I just swapped to this from the Rode NTG3 and it's definitely nicer. So much better at rejecting noise reflection from my small room and not picking up fan noise from my aputure light
Literally the exact boat I’m in. No matter how much I sound proof with blankets in my small office I can’t quite get the ntg3 to sound nice. It’s muddy and echoey
Love this video! I just discovered the MKH 50 and how much of a Hollywood staple it is. Funny enough I have the MKE 600 and I think it’s fantastic, especially with a bit of post processing.
MKH 50 is definitely great for interior use as it doesn’t suffer from the proximity effect that can plague the MKH 416. However, for exteriors, the 416 will often outperform the 50. Especially with wider shots where you can’t get the 50 close enough. In summary, if you’re shooting a combination of interiors and exteriors, you should own both. I own two of each as I am a professional film/tv production sound mixer.
The MKE-600 sounds pretty nice. And they're only $329 right now with all of the accessories included. While the MKH-50 definitely sounds better, I'm not sure it sounds four times better.
Anytime I saw a video, and thought, that's how I want my audio to sound, it was this mic. Stands up to heavy EQing too, so you can do almost anything with it.
Great stuff as always! That MKH 50 sounds great. I'm an audio engineer since 1990 and a Shure devotee as well. I use the MV7 USB mic ($250) for my voice-overs, I think it actually sounds better than the SM7B for $400. Your videos about the Shure mics are great as well! I always like seeing your new videos. Thank you for the great work.
I'm curious about your thoughts on the SM58 vs SE V7? Since you're a Shure Devotee I would love to hear your thoughts. Everyone's talking about the SE Electronics V7 being the new industry standard over the SM58.
@@jamestheradioman I haven't had the opportunity to work with the SE V7 yet. It'll be a very ambitious, tall order for a newer mic to de-throne the SM58, but if I get a chance to hear it and it sounds better, I'll be all about it!
Fabulous video from the Wiemels 'in the closet' period. The MKH 50 is a fantastic piece of gear and I guess if you used it for 40 years and divided the cost by 40, it would be quite a bargain. I didn't like the high frequencies of the Saramonic tbh. The NT 5 sounded excellent too but I was quite impressed by the MKE 600 and the sound per pound it delivered (I'm UK based of course). Your videos are superb Mark and I'd like to thank you for supporting the M50 over the years, they've been a great source of information - not sure I've said that before to you. Thanks from the bottom of my heart for the closet years. Here's to even better things from your new posh studio.
I have to admit as a studio engineer I wouldn't have imagine that such a microphone would sound nearly as good pointed above one's head indoor... mind blown. It takes about zero room resonance, and it also means that you're gonna have zero plosive issues. That's a really really interesting thing for home studio recording, since you can put a carpet on the ground, but something on your back wall and call it a go! I was looking for a mic to just suspend on top in my living room to make acoustic covers, and not to have to think about set-up. This is the one. Thanks!!!
I'm an audio professional in Hollywood. I would argue that MKH50s aren't really used very often on sets. More often you see Sennheiser 416 and Schoeps CMIT for booms. DPAs and Sanken for lavs. My desk mic is a Schoeps CMC641 with a small CMC1 amplifier. It's the tiniest little thing, takes up no space and sounds so much better than an MKH50. Audio can always get better! :)
I just found your channel and it's exactly what I needed, your videos are amazing. Thanks so much for everything you do, keep it up! P.s: try the new Deity V4 if you can, I heard it's an amazing deal in its price range
@alan2a1| do you recognise the "downfalls" of the MKH-416 (well, the shotgun mics) that are discussed? Or is it not as pronounced? I'm kind of on the fence, 416 or 50...
@@dennisgoedbloed1287 it really depends on the application. I do voice-over, so I am able to do post-processing, including high-pass filtering, which removes that low-frequency side-noise he mentions. But his critique of the long tube shotguns is valid and well-taken. The capsule IS way down the tube. I mic up close for my purposes, but use on set doesn't have the control I do in my booth. The 50 is somewhere in the back of my mind to check out in future, but the 416 has kept me working and sounds excellent.
Nevermind the price, I just don't understand why would I buy the 4x more expensive MKH 50 over the MKE 600, if the cheaper one sounds just so so much better, in my humble opinion. It's just so much cleaner, richer and well balanced to my ear. Not only in your great video, but across the board. I wouldn't mind investing in the MKH 50 if it was worth the sound but its shortfalls or rather the superior sound quality of the MKE 600 makes me save some money as a sweet bonus. You don't see that everyday. Thank you for your excellent video. All the best.
I bought the MKE600 but it picks up a crazy amount of background noise and the shotgun effect of cancelling is evident in my untreated indoors room. The MKH 50 would solve those problems for me.
Interesting, I would prefer the MKH 416. The MKH 50 is great, it sounds like typical broadcast with a bump in the low mids. The 416 has more pristine highs, I'm more drawn to that. The Saramonic is an MKH 416 clone by the way, the Rode probably too
@@jas_bataille The first mic that put Rode on the scene was a Neumann U87 clone, actually a Chinese Neumann clone that Rode modified for a flatter frequency response. It's certainly different today but most newer brand mics are more or less clones of classic microphones by vintage brands, especially in the capsule field. There hasn't been much innovation in the last 40-50 years. Except for accessory functions of course, like safety channel or internal recording.
I use the MKH 50 for run and gun interviews because I don’t have a sound person and the isolation from background noise and now with noise isolating software advancements it really shines.
No, but I do process this in a similar way in editing. I think you need to take out some of the lows, if the mic is close to the subject, so either with the switch or in editing.
I have spent a lot of time picking though different channels audio setup. In my opinion, this is THE mic. Oh, also, a good buddy of mine, with a similar name, and similar channel, told me how to get my loudness right. I owe him a beer.
@@markwiemels Yes - and iPhonedo - Gerald convinced him too. 🤣. I like the NTG3 for me because the bass it produces helps my voice. Some people might find it too muddy, but I prefer it to my normal shrill voice. 🤣
Senn MKH 50 is much too expensive for someone doing recording as a hobby. As you've mentioned shotgun mic is not ideal indoor due to phase array interference issues and then you went ahead to recommend MKE600. Should have recommended a pencil condenser microphone ie. Octava or Rode NT5. Actually, for indoors, dynamic mics are the best as it is insensitive enough not to pick up the room echo and you're about an inch or two away from the mic, so signal to noise ratio is very strong. So many TH-camrs are stuffing their faces with the Shure SM7B, but that's overkill as well, just mentioning that to say dynamic mics is the way to go for indoors. Go for the $100 dynamic mics.
@@markwiemels Thank you! I’m still using my Canon M50 mk ii, that thing is still a BEAST! I have an R series camera now, but my little M50 is my “B” rig. Still awesome.
The sound is clearly great, just not sure if 3x better then the MKE600. And Mark, did you see the Sennheiser is coming up with a USB budget mic? Can you try to get it to review?
Indoors MKE 600 didn't sound great to me. I've heard samples outside and it sounds great. The Soundbird V6 surprisingly good indoors for shotgun. MKH 50 Best but not sure I can stretch to that
What would you recommend between the Sennheiser MKE 600 and the Sennheiser MKE 440 for nature videography (not studio)? Thank you so much. Your videos are so informative
The video popped up in my feed, obviously google is jacked into my very being. I enjoy cameras, photography and sound and I'm currently going through massive nerve pain in my upper back/arm. So it was fitting that it came up, and I subscribed because I'm interested in your journey and your content. Stay strong and thank you for sharing.
Using the MKH 50 for youtube content is like buying Jaguar for your daily 30 minute commute across town. Sure, it will get you there in style, but a VW Golf would've gotten you there just as well. Professional film sound technicians love the 50 because the authoritative low-end works well with the often inopportune placement we have to put up with when booming, and the pickup pattern sounds natural and fluid when cuing the mic between different actors on a boompole. If you're doing talking head youtube content, and have every opportunity to place sound treatment in your home studio, the wise move is to just get something like the Oktava Mk-012-01, and throw on a bit of low-end EQ if you feel your voice needs it. Your home studio is an almost ideal situation for recording sound, and the benefits of a mic like the MKH50 really only come through in less opportune situations. Save your money. Also, remember the medium you're working in. On a film set, microphones have to be out of frame, or hidden. Not so on youtube! Loads of youtube creators use large diaphragm condensers on studio stands planted right beside their face. It's an accepted trope of the medium, and if you are only doing talking-head content, a perfectly acceptable way to capture great audio with equipment that's less expensive than a professional hypercardioid.
Some good points. The Sennheiser MKE-600 sounds surprisingly close, for 25% of the price. I'm not a fan of that Oktava mic, it has a harsh sound, to my ears. For sure the sound treatment makes the biggest difference. Even in the most controlled environment, I still prefer the MKH-50. Every time I a watched a video, and thought, "I want my audio to sound like that" - it was the MKH-50, but the MKE-600 was still a close second, again, at 25% of the price.
Hi Mark! I really loved to hear these examples. Great work! I just have two questions left: 1. Which microphone did you use to record that video? and 2. do you do any post-processing with the audio for your videos? I mean especially removing noise for example? I use the behringer C-2 right now and I think it has a lot of noise, even if the room is silent.
@@markwiemels Thank you so much for your answer. I watched some more videos meanwhile and the MKH50 seems to be very good for indoor recordings. But pricey. 😊
I recorded the sound of eating an ice cream bar at home for the asmr video using the MKE600. However, the sound was quieter than expected, and when I turned up the sound, I could hear electrical and lighting noise. In this case, would MKH50, which has a shorter capsule, be helpful?
I’m not technically savvy, but am I able to just plug this into my camera? I have a canon T8i. And if so, do I need to make any adjustments or is this a plug-in and ready to go? Thanks.
You’d need something like a Zoom H4/H5/H6 that you could sync audio in post or plug it’s 3.5mm out into your camera but I’m not sure it makes much sense to plug a $1000+ mic into a camera as the incam preamps tend to suck
I always thought that the old so say Hollywood favourite, the Sennheiser MKH 416 was a key benchmark to judge against? Albeit the '416' is a true shotgun - perhaps best for outside use or in a big (😅less reverb oriented) space. How does the Sennheiser MKE 600 compare to the 416? Or indeed the more expensive MKH '50'?
The 50 gives a more full sound, with lots of bass, giving that more “radio voice” sound. 416 is very hyped in the top end, lots of detail and clarity, a perfect asmr mic, but can even be a bit harsh at times, and need some eq to tame it. The 600 is more balanced and natural, maybe it doesn’t jump out at you like the 416 or 50, but I know people that prefer it over the 50 and the 416. The 600 is a great mic and I could not recommend it highly enough. They are all such good mics, it’s really about personal preference.
MKH50 is the only "pro" microphone here. I would call the others semi pro. Worth mentioning is how light the weight is. You barely notice it when mounted on a boom. Because it is so short it can get closer than a shotgun and keep out of frame.. Most people don't consider the actual element (diaphragm) in a shotgun is NOT at the end of the tube but way back in the body. So the length of the interference tube is a limiting factor. Shotguns are great outdoors or in large spaces. They have more off axis rejection. The MKH50 and other hyper cardioid mics are usually better than a shotgun indoors. Less phase comb filtering. The next step up is Schoeps CMIT at double the cost.
Great video. I recently bought a Canon M50 Mark II, and I've learned quite a bit from your videos about lens possibilities. Somehow I missed your microphone-related content up until now. It makes sense how an expensive microphone that can block out external noise would be a great pick for a multipurpose bedroom/studio without much in the way of noise dampening. I'm not a TH-cam content creator (at least not yet, but who knows), and the video work I do right now involves filming objects/scenes in an office environment where a presenter can be heard but is located several feet off screen. Would you recommend a lapel mic in this case? Do you have a video that covers this type of scenario?
A boomed mic, like the ones in the video, will give better sound if you can get them close to the presenter, while still being out of frame. A lapel mic tends to be easier, cheaper, and more flexible, but the audio quality wont be quite as good. I don't have a video on lapel mics use, I haver never been that good as using them, and editing the audio the way it needs to be.
@@markwiemels Thanks, I really appreciate your reply. My particular business setup would probably make it difficult to set up a boom mic (plus I'd have no one to walk around with it while the presenter moves), so I may need to do some additional research on lapel mics.
Huh... to my ear, the MKE600 sounds better than the MKH50. MKE600 is more neutral, while there is a little too much bass in the MKH50. I guess it is also hard to say since we are using different headphones.
@@markwiemels Agree! I have been binging your channel and just subscribed. One of your video caught my interest (th-cam.com/video/IGBA2yrEKlk/w-d-xo.html). Have you tested this adapter with Sony that has IBIS? I am in the market for a new camera, if the IBIS works, I am going for Sony!
What is a good dynamic microphone that has the frequency response 20 Hz to 20 kHz? I have the shore SM7B but I want a microphone that is a dynamic that has cleaner gain
I use the LS-208, it's a condenser with the rejection of a dynamic. It the best of those type of mics that I have ever used. I use it in all my new videos, so you can hear it.
@@markwiemels what's the frequency response of that microphone? Is it the full 20 to 20? How much does it cost? I'd love a great sounding Mike that is a dynamic that isn't thousands and thousands and thousands of dollars. I would also like the microphone to not have any noise at all. The SM 7B seems to be super gain hungry. You need a cloud booster for that Mike.
I think many people are talking about various mics but not talking about their contexts. The MKH50 is a pro level indoor microphone. Not ideal outdoors. Choose a different mic for outdoors.
Mark, I know you get a TON of Questions and probably tough to keep up BUT, I saw your video on the Canon ef-m 55-200 and you were pretty solid on buying the Lens HOOd which I ordered using your link BUT, when I got it I found that it DOESN't go on when using an ND FILTER. I live in Florida so, I don't leave the house WITHOUT an ND on my lems. Any fixes for this? Even if I have spend a few more bucks? Thanks! Bo Beachbum Media on TH-cam
Probably no fix, that I know of, other than get an ND that has a lens hood attachment. The issue you are having is very common, usually you have to choose one or the other.
You should keep your mic off the boom stand haha The boomed introduction / interstitial audio does not sound the best when compared to every other mic featured in this video. Another example of how important positioning is. Sound like a ton of reverb off your desk.
Meanwhile people listening it with earplugs from a dollar store 🤣as many on phone speakers. So, in other words - if you have interesting content, people will watch it no matter what mic you use.
The ley is to know how mics work and which mic works best in each scenario. The 600 is a spectacular mic in the field, and while the 50 is much better, you don't have to worry about something happening to it like you would the 50.
Man i just got a prime ef lense for my canon m50. It Is a meike 85mm but when i try it on my canon m50 i cqnt because the camera thinks It Is the kit lense, ando ir days push and hold then rotate the lens so do u know if i have to change the settings of the camera or something like that?
Hi, I know this question is not for this video, but I created the popular body cap “kodak funsaver lens” for my M50 and when I atached it i cant take photos and videos. Do you know what should I do ? Btw, sorry for my bad English, I am from Czech Republic 🇨🇿😂
Soundbird was almost as good. My lavaliere w/soundbox for voiceovers sounds almost as good. Debating getting the MKH 50 when my channel starts making money, vs. just keeping the audio signature the same. For people on a budget, a high end lavaliere w/soundbox for voiceovers will give pro level results, for other applications, MAYBE you can get that very same lavaliere to work in some situations for basically pro level audio, then again maybe not. Ended up buying the Sennheiser MKE 440 based on Mark’s outstanding review of it for where I needed stereo sound. Will use the lavaliere for most other instances where the environment has been sound treated.
