Sennheiser MKH60 P48

M

myCharlie

Well-known member
I'm thinking about buying a Sennheiser MKH60 P48 for a feature film shoot. Any suggestions or opinions about this mic? A recommendation on reseller of this mic is also aprpeciated. The listed price on Sennheiser's site is $2,000. Any suggestions on other place that sells less than $2,000 is much appreciated.

By the way, what's the difference betweem Sennheiser MKH60-P48 Supercard/Lobar Cond Mic Black and Sennheiser MKH60 P48 shotgun mic? Which one is better and why?
 
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They are the same mic... and I don't think anybody sells that mic for $2K.

It's $1539 everywhere I look... and free shipping from B&H... my usual store of preferrence is www.trewaudio.com
 
i would say to check out the Sanken CS3e. Personally, i find the mkh 60 to be a bit "dark" sounding.
 
Much thanks for your replies. If they're the same, I'm curious why the Sennheiser MKH60-P48 Supercard/Lobar Cond Mic Black is about $100 more than the other. In any case, I'll check those two sites you suggested.

TVSound, what do you mean by a bit "dark" in sounding?

By the way, can I use this mic in outdoor and indoor situation? Does the mic require a field pre-amp? I'm basically going to use this mic with the Sony XDCAM Ex camera.
 
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if you have no clew about how does it sounds why do you buy this particular mic
for some one like you i will suggest buy the cheapest one that worth something and ass additional stuff to be able to work at all
even better visit a set to see how people work at all
start with the rode , save 1300 for sound man with gear
 
I already got some cheapest mic you're talking about and they don't sound too good...especially when the wind is blowing or some background noise.
 
Oleg 2 said:
that what iam talking about - you dont have a clew
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Very helpful post. he probably doesn't have a clue but he's just trying to learn. he's doing exactly what you are suggesting, asking people with more knowledge about the way they work. Hopefully he doesn't go to a film set where the sound recorder is going to snap at him like you just did
 
myCharlie said:
...especially when the wind is blowing or some background noise.
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Upgrading to an MKH60 alone will not clear up wind noise. Most mics will require substantial wind protection in order to record in even a light breeze. The stock foam windscreen that comes with most mics will really only work for the minor air currents caused by moving it gently through a a quiet room. Read through the forum stickies to get a better idea of the shock-mount and wind protection accessories you may be missing.
 
Tha't a good mic but might not be the best choice for mounting on a camera....for one thing, it'll be too long to allow you to work any filters. Look for a shorter mic for camera.
You can use the preamp and 48 volt phantom on the camera to power the mic. Don't get a mic with a battery compartment, it'll make the mic longer. Rely on a sound man to get the best audio for you, camera mic would be a backup.
 
rafaeldelauz said:
Very helpful post. he probably doesn't have a clue but he's just trying to learn. he's doing exactly what you are suggesting, asking people with more knowledge about the way they work. Hopefully he doesn't go to a film set where the sound recorder is going to snap at him like you just did
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as long he is not asking during the takes :-)
 
BRH said:
Tha't a good mic but might not be the best choice for mounting on a camera....for one thing, it'll be too long to allow you to work any filters. Look for a shorter mic for camera.
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An offset bracket will allow you to mount a shotgun mic on a small camera. Of course, mounting an MKH60 on-camera is rather a waste of a perfectly good mic. The MKH60 (like the MKH416 before it) is typically used as an overhead boom mic.
BRH said:
Rely on a sound man to get the best audio for you, camera mic would be a backup.
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I would go so far as to say "rely on the sound person to get the best audio for you, and use a camera mic as a backup if you have an extra mic you're not using and the sound person isn't already using both tracks to record split mono (which they should)." Camera mics are a mic of last resort.

