Sennheiser ME66/K6 paired with Zoom H6

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gelojtaboada

Member
Anybody got comments on their experience pairing the ME66 with the Zoom H6?

Is it a good combo?

I want to know your setup, whats your input gain? Signal to Noise Ratio, output levels.

I truly appreciate it!
 
I wouldn't use a ME66 by choice....... there are a LOT better mics out there these days. And if your reply is 'but I already own it' then its time to get a better mic.
 
OzGizmo said:
I wouldn't use a ME66 by choice....... there are a LOT better mics out there these days. And if your reply is 'but I already own it' then its time to get a better mic.
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Just bought it :/, What's the new stuff??

I didn't bought the NTG3 for pricing availability, MKH416 is way out of bounds... my ME66/K6 was around $350, great deal... I also bought it for its 50mV/Pa, and the ability for battery power, either way... whats the new stuff!!??

Perhaps I'll re-sell my ME66, its new...

And... have you used this mic with the Zoom H6?? or another mic?? I wanna know your settings...
 
The new Sennheiser MKE 600, Sony have always had a range of 'pro' AA battery powered shotguns, Beyer Dynamic has a couple, The Rode NTG2 is so low in output level its a pain the new Rode NTG4+ might be interesting but has an internal rechargeable battery (which may suit some but not me) and the Sennheiser ME66 which I've used often for radio OB's is dull colourless and boring.

I NEVER run a mic direct into either my H4n or H6 and ALWAYS go through a decent preamp for a number of reasons..... bad preamps on the recorders and poor control of input levels, the H6 has knobs but it would be hard to 'ride' levels like you can do on a decent mixer.
 
OzGizmo said:
The new Sennheiser MKE 600, Sony have always had a range of 'pro' AA battery powered shotguns, Beyer Dynamic has a couple, The Rode NTG2 is so low in output level its a pain the new Rode NTG4+ might be interesting but has an internal rechargeable battery (which may suit some but not me) and the Sennheiser ME66 which I've used often for radio OB's is dull colourless and boring.
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Well, I've heard tests from the MKE 600 and sounds quite "bassy-ish" very similar to the NTG2 which IMO, both of these sound pretty... Dull I'll say, compared to the ME66, which sounds brighter and with more DR... Feel's like that "bassy" warmer tone can be added to the ME66 in post, but it sounds like you can't make the MKE600 brighter... Is that the case?

Either way, it's all relative to everyone's ears, and sound taste, isn't it? I find myself the ME66 better sounding than the MKE600, not to forget the difference in sensitivity... And price tag was about the same... And the capability to switch capsules, blah, blah...

I think the approach of Rode with the NTG4+ is smart, removing the waste of batteries from the equation, Cheers for environmental conscience!, but perhaps, many filmmakers will find this unpractical, that if they run out of juice on the field, it will be hard to charge (2hr for a charge), nevertheless phantom powering makes this statistic low... It wasn't out yet when I bought my ME66, and comes in a higher price tag...

OzGizmo said:
I NEVER run a mic direct into either my H4n or H6 and ALWAYS go through a decent preamp for a number of reasons..... bad preamps on the recorders and poor control of input levels, the H6 has knobs but it would be hard to 'ride' levels like you can do on a decent mixer.
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On your experience how do you run your mic into the H6, what levels do you use?, for my ME66 I find #6 on the knob is a sweet spot with low-almost-unnoticeable SNR, I'll appreciate a lot if you give me your settings data, with your mics coupled with the H6 & H4n...
 
My kit is based around a Sound Devices 442 mixer, 3x Sony UWP-D16 kits (Rode Lav mics), Sennheiser 416 with softie, 8060, Small 2m pole, AKG Blueline Ck91, Ck93, Shure VP64.
Powered by a 12v GelCel battery (heavier than other sort of batteries... but very low cost) I get 3-4 hrs from a battery but can 'hot' swap in the middle of a take if needed.

The 2 sets of outputs go to 7pin xlrs and feed send/ return to any sort of recorders / cameras etc at mic or -10db or line level.
Most shoots that I direct feed a camera will come from o/p A and a backup record from o/p B. I normally use the H4n as backup going in at line level or -10db. For live to air stuff I feed the camera and that in turn feeds the Satellite truck as an SDI signal.
I can get 'monitor returns' from both A and B recorders.

For a Dual system shoots (DSLR etc) I replace the camera feed with the H6 feeding the 'top block' of the H6 with L/R and direct channel outs from the SD442 going into H6 i/p's 1,2,3,4.
The actual knob positions is based on correct gain staging through the devices with tone generated by the SD442.

If you are new to audio may I suggest that you base your kit around a MIXER and not a recorder as it will give many more options for work.
 
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OzGizmo said:
the Sennheiser ME66 which I've used often for radio OB's is dull colourless and boring.
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Isn't that what a good microphone is *supposed* to be?

A good mic. is supposed to be without colour and the ME66 is not "dull" by any means.

Yes, I agree that there are better mics at a higher cost and I agree that the MKE 600 is a better mic. nowadays - but the K6/ME66 is not nearly so bad as you are making i out to be.
 
OzGizmo said:
If you are new to audio may I suggest that you base your kit around a MIXER and not a recorder as it will give many more options for work.
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Not sure if this is good advice nowadays as most sound recordists seem to have stopped using mixers as such.

The modern way is to use a mixer/recorder combination or a flexible multittrack.

The AETA 4MinX has 10 inputs which you can mix any way you want to up to 8 tracks.

The new SD units are mixers with built-in recorders and the 788T is a flexible muti-track.

I don't know anyone now who is buying a mixer on its own nowadays.
 
gelojtaboada said:
Feel's like that "bassy" warmer tone can be added to the ME66 in post, but it sounds like you can't make the MKE600 brighter... Is that the case?
Click to expand...

I have a ME66 and though I drool to add a 416 sometime, I have played (quickly) with files from the ME66 and warmed up the tone to match 416 samples. My ears are not trained, but most people aren't either and it does sound fairly close or "close enough." One day after owning a 416, I won't have to "cheat."

OzGizmo, good advice. Thanks for posting about your workaround method with your equipment. Still getting around using a SD mixer.
 
John, while a mixer / recorder would be the way to go on a new purchase 90% of my work is mixer based rather than separate recording.
I will admit that most of my work is based around Broadcasting, (ok Its what I know and have done for many years... and they pay promptly so why change?) there has been a few sound guys that have gone down the recorder only track path of DR680 or SD788 and both of them have changed to SD552 and SQN mixers. (but they have kept their recorders)

The recorder only / DAW direction is also seems to be limiting the young people new into the industry they seen to have very little ability to ride levels, and operate live to air.....

I admit I may be out of step with what the 'educational trend' is, but that trend doesn't seem to be suiting the industry (that I'm seeing) long term. IMHO
 
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Yes that is true.

There have also been a number of other counterfeit microphones being offered. So one needs to pay attention when looking.
 
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