@@markwiemels it’s just a box with acoustic foam mounted internally on five of the six sides with the mic either mounted or handheld basically within the sixth open side. It creates essentially an acoustically dead environment with practically no reverb at all. Your head has to be practically inside it to ensure the audio is top notch. Setup and take down time for mine is usually around 20-60 seconds depending if the foam is fiddly. They range in price on Amazon Japan from around $50 to just under $1000 and marketed as either sound boxes, sound proofing boxes and vocal booths/audio booths (for the larger walk-in/sit-in ones). I made mine out of an almost 90 year old Japanese wooden pottery crate with 2 inch acoustic foam (essentially 3 inches deep in the corners). The foam just sits loosely within it and I can take them out and mount them to a different board (3 inches away from the wall in a 4’x2’ panel) such as when I shoot the video portion and need to dampen both the base frequencies by having them bounce between the board and the wall and to dampen the reflection from my voice. Where I record is in an absolutely acoustically horrible room. It’s thin felt carpet on cement with a very thin underlay, with no pictures or anything else at all on the painted walls, no furniture or bookshelves of any kind barring a hard yet light wooden table, a few cheap wooden chairs and no other acoustic foam anywhere yet still get excellent results. To treat the same room and yield similar results requires setting up floor to ceiling base absorbing foam in two corners, plus on the ceiling, the aforementioned 4x2 board, a beach tent with my camera and ring-light stuffed within the entrance and me sitting in the middle and a very heavy comforter draped over the beach tent to absorb most of the sound. The sound has to pass through the tent, into the comforter, then reflects off the walls, then back into the comforter before reaching the mic. It works surprisingly well… that said, set up/take down time for all lights and acoustic treatment is at least 3h before I can get any shooting in. Personally I like your studio, it’s about the size of my apartment (82sq feet). The audio sounds great even though I don’t see a ton of foam. My “studio” is a shared office space that I use on Sundays. It has to be fully returned to normal each and every time I use it.
Shotgun mic is a complete waste of money indoors. It is made to discriminate sound from unwanted sources - not wanted sounds bounced off walls. Whatever mic you use, something needs to be done with the sound bouncing off walls. In a controlled environment effort should be put into soundproofing the walls. Even when being in an environment you cannot control where there are walls, a shotgun mic is not a good idea. A better choice is to soundproof the mic the same way we windproof it but with a tube with thicker walls. The main focus when buying a mic should be sensitivity, self-noise, and frequency response. All mics in this video have a poor frequency response in the lower region except for MKH 50. Maybe also MKE-600 when not being too critical. You can achieve this for less than $300 staying away from shotgun mics. Getting good sound is 10% mic and 90% adapting to the environment, with one exception: mic arrays, but this is a whole other topic.
I just swapped to this from the Rode NTG3 and it's definitely nicer. So much better at rejecting noise reflection from my small room and not picking up fan noise from my aputure light
Ah, now i see why your recent voice has less echo-ey compared with your old videos
Literally the exact boat I’m in. No matter how much I sound proof with blankets in my small office I can’t quite get the ntg3 to sound nice. It’s muddy and echoey
@@Artfulscience1is this because it is a shotgun? I had the same problems indoors with 416 where rode NT55 pencil mics performed much better
Love this video! I just discovered the MKH 50 and how much of a Hollywood staple it is.
Funny enough I have the MKE 600 and I think it’s fantastic, especially with a bit of post processing.
MKH 50 is definitely great for interior use as it doesn’t suffer from the proximity effect that can plague the MKH 416. However, for exteriors, the 416 will often outperform the 50. Especially with wider shots where you can’t get the 50 close enough. In summary, if you’re shooting a combination of interiors and exteriors, you should own both. I own two of each as I am a professional film/tv production sound mixer.
Thank you!
The MKE-600 sounds pretty nice. And they're only $329 right now with all of the accessories included. While the MKH-50 definitely sounds better, I'm not sure it sounds four times better.
Every other month I go down this rabbit hole as well because I’m convinced it’ll be the best all end all for me as well.
Anytime I saw a video, and thought, that's how I want my audio to sound, it was this mic. Stands up to heavy EQing too, so you can do almost anything with it.
literally me. back again.
@@benjhaisch haha. There isn’t better, I had about 6 boom mics before this one. I haven’t used another one since, and stoped looking.
Great stuff as always! That MKH 50 sounds great. I'm an audio engineer since 1990 and a Shure devotee as well. I use the MV7 USB mic ($250) for my voice-overs, I think it actually sounds better than the SM7B for $400. Your videos about the Shure mics are great as well! I always like seeing your new videos. Thank you for the great work.
Wow. What super nice comment, that made my day, thank you.
I'm curious about your thoughts on the SM58 vs SE V7? Since you're a Shure Devotee I would love to hear your thoughts. Everyone's talking about the SE Electronics V7 being the new industry standard over the SM58.
@@jamestheradioman I haven't had the opportunity to work with the SE V7 yet. It'll be a very ambitious, tall order for a newer mic to de-throne the SM58, but if I get a chance to hear it and it sounds better, I'll be all about it!
Would you recommend using the foam microphone cover in an indoor studio on the MKH50?
I do, because sometimes I get it so close to me. that if a look up and talk, i get plosives.
Mkh 50 sounds dark to me. Would have been good to include the 416 in this analysis.
Great breakdown of all these options, @markwiemels!
love and use the mkh50. it’s expensive, but totally worth it.
For sure, if TH-cam is you job, it's a great investment.
Exactly
Fabulous video from the Wiemels 'in the closet' period. The MKH 50 is a fantastic piece of gear and I guess if you used it for 40 years and divided the cost by 40, it would be quite a bargain. I didn't like the high frequencies of the Saramonic tbh. The NT 5 sounded excellent too but I was quite impressed by the MKE 600 and the sound per pound it delivered (I'm UK based of course). Your videos are superb Mark and I'd like to thank you for supporting the M50 over the years, they've been a great source of information - not sure I've said that before to you. Thanks from the bottom of my heart for the closet years. Here's to even better things from your new posh studio.
