Tom Thorley wrote:
> > I suspected they used the MKH-416 for the mid capsule as the specs wer=
e
>> nearly the same.
>
>Down the grapevine (The film school (NFTS U.K.) I went to a couple
>of years ago
>was sponsored by Sennheiser) this mic is supposed to be a documentary M/S
>version of the 416 so uses the same capsule.=20
>
>> It would be interesting to know what the price is. Maybe it's intended
>> to be a inexpensive MKH.
>
>The price is going to be more favourable than a 30/60 combination
>
>> Since they have the MKH-30 and MKH-60, I would have thought a combo of
>> those two would be better.
>
>I agree...
>
Tom--
Good tip. I too wish Sennheiser had introduced the better capsule
combo in a single enclosure first with some savings over a 30/60
combo. Guess its okay to lessen sound reproduction in the presence of
pictures and, of course, low noise is less important for video--> DVD
surround audio.
It's boring, but marketing advisors still feel its important to keep
the line between image and sound production defined and to maintain
two markets even when the result prohibits the product's use.* I see
these artificial pricing/performance tiers keeping professional film
and video makers from understanding what can be gained from using
great mics. Its bad policy for all the defined niches isn't it?
Maybe Sennhesier will get word when producers realize little or no
performance improvement after spending ~$1200. Wish they'd see
there's an increasing need for ultra low noise, sensibly
field-packaged, less-expensive stereo/surround mics, for lots of
applications.
pie in the sky,
Rob Danielson
*It's become comical. Ever used a video editing program that would
allow one to temporally dedicate less CPU power to video features
like real time dissolves so one could use the CPU to do decent,
realtime equalizing on the same timeline? Yet, all the popular video
editing programs are quite happy to do the reverse,..
--
Rob Danielson
Film Department
University of Wisconsin-Milwaukee
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