In einem Anfall von Miesepetrigkeit habe ich das Sennheiser MD 421 einmal als das “hässlichste Mikrofon, das ich je gesehen habe” bezeichnet. Seine Schallwandler werden seit der Einführung von dessen Hersteller Sennheiser unverändert produziert. Sind die MD421 wirklich so viel besser an den Toms als die wesentlich günstigeren E604? Sennheiser E-609 Sennheiser MD-421 AKG C4000 Studio Project C-1 (oder ist das B-3 besser geeignet?) It’ll record most things quite decently, but I’d buy one because it’s one of the best sounding and easiest to use guitar cab mics I’ve ever plugged-in. The pickup pattern is tight, it captures transients well, the hum cancelling circuit keeps it quiet, and it’s been specifically designed to be used close and loud. WIe siehts mit der direkt Montage der E604 an den Toms aus? Given that the mic is also physically big (and relatively expensive), you might want to be careful where you put yours if there’s a thrashing drummer about. It’s not cheap for a dynamic, and is probably not the most versatile mic you’ll ever buy, but once you’ve figured-out how to use it (and to look after it) it’s a fantastic sounding character mic. Hey, My SM57 has conked out and whilst I'm going to try to fix it I feel it's time for a mic upgrade. Sennheiser e609 vs. MD409. Mit einem Membrandurchmesser von 27 mm zählt das MD 421 zu den relativ seltenen dynamischen Großmembranmikrofonen. What’s wrong with it? That said, put a 421 in the right place on the right source and you can get a big and vibey sound that I don’t think you can get from any other mic. Ich muss gestehen, dass dieser Aussage genau so viel jugendlicher Leichtsinn wie juvenile Unwissenheit zugrunde lag. Signal Chain - Agile Sentinel 725 Nat Ash - Ibanez Tube Screamer TS9 - Mesa Boogie Mark IV (A) - Mesa Boogie 2x12 - (sm57/e609/md421) - Mogami XLR - RME Fireface 800 - DAW. Vor zwei Jahren wurden … It was probably OK for a mic that would be mounted in a radio studio and never moved, but for anything else it’s just wrong and should have been re-designed (or made of metal) for the Mk2 series. Sennheiser MD421. Moin moin, hat jemand von Euch Erfahrungen mit diesen Mikros an den Toms? This is a quick video showing the differences between these three mics. The difference in these mics is night and day. (planning on using it for toms and guitar). Bis dato hatte ich nämlich tatsächlich nicht wirklich verstanden, was dieser Schallwandler zu leisten imstande ist. Sennheiser MD421 vs. E604 für Toms? The mic’s polar pattern is a bit loose, and the off-axis response isn’t particularly pleasing, so it needs careful placement to avoid bleed from other instruments. i recently bought what I thought was a Sennheiser MD421 from a respectable recording engineer who's sound i've always admired. Boy was I wrong. The two German-made Sennheiser dynamic mics I’m looking at here can both be considered to be “mojo” mics; they’re not particularly honest, but they do sound very good in the right place. Technik. While it may not be as popular today as the e835 … The MD421 is quite likely Sennheiser’s best selling microphone of all-time… As it has been widely regarded as one of the top industry standards for many decades now. I bought one of the e609 silver mics today to replace my MD409U3 that I have been carrying out on live gigs to mic my guitar amp. Most of us probably think of the 421 these days as being a guitar cab or snare (or tom) mic, and that’s certainly where I tend to use it, though it was originally much loved as a vocal and broadcast mic. Of course, mic placement is crucial. Sadly, the MD421 has one major problem; the stand clip is rubbish. This article was originally published in issue #33, To read the article in its entirety, view the digital magazine, Our website uses Cookies - by using this site or closing this message you’re agreeing to our Terms & Conditions, Cookie Policy and Privacy Policy. Sein Frequenzgang … I don't want to take a chance on losing the 409 or having it stolen, and I figured the 609 would do a reasonable imitation. If you record electric guitars with microphones you should try one! I never intended it to be the case, but I probably use the e906 more often than any other mic on guitar cabs because it’s so easy to use and to get a sound with. Well, I use both and to my ears they are in the same ballpark. It always sounds to me as though the moving parts are a bit heavy and don’t react very quickly to transients, which gives a sort of natural compression effect that makes driven electric guitars and snares sound wonderfully thick and dense, and voices smooth (on the ones it suits) and can be incredibly useful for taming slightly scratchy sources like brass and strings. when it shipped to my house, i peeled the duct tape off the clip and it turns out to be a 421 II. It’s big, fragile, doesn’t lock very well (good for your mic-catching reflexes) and is difficult to adjust - so basically everything. In use, frequency response seems to tame both the top and bottom end (there’s a treble lift from about 10 kHz but that’s higher than most fundamental frequencies you’ll point the mic at, and there’s a five-way selectable bass cut built-in) to leave the mid range clear and present without it being too “bitey”. The classic 906 trick is to hang it in front of a guitar cab by its lead, and even though you can’t adjust the position as much as if you use a stand it seems to work surprisingly well this way (even if every mic lead I own wants to twist the mic to one side). The two German-made Sennheiser dynamic mics I’m looking at here can both be considered to be “mojo” mics; they’re not particularly honest, but they do sound very good in the right place.

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