So kind of you. Thanks for sharing that.
I have to admit as a studio engineer I wouldn't have imagine that such a microphone would sound nearly as good pointed above one's head indoor... mind blown. It takes about zero room resonance, and it also means that you're gonna have zero plosive issues. That's a really really interesting thing for home studio recording, since you can put a carpet on the ground, but something on your back wall and call it a go! I was looking for a mic to just suspend on top in my living room to make acoustic covers, and not to have to think about set-up. This is the one. Thanks!!!
good to see you’re doing alright ❤
I'm an audio professional in Hollywood. I would argue that MKH50s aren't really used very often on sets. More often you see Sennheiser 416 and Schoeps CMIT for booms. DPAs and Sanken for lavs. My desk mic is a Schoeps CMC641 with a small CMC1 amplifier. It's the tiniest little thing, takes up no space and sounds so much better than an MKH50. Audio can always get better! :)
wow that mkh 50 definitely sounds amazing
I just found your channel and it's exactly what I needed, your videos are amazing. Thanks so much for everything you do, keep it up! P.s: try the new Deity V4 if you can, I heard it's an amazing deal in its price range
I have the mic, it’s on my list.
I love the Sennheiser MKH 50.
This MKH-50 is WAY overkill for the average YT content producer.
For sure.
What would you recommend as an acceptable alt? Thanks!
Not for this voiceactor. I just tweaked my chain the way I like after a year. Wow!! It’s sound even better than this.
Oktava MK-012 $300 used on Sweetwater.
I'd really like to hear the MKH 50 against the Oktava MK-012 and Schoeps cmc641
A really good review, great information, especially in the comparison to shotgun designs (since I've got a MKH-416).
@alan2a1| do you recognise the "downfalls" of the MKH-416 (well, the shotgun mics) that are discussed? Or is it not as pronounced? I'm kind of on the fence, 416 or 50...
@@dennisgoedbloed1287 it really depends on the application. I do voice-over, so I am able to do post-processing, including high-pass filtering, which removes that low-frequency side-noise he mentions. But his critique of the long tube shotguns is valid and well-taken. The capsule IS way down the tube. I mic up close for my purposes, but use on set doesn't have the control I do in my booth. The 50 is somewhere in the back of my mind to check out in future, but the 416 has kept me working and sounds excellent.
Nevermind the price, I just don't understand why would I buy the 4x more expensive MKH 50 over the MKE 600, if the cheaper one sounds just so so much better, in my humble opinion. It's just so much cleaner, richer and well balanced to my ear. Not only in your great video, but across the board. I wouldn't mind investing in the MKH 50 if it was worth the sound but its shortfalls or rather the superior sound quality of the MKE 600 makes me save some money as a sweet bonus. You don't see that everyday. Thank you for your excellent video. All the best.
I bought the MKE600 but it picks up a crazy amount of background noise and the shotgun effect of cancelling is evident in my untreated indoors room. The MKH 50 would solve those problems for me.
Great review , the 600 sounds great for the money , I have one and a 416 would love a 50 though
Interesting, I would prefer the MKH 416. The MKH 50 is great, it sounds like typical broadcast with a bump in the low mids. The 416 has more pristine highs, I'm more drawn to that. The Saramonic is an MKH 416 clone by the way, the Rode probably too
416 is unrivalled and cheaper than the MKE 50
Would be surprised if Rode were doing clones of other brands... Saramonic, for sure
@@jas_bataille The first mic that put Rode on the scene was a Neumann U87 clone, actually a Chinese Neumann clone that Rode modified for a flatter frequency response. It's certainly different today but most newer brand mics are more or less clones of classic microphones by vintage brands, especially in the capsule field. There hasn't been much innovation in the last 40-50 years. Except for accessory functions of course, like safety channel or internal recording.
Yes, MKH-50 is good. But have you tried MHK-8050 and Schoeps CMC641 (This is the defacto Hollywood indoor mic). I have both MKH-50 and Schoeps CMC641
I prefer to use lavaliere microphone. It gets even closer to my mouth and it is good enough for what I do.
For sure, they can be a great option.
You said it right mate; for what you do! A good lav placed in right spot can get the job done. But make no mistake. Is not always what you need
I use the MKH 50 for run and gun interviews because I don’t have a sound person and the isolation from background noise and now with noise isolating software advancements it really shines.
so where do you have your mic mounted?
@@AlexAntohe On a stand boomed in around 6-8 inches out of frame.
Which software do you use?
Do you use the roll-off filter switch? Curious, I use the 50 and my audio sounds like it has too much low-end on some speakers.
No, but I do process this in a similar way in editing. I think you need to take out some of the lows, if the mic is close to the subject, so either with the switch or in editing.
oh man, that sounds great!! Just when I had settled on my Rode NTG3 - why do have to do this to me, Mark??
I have spent a lot of time picking though different channels audio setup. In my opinion, this is THE mic. Oh, also, a good buddy of mine, with a similar name, and similar channel, told me how to get my loudness right. I owe him a beer.
It’s the mic Tom Buck, Gerald Undone, and bunch of others use.
