I need to get one of these Sennheiser mics but don't know which one to get. I already have the receivers.

They are:

SKM 100-835 G3
Hand-held transmitter, dynamic cardioid mirophone capsule


SKM 100-845 G3
Hand-held transmitter, with super-cardioid dynamic capsule


SKM 100-865 G3
Hand-held transmitter with super-cardioid condenser capsule


Cardoid, dynamic, condensor...... have no idea what they mean so am at a loss as to which one I should get.

I need a mic for mainly outdoor interviewing.

Any suggestion for the best one?

Thanks

I would personally get an Electro-Voice RE50 and the SKP 100 G3. The RE50 is thr workhorse of interview mics. If you've ever seen an on-the-street interview on the news, they are probably using an RE50. Another benefit is that you can unplug the SKP 100 and use it wired, too.

I need to get one of these Sennheiser mics but don't know which one to get. I already have the receivers.

They are:

SKM 100-835 G3
Hand-held transmitter, dynamic cardioid mirophone capsule


SKM 100-845 G3
Hand-held transmitter, with super-cardioid dynamic capsule


SKM 100-865 G3
Hand-held transmitter with super-cardioid condenser capsule


Cardoid, dynamic, condensor...... have no idea what they mean so am at a loss as to which one I should get.

I need a mic for mainly outdoor interviewing.

Any suggestion for the best one?

Thanks

The above mics are designed more for performance vocals. (singing)
For a reporter's type interview mic, I concur with Edward. And as Edward also stated, you would need the butt-plug type transmitter.
For the usual G series H/H transmitters, I don't know which omni heads are available.

Those 3 mic capsules are the standard handhelds, and even though they are G3 versions, the actual mic capsules are from the 835/845/865 cabled mics. An awful lot of people love the sound of these for live events - the 835 is quite warm sounding, compared to a Shure SM58, the usual competitor for this role - however, the 845, with narrower response pattern is great when you need a little more gain before feedback, although it does from time to time cause a few feedback issues with over-loud floor monitors - close in, the sound is still warm, but has a little more 'edge' that the 835. The condenser head, the 865 is much crisper, and has lots more top end (although I'd have to admit my own hearing isn't so good at the very top any longer - BUT I can still hear a big difference.

These mics are all designed for close in work - as in the mesh almost on the lips - so as an interview mic, used further away, their sound is going to be thinner. I do use them for video whenever the event will be loud and the presenter needs to have them really close in to reduce the ambient sound - interviews in nightclubs, or at concerts - that kind of thing. They are also very heavy mics, and you don't want the presenter waving them around close to people's mouths - it's really easy to whack the interviewee in the mouth - I've seen it happen lots of times. A thump from one of these is a bruised lip! The plug-in transmitter mentioned is a good choice as you can plug in your favourite mic, although I usually use mine on the end of a short cable, as the combination of mic and transmitter can again be quite a large ugly lump.

Your best option for interviewing is to get the SKP 100 G3 plug-on transmitter and use it with either an MD 42 (omni) or MD 46 (cardioid) reporter mic.

I saw John Simpson on the BBC using exactly that combination recently.

But, if you have to choose between the 3 I will go for the 835 since that's the less cardioid of the 3.

But, if you have to choose between the 3 I will go for the 835 since that's the less cardioid of the 3.

Er - actually the 835 is the *only* cardioid of the three.

The others are not cardioid at all, but super-cardioid.

But I agree with the 835 choice if you *have* to go that route.

The SKP + MD42/46 is the much better option.

The plug-in transmitter mentioned is a good choice as you can plug in your favourite mic, although I usually use mine on the end of a short cable, as the combination of mic and transmitter can again be quite a large ugly lump.

Ditto - I've used my Senny e835 (the cabled mic version) with a 1 Meter cable to plug it into my SKP500 transmitter which the interviewer can have on his/her belt and so lessen the weight and this has worked really well for me, even in pretty noisy environments.

I had n't thought about an unskilled interviewer wacking someone in the mouth with one of these heavy mics - but now you've mentioned it I can see it's probably only a matter of time/I've been lucky so far! I'll make sure I point out the risk to any interviewers next time it gets taken out of the bag to get used. I've also tried the SKP500 directly attached to the bottom of this mic but it's way to heavy and too big a combination for comfortable use for my liking.

I had n't thought about an unskilled interviewer wacking someone in the mouth with one of these heavy mics - but now you've mentioned it I can see it's probably only a matter of time/I've been lucky so far!

This is just bad mic. technique.

The interviewer should *not* wave the mic. about at all - firstly it is aggressive an off-putting to the interviewee and, secondly, the interviewee is more nervous and aware of the recording.

The correct way is to hold the microphone (ideally omni or cardioid) vertically and stationary between the interviewer and interviewee with your hand about waist height if you have a normal reporter mic.. Adjust for level be moving it towards or away from the interviewee (IE: closer to him/her if he/she is quietly spoken, or towards you if he/she is noisier).

Keep the microphone still and not moving throughout the interview.

