to record from this mic directly into cameras with a 3.5mm mic input. In this video we walk through the MKE 600’s feature set and test it out in multiple environments and applications. Let’s take a closer look! I would have to agree with Howard - the NTG-2 is probably the vest value proposition. I can be used in a variety of situations, is built well and is terrifically affordable for what it is. I know people that have been using one for nearly ten years without a problem. The MKE 200 is in line with entry-level budget onboard mic options, benefitting from the Sennheiser professional lineup in design and sound. It lets through low-end frequencies and comes to life in a vlog or close proximity setup. It’s compact, lightweight, and pleasant to look at, which makes the Sennheiser MKE 200 a great all-around choice.
Who should use it?
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. Shotgun mics may not be the most popular option in a home or studio setting, but they lead the way when it comes to recording in field conditions. So named because of their elongated shape— visually similar to a shotgun barrel— these mics are used for capturing dialogue and sound effects with focus and quality. They usually have excellent noise rejection, and are able to zero in on the sound source near-perfectly.
The Aphex interface should work if your blucoil preamp output is balanced -4 dBV. Since it is USB powered, it probably doesn't have enough headroom to get good results from a vocal music performance. Le bruit de fond est moins présent que sur le ntg4+ (même si il est plutôt faible et très correct sur ces deux micros). 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 & qualityHey Art, the shotgun I currently use a Rode NTG-3. As Howard has described, this is is Rode's answer to the venerable 416. It's not as good, but pretty close at roughly half the price. With a 10 year warranty! I also have a ME66, but rarely use it these days, except as an audience ambiance/applause mic. Many will find the MKE 600’s versatility as an on-camera and fixed sound setup an attractive proposition compared to larger and more expensive audio mic alternatives. Sennheiser MKE 200 A large tubular capsule design of the MKE 200. Buy Sennheiser The Sennheiser IE800 is a step up from AT897 in so many ways. For one, its lower end roll off point at 100 Hz has been outsmarted by the clever design of this headset. This means you can hear sounds better without having any harshness or distortion on top-end frequencies like what's found with other manufacturers' lower audio cutoffs (200Hz). The "low cut" switch sets everything to 200Hz which will make sure your favourite bass lines still come through nicely while also staying safe around potential safety hazards such as machinery operation nearby where sound travels easily.
The mic is very quiet with no discernible onboard noise. It rejects noise from the side and rear very well. The MKE600 sounds like a 416 at 18" and a 66 at 36". The proximity effect is very strong and at different distances make it sound like two completely different mics. I would avoid it. 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. But despite the MKH 416’s legendary status, its price can put it out of the reach of many beginners. Sennheiser aims to bridge this gap with the Sennheiser MKE 600, a shotgun mic that promises to offer professional quality for less than half the price of the MKH 416. If you’re interested in seeing just how well this boom microphone holds up, then read the rest of this Sennheiser MKE 600 review below.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. I've never had it shut down on me unexpectedly because the low battery warning comes in well before it actually runs out. Talking about battery life, it is amazing. One battery lasts for days and since it's only one cell you can just have a reserve ready in the carrying pouch at all times. 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. 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. Benton Collins wrote:I had previously used a ME66 for interior work before I knew better. I now use a Audix SCX1-HC Hypercardioid, what an amazing difference! No more room echo and much better vocal tone! For exterior work that demands better than what the ME66 can provide, I use the MKH416 which is much better than the ME66.
If you are looking for a shotgun mic that is affordable, compact and lightweight, the Sennheiser MKE600 might be the perfect choice. At first glance, it looks like any other shotgun microphone- small with a long cylindrical shape. However, once you get your hands on it and start using it for its intended purpose- to record audio- you will understand why this product is so popular among both amateur videographers as well as professional filmmakers. Read more about what makes this microphone so great here. I don't use the battery option for phantom power. Instead I rely on the phantom power provided by my interface. I recommend an interface with a solid preamp. Obviously lesser quality preamps are going to impact your potential for quality sound from the mic. Sometimes it happens that there may not be enough dynamic range at a particular volume, but this can always be controlled and corrected. Maybe that will work if it's an unbalanced consumer level output. The fact that it is TRS concerns me though. It might be -4 dBV balanced output, the ¼" equivalent of a professional XLR connector.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!
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