@@markwiemels Yes - and iPhonedo - Gerald convinced him too. 🤣. I like the NTG3 for me because the bass it produces helps my voice. Some people might find it too muddy, but I prefer it to my normal shrill voice. 🤣
Tom Buck said he used the VideoMic NTG for ages - 3.5mm straight into camera
Senn MKH 50 is much too expensive for someone doing recording as a hobby. As you've mentioned shotgun mic is not ideal indoor due to phase array interference issues and then you went ahead to recommend MKE600. Should have recommended a pencil condenser microphone ie. Octava or Rode NT5. Actually, for indoors, dynamic mics are the best as it is insensitive enough not to pick up the room echo and you're about an inch or two away from the mic, so signal to noise ratio is very strong. So many TH-camrs are stuffing their faces with the Shure SM7B, but that's overkill as well, just mentioning that to say dynamic mics is the way to go for indoors. Go for the $100 dynamic mics.
Thank you for your video, It's very helpful.
I'm so glad it was helpful! Thanks.
Love your videos, man. Are you plugging this straight into the camera, or using some external recorder or DAW?
Can’t recall what I did for this video, but I recommend the zoom f3.
@@markwiemels Thank you! I’m still using my Canon M50 mk ii, that thing is still a BEAST! I have an R series camera now, but my little M50 is my “B” rig. Still awesome.
Great comparison! How are you securing the moving blanket to the wall?
Big removable stick on hooks, then with some big spring loaded plastic clamps, like for clamping wood that is being glued.
@@markwiemels thank you!
Well done, as always. Thank you.
Thanks again!
What mic you used most of the video, during not samples? And was it EQed?
Okay you ignore my comment on the last video THANK YOU! Do you use clean-up audio software for your audio?
Great video and info! For TH-cam though, an absolute overkill. Oktava Mk-012 cheaper and also very good.
Great acoustics unlike all the other experts
Thanks.
The sound is clearly great, just not sure if 3x better then the MKE600. And Mark, did you see the Sennheiser is coming up with a USB budget mic? Can you try to get it to review?
Yea, the mke 600 is great value. I probably wont review the usb mic, but will consider it.
What audio interface works best with it? The rodecaster duo or wave xlr?
Indoors MKE 600 didn't sound great to me. I've heard samples outside and it sounds great. The Soundbird V6 surprisingly good indoors for shotgun. MKH 50 Best but not sure I can stretch to that
great vid, what in the difference between the p48 black mic and the short mkh 50 grey mic?
What would you recommend between the Sennheiser MKE 600 and the Sennheiser MKE 440 for nature videography (not studio)? Thank you so much. Your videos are so informative
440 for sure, much more impressive. That's a perfect use for the 440.
@@markwiemels Thank you so much for your time. We do enjoy your videos
The video popped up in my feed, obviously google is jacked into my very being. I enjoy cameras, photography and sound and I'm currently going through massive nerve pain in my upper back/arm. So it was fitting that it came up, and I subscribed because I'm interested in your journey and your content. Stay strong and thank you for sharing.
Using the MKH 50 for youtube content is like buying Jaguar for your daily 30 minute commute across town. Sure, it will get you there in style, but a VW Golf would've gotten you there just as well.
Professional film sound technicians love the 50 because the authoritative low-end works well with the often inopportune placement we have to put up with when booming, and the pickup pattern sounds natural and fluid when cuing the mic between different actors on a boompole. If you're doing talking head youtube content, and have every opportunity to place sound treatment in your home studio, the wise move is to just get something like the Oktava Mk-012-01, and throw on a bit of low-end EQ if you feel your voice needs it.
Your home studio is an almost ideal situation for recording sound, and the benefits of a mic like the MKH50 really only come through in less opportune situations. Save your money.
Also, remember the medium you're working in. On a film set, microphones have to be out of frame, or hidden. Not so on youtube! Loads of youtube creators use large diaphragm condensers on studio stands planted right beside their face. It's an accepted trope of the medium, and if you are only doing talking-head content, a perfectly acceptable way to capture great audio with equipment that's less expensive than a professional hypercardioid.
Some good points. The Sennheiser MKE-600 sounds surprisingly close, for 25% of the price. I'm not a fan of that Oktava mic, it has a harsh sound, to my ears. For sure the sound treatment makes the biggest difference. Even in the most controlled environment, I still prefer the MKH-50. Every time I a watched a video, and thought, "I want my audio to sound like that" - it was the MKH-50, but the MKE-600 was still a close second, again, at 25% of the price.
Hi Mark! I really loved to hear these examples. Great work! I just have two questions left: 1. Which microphone did you use to record that video? and 2. do you do any post-processing with the audio for your videos? I mean especially removing noise for example? I use the behringer C-2 right now and I think it has a lot of noise, even if the room is silent.
I used the mkh50. I do some eq, can't recall if I used voice isolation.
@@markwiemels Thank you so much for your answer. I watched some more videos meanwhile and the MKH50 seems to be very good for indoor recordings. But pricey. 😊
@@Jensomat mke600 is a great budget alternative, some people prefer it.
@@markwiemels Yes, it sounds good in your vid too. Thanks!
So is there a budget pencil mic other than the mkh 50? I liked the idea of the mke 600 but it's a shotgun mic..
I recorded the sound of eating an ice cream bar at home for the asmr video using the MKE600. However, the sound was quieter than expected, and when I turned up the sound, I could hear electrical and lighting noise. In this case, would MKH50, which has a shorter capsule, be helpful?
Possibly.
Review the Schoeps mics.
It's not just the endgame for TH-cam.
You'll see those on sets as welll.
I’m not technically savvy, but am I able to just plug this into my camera? I have a canon T8i. And if so, do I need to make any adjustments or is this a plug-in and ready to go? Thanks.