I agree with the advice of avoiding mics with integrated battery compartments, but for slightly different reasons; most mics of that kind are back-electret condensor mics rather than true condensor mics, and such mics are generally of a far lower quality (DPA being an exception).
 
rafaeldelauz said:
Very helpful post. he probably doesn't have a clue but he's just trying to learn. he's doing exactly what you are suggesting, asking people with more knowledge about the way they work. Hopefully he doesn't go to a film set where the sound recorder is going to snap at him like you just did
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If he's just starting out in audio there's no point in blowing $1500 on a mic that he doesn't really know how to use that well. The MKH60 is very directional and demands good booming skill (is he even using a boom?). If he wants to learn about audio, it's better to start with a cheaper and more forgiving mic.

myCharlie, are you going to be operating the camera or are you the dedicated sound person for this project? So far it sounds like your plan is to get the mic and the windscreen then run it directly through the camera, handing the boom (you are using a boom aren't you?) off to whoever is available? If this is the case then you're in for a rough time during shooting and in post. An inexperienced boom operator frequently fails to get in close enough, messes up more during takes, and generally cost you more time. There's no point in giving someone $1500 worth of equipment if they don't know how to use it properly. If you're really serious about sound, take that money and hire a soundperson with their own gear. Trust me, it's a load off your mind and the result will be far superior.
 
i happy to see every one give you the same advice you get in my first post :-)
by the way if you really want something for 2 grand the new dpa is fitting the bill , my partner just got one 2 days ago but unfortunately i cant check it till the middle of next month , starting 4 weeks feature tomorrow
low budget hd f-900 in the middle of Jerusalem on working non controlled locations incl the Jerusalem market
so this is the arsenal which is going with me to cover the action
2 sankens cs-3
2 schoepsce with 2 cards /2 hypers .2 swivels /2 collets
2 sanken pzm
1 neuman 82
1 shure 88
4 lecto tx rx
4 sanken coss11 , 2 b-6 2 emw
2 uh 400 lectro
1 lectro ifb + 2 recievers
1 g-2 to send audio to video village
1 442
1 332
1 shure 33 for video village
4 boom poles
1 744 for steadicam shots and ambiance /sfx
1 chiniz no name mic to feed the camera 3/4 channels for reference ( that what you need )
as you see not even 1 mic that cost 2 grand , not even 1 sennheiser :-)
by the way iam mixing directly to the camera , the 744 is not back up of any sort
 
Thanks for all your suggestions. This is a learning process for me. Eventually I will need to hire a professional sound person for the feature film job; however, I really like to know more about sound and its basic so many of the un-important projects I can do it myself or get some of my friends to help me with the boom pole and such. But first, I need some audio basics.

Yes, I will use another person for operating the boom mic. I will also consider a light boom pole, field mixer, the wind shield assessories. However, before all that can happen, I am going to equip my self with some basic sound operational knowledge first.

Again, thanks for the advice.
 
Oleg 2 said:
that what iam talking about - you dont have a clew
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And that's why Oleg is a King!


Makes perfect sense to me.


He is saying learn sound before you try and buy sound.


Quite helpful if one cares to listen.


Remember, learning to swim through mail is hazardous business. :thumbsup:
 
When I posted there was no mention of cam mounting, etc. Plus the implication that a particular mic will solve wind issues warrants comments like Oleg made. I'm a pretty neutral guy on these matters, but the longer I do this stuff the more "direct" my answers get. If Oleg was abrasive and didn't know what he was talking about then he wouldn't be posting under a "banned twice" signature. Like him or not the forum is better off for his knowledgeable presence.

If you absolutely have to pop top dollar on a mic I also agree that the Sanken cs3e is a better choice.

But there's a reason why I point everybody to the Oktava hyper... it's about $170 and you still need all the support gear, no matter what mic you end up with... so essentially... the mic aspect of getting good sound can be as cheap as $170... or look into the "chiniz" mics that Oleg talks about.

There are other mics in the price range +/- that cost... that will also work. I've said it a thousand times... an "ok" mic used well will always beat a top end mic used poorly. Suggesting that you educate yourself on the matter may not be the answer that you're looking for... but it is the answer you need to accept.
 
I think your question has already been covered well but I want to reiterate that it really would be in your best interest to actually test the mics yourself before plunking down that kind of cash.

Who knows maybe you will like the new DPA and decide to fork out some real cash :)

Good luck
 
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