Sennheiser MKH/Sanken CS-3E handling noise

A

argo

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Could someone please comment on how sensitive, in their experience, the Sennheiser MKH(50&60) microphones are to handling noise. I'm reading widely diverging opinions, ranging from Dan Brockett's "very, very low levels" (MKH-50) and "even slightly lower handling noise levels than the MKH-50" (MKH-60), to Mark Weingarten's "very handling noise sensitive... could not beat the handling noise in a lot of situations" (MKH-50). I realize that gauging handling noise is a relative and complex task with many factors involved, and that everyone's experience with the mics differs.

Thoughts on the Sanken CS-3E in this regard would also be appreciated, as well as comments on the Sanken's reportedly more noticeable self-noise (than the Senns').
 
I've used all the microphones you mentioned, and I've never had handling noise issues. It all comes down to the suspension mount you are using AND, probably more importantly, the technique of the boom operator. Even the best suspension won't help you in the hands of a boom op that has no idea what they are doing sometimes.
 
I see guys selling an MKH to buy a CS3e fairly often.

If you can have a quiver of mics, then the MKH are great mics to have in there... but if you have limited funds and can afford at least one really good mic, get the CS3e. I got mine from Guy from DVestore (a DVXuser sponsor).

Handling noise isn't going to be a problem... probably with either. The 416 is dead as a rock r.e. handling noise, but the MKH and CS3e are probably on the same level... not as "dead" as a 416, but still good.

I've never had handling noise affect a take with a CS3e.
 
davefisk said:
I've used all the microphones you mentioned, and I've never had handling noise issues. It all comes down to the suspension mount you are using AND, probably more importantly, the technique of the boom operator. Even the best suspension won't help you in the hands of a boom op that has no idea what they are doing sometimes.
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Yes - but don't forget the mic. cable.

Using something like a Rycote ConnBox or a thin and flexible XLR tail (eg: Rycote S-series XLR tail) to decouple the mic. from the main cable is really essential and can often be more important than the suspension itself.

You would be surprised at how much handling noise is transmitted along the mic. cable.
 
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