You’d need something like a Zoom H4/H5/H6 that you could sync audio in post or plug it’s 3.5mm out into your camera but I’m not sure it makes much sense to plug a $1000+ mic into a camera as the incam preamps tend to suck
I always thought that the old so say Hollywood favourite, the Sennheiser MKH 416 was a key benchmark to judge against? Albeit the '416' is a true shotgun - perhaps best for outside use or in a big (😅less reverb oriented) space. How does the Sennheiser MKE 600 compare to the 416? Or indeed the more expensive MKH '50'?
The 50 gives a more full sound, with lots of bass, giving that more “radio voice” sound. 416 is very hyped in the top end, lots of detail and clarity, a perfect asmr mic, but can even be a bit harsh at times, and need some eq to tame it. The 600 is more balanced and natural, maybe it doesn’t jump out at you like the 416 or 50, but I know people that prefer it over the 50 and the 416. The 600 is a great mic and I could not recommend it highly enough. They are all such good mics, it’s really about personal preference.
MKH50 is the only "pro" microphone here. I would call the others semi pro. Worth mentioning is how light the weight is. You barely notice it when mounted on a boom. Because it is so short it can get closer than a shotgun and keep out of frame.. Most people don't consider the actual element (diaphragm) in a shotgun is NOT at the end of the tube but way back in the body. So the length of the interference tube is a limiting factor. Shotguns are great outdoors or in large spaces. They have more off axis rejection. The MKH50 and other hyper cardioid mics are usually better than a shotgun indoors. Less phase comb filtering.
The next step up is Schoeps CMIT at double the cost.
I'm surprised the MKH-416 P48 isn't mentioned here.
I thought THAT was the hollywood staple.
I like the sound of the Schoeps CMIT 5U mic. That’s what I use in the field. but the mkh50 is also nice.
I want to try that one someday.
I was about to buy the MKE600 but then my priorities changed. I instead got a 30$ (on sale, new) Behringer B5 and I'm very happy with it.
Great to hear! I have always wondered about that mic.
@@markwiemels Maybe you can review it someday. It's pretty cheap so it would pay for itself through adsense alone 😂
You should have compared it with the Audio-Technica AT875R!
100% a Must Compare.
If I can get my hands on that mic, I will.
Great video. I recently bought a Canon M50 Mark II, and I've learned quite a bit from your videos about lens possibilities. Somehow I missed your microphone-related content up until now.
It makes sense how an expensive microphone that can block out external noise would be a great pick for a multipurpose bedroom/studio without much in the way of noise dampening. I'm not a TH-cam content creator (at least not yet, but who knows), and the video work I do right now involves filming objects/scenes in an office environment where a presenter can be heard but is located several feet off screen. Would you recommend a lapel mic in this case? Do you have a video that covers this type of scenario?
A boomed mic, like the ones in the video, will give better sound if you can get them close to the presenter, while still being out of frame. A lapel mic tends to be easier, cheaper, and more flexible, but the audio quality wont be quite as good. I don't have a video on lapel mics use, I haver never been that good as using them, and editing the audio the way it needs to be.
@@markwiemels Thanks, I really appreciate your reply. My particular business setup would probably make it difficult to set up a boom mic (plus I'd have no one to walk around with it while the presenter moves), so I may need to do some additional research on lapel mics.
So amazing presentesion.
Thanks!
Huh... to my ear, the MKE600 sounds better than the MKH50. MKE600 is more neutral, while there is a little too much bass in the MKH50. I guess it is also hard to say since we are using different headphones.
It’s really all personal preference. So there is no “wrong” answer. MKE600 is a great mic, and has been my main TH-cam mic.
@@markwiemels Agree! I have been binging your channel and just subscribed.
One of your video caught my interest (th-cam.com/video/IGBA2yrEKlk/w-d-xo.html). Have you tested this adapter with Sony that has IBIS?
I am in the market for a new camera, if the IBIS works, I am going for Sony!
What is a good dynamic microphone that has the frequency response 20 Hz to 20 kHz? I have the shore SM7B but I want a microphone that is a dynamic that has cleaner gain
I use the LS-208, it's a condenser with the rejection of a dynamic. It the best of those type of mics that I have ever used. I use it in all my new videos, so you can hear it.
@@markwiemels what's the frequency response of that microphone? Is it the full 20 to 20? How much does it cost? I'd love a great sounding Mike that is a dynamic that isn't thousands and thousands and thousands of dollars. I would also like the microphone to not have any noise at all. The SM 7B seems to be super gain hungry. You need a cloud booster for that Mike.
@@Bradleybrookwood th-cam.com/video/aBrYY-JGhLA/w-d-xo.html
I think many people are talking about various mics but not talking about their contexts. The MKH50 is a pro level indoor microphone. Not ideal outdoors. Choose a different mic for outdoors.
Mark, I know you get a TON of Questions and probably tough to keep up BUT, I saw your video on the Canon ef-m 55-200 and you were pretty solid on buying the Lens HOOd which I ordered using your link BUT, when I got it I found that it DOESN't go on when using an ND FILTER. I live in Florida so, I don't leave the house WITHOUT an ND on my lems. Any fixes for this? Even if I have spend a few more bucks? Thanks!
Bo
Beachbum Media on TH-cam
Probably no fix, that I know of, other than get an ND that has a lens hood attachment. The issue you are having is very common, usually you have to choose one or the other.
You should keep your mic off the boom stand haha
The boomed introduction / interstitial audio does not sound the best when compared to every other mic featured in this video. Another example of how important positioning is. Sound like a ton of reverb off your desk.
Your Sennheiser MKH 50 link is currently the same as the moving blanket link.
Thanks for letting me know. I just fixed it.
Meanwhile people listening it with earplugs from a dollar store 🤣as many on phone speakers. So, in other words - if you have interesting content, people will watch it no matter what mic you use.
If close eyes and just listen, difference is minimal between all good mics. 1% better for 200-300-400% of the cost
Hi, where are the mic placed ? Above ?
Above, but you can do either.
@@markwiemels okay thanks !
The ley is to know how mics work and which mic works best in each scenario. The 600 is a spectacular mic in the field, and while the 50 is much better, you don't have to worry about something happening to it like you would the 50.
Man i just got a prime ef lense for my canon m50. It Is a meike 85mm but when i try it on my canon m50 i cqnt because the camera thinks It Is the kit lense, ando ir days push and hold then rotate the lens so do u know if i have to change the settings of the camera or something like that?
Hi, I know this question is not for this video, but I created the popular body cap “kodak funsaver lens” for my M50 and when I atached it i cant take photos and videos. Do you know what should I do ? Btw, sorry for my bad English, I am from Czech Republic 🇨🇿😂
In the menus, release shutter without lens, or something like that, it's a setting.
@@markwiemels Problem solved, thank you :)
Sold....
5:35 WOW... you must have quite good pair of ears if you can hear 2 MHz...
haha... yah, should be 2000 hz or 2 khz
@@markwiemels : No worries, Batman! :D
IThe Mkh50 sound warm like the ntg3
so no more rode go II?
I LOLd. The VideoMic Go II is amazing though.
Soundbird was almost as good. My lavaliere w/soundbox for voiceovers sounds almost as good. Debating getting the MKH 50 when my channel starts making money, vs. just keeping the audio signature the same.
For people on a budget, a high end lavaliere w/soundbox for voiceovers will give pro level results, for other applications, MAYBE you can get that very same lavaliere to work in some situations for basically pro level audio, then again maybe not.
Ended up buying the Sennheiser MKE 440 based on Mark’s outstanding review of it for where I needed stereo sound. Will use the lavaliere for most other instances where the environment has been sound treated.
What is a soundbox? I’m not sure I’m familiar with that product or term. I’m very curious.
@@markwiemels it’s just a box with acoustic foam mounted internally on five of the six sides with the mic either mounted or handheld basically within the sixth open side. It creates essentially an acoustically dead environment with practically no reverb at all. Your head has to be practically inside it to ensure the audio is top notch. Setup and take down time for mine is usually around 20-60 seconds depending if the foam is fiddly. They range in price on Amazon Japan from around $50 to just under $1000 and marketed as either sound boxes, sound proofing boxes and vocal booths/audio booths (for the larger walk-in/sit-in ones).
I made mine out of an almost 90 year old Japanese wooden pottery crate with 2 inch acoustic foam (essentially 3 inches deep in the corners). The foam just sits loosely within it and I can take them out and mount them to a different board (3 inches away from the wall in a 4’x2’ panel) such as when I shoot the video portion and need to dampen both the base frequencies by having them bounce between the board and the wall and to dampen the reflection from my voice.
Where I record is in an absolutely acoustically horrible room. It’s thin felt carpet on cement with a very thin underlay, with no pictures or anything else at all on the painted walls, no furniture or bookshelves of any kind barring a hard yet light wooden table, a few cheap wooden chairs and no other acoustic foam anywhere yet still get excellent results.
To treat the same room and yield similar results requires setting up floor to ceiling base absorbing foam in two corners, plus on the ceiling, the aforementioned 4x2 board, a beach tent with my camera and ring-light stuffed within the entrance and me sitting in the middle and a very heavy comforter draped over the beach tent to absorb most of the sound. The sound has to pass through the tent, into the comforter, then reflects off the walls, then back into the comforter before reaching the mic. It works surprisingly well… that said, set up/take down time for all lights and acoustic treatment is at least 3h before I can get any shooting in.
Personally I like your studio, it’s about the size of my apartment (82sq feet). The audio sounds great even though I don’t see a ton of foam. My “studio” is a shared office space that I use on Sundays. It has to be fully returned to normal each and every time I use it.
@@wyattlavigne yah, the environment is more important than the actual mic. The box idea is a good one.
Shotgun mic is a complete waste of money indoors. It is made to discriminate sound from unwanted sources - not wanted sounds bounced off walls. Whatever mic you use, something needs to be done with the sound bouncing off walls. In a controlled environment effort should be put into soundproofing the walls. Even when being in an environment you cannot control where there are walls, a shotgun mic is not a good idea. A better choice is to soundproof the mic the same way we windproof it but with a tube with thicker walls. The main focus when buying a mic should be sensitivity, self-noise, and frequency response. All mics in this video have a poor frequency response in the lower region except for MKH 50. Maybe also MKE-600 when not being too critical. You can achieve this for less than $300 staying away from shotgun mics. Getting good sound is 10% mic and 90% adapting to the environment, with one exception: mic arrays, but this is a whole other topic.
I prefer the MKH 8050. I guess you guys never saw wind switch flaw on the MKH50 from Soundspeeds? th-cam.com/video/aHyievPolKs/w-d-xo.html
Its like sayj g look i found the best offroad car. A fully loaded g wagon or something...its stupid...
disagreeeeee