The interviewee quickly forgets the mic. and you get a more natural interview, also, if you are videoing, the viewer is not aware of a microphone waving about and will listen to the interview rather than being put-off by the mic. waving around.

This is just good practice - unfortunately modern broadcasters do not do proper training anymore and you can see it (and hear it) in much of the stuff that gets put out nowadays.

The 835 for your purpose.

The 835 for your purpose.

Yes, of the three proposed - but the SKP 100 with MD 42 or MD 46 is by far the better option for interviewing.

I need to get one of these Sennheiser mics but don't know which one to get. I already have the receivers.

The Senny MD46 is THE US broadcast stations interview mic standard (and when I go to Cannes, it is also the overwhelming choice of most foreign broadcasters as well). I have yet to shoot interviews for a US broadcaster that did not use it. Mate it to the cube of your choice, and it's hardwire capable as well.

It was designed especially for NBC's Olympic Games coverage. It has no handling noise, and amazing off-axis rejection. I once heard the top sound guy at CNN say that the only interview mic better then the MD46, was two MD46's (one as a backup). I have never had a MD46 fail, even when they have been dropped several times. it's just a great mic.

Moving the mic... It depends on what type of interviews I guess. I shoot a lot of entertainment sector interviews, and there is a certain flow to an interview that the talent understands, Mic to the interviewer, question. Mic to the talent, waiting for an answer. I think the trick is in the wrist. You don't so much as swing the mic, you just cant it back and forth.

I would guess that I have done something like 5 or 6 thousand interviews by now (last year we did 542 interviews in just five days at Comic-Con for NBCU & EW), and I have never seen the talent hit by the interview mic. BUT I have seen talent hit by a shotgun mic on a boom pole a couple of different times, ouch!

The Senny MD46 is THE US broadcast stations interview mic standard (and when I go to Cannes, it is also the overwhelming choice of most foreign broadcasters as well). I have yet to shoot interviews for a US broadcaster that did not use it. Mate it to the cube of your choice, and it's hardwire capable as well.

It *could* also be the MD 42, especially in Europe as the MD 46 and MD 42 look identical as they share the same body.

The BBC in the UK prefer the omni pattern over the cardioid.

But both the 46 and 42 are excellent interview mics.

Thanks everyone for your help and advice.

I've gone for a RE50 and the Sennheiser SKP100 wireless sender in the end.

I was going to get the MD42 but it's too long, although I may get one later.

Thanks again everyone.

It *could* also be the MD 42, especially in Europe as the MD 46 and MD 42 look identical as they share the same body.

The BBC in the UK prefer the omni pattern over the cardioid.

But both the 46 and 42 are excellent interview mics.

Yes John, you are correct.

I have used the MD42 as well. It actually does better than the 46 with one on one interviews with not a lot of ambient noise around, but given a situation that has 1000 fans screaming "Megan Fox! Megan Fox! Megan Fox! right behind you, the MD46 really excels.

The extra length of either mic is an important interview feature. Senny made it that way after looking at many, many on-camera interviews.

Either mic also balances very well, and the shafts are the standard mic flag diameter.

The extra length of either mic is an important interview feature. Senny made it that way after looking at many, many on-camera interviews.


Agreed, I really like the length.

I was going to get the MD42 but it's too long, although I may get one later.


The extra length is essential in an interview mic. and you will find that interview mics. by all manufacturers have this extra long shaft (eg: the EV and Beyer).

The extra length is essential in an interview mic. and you will find that interview mics. by all manufacturers have this extra long shaft (eg: the EV and Beyer).

Probably a dumb question, but why is the extra length essential?



Got the RE50 and the Sennheiser add on yesterday. Haven't had a chance to test it yet, but here's a pic.

Typically, when encountering a 'media circus' or 'gang bang', a reporter may be standing behind other reporters, The extra reach can get the mic closer to the source.

Typically, when encountering a 'media circus' or 'gang bang', a reporter may be standing behind other reporters, The extra reach can get the mic closer to the source.

Ahhh... makes sense now. Thanks Rick.

Probably a dumb question, but why is the extra length essential?


It makes the microphone comfortable to hold.

Holding the mic. with your arm horizontal brings the capsule to the best height for interviewing. It's more comfortable with less arm strain.

I agree with John about the MD46. I use this as my go-to mic at the many trade shows I shoot for various expo management companies. There's always a lot of racket on a trade show floor and the "46" with a butt plug is wonderful for freedom of movement and isolation of less-than-desirable sound. Even with the mic flag on the handle, there's plenty of room for even a large hand. The EV that you bought is a good mic, though, and should serve you well.

~TW

Thought I'd update on what's happened so far.

As I've posted up already, I got the RE50. I also got the MD42 soon after as I now have two presenters.

Both microphones have the Sennheiser SKP 100 wireless sender attached to them. Unfortunatly, whilst it screws onto the MD42 securely, it doesn't on the RE50. A couple of times it fell off. The shape of the RE50 bottom won't allow a good connection.

I now have to get another MD42 mic. The RE50 will be relegated to wired duty only now.

Here's a picture of my kit so far. I also have an NGT2 which will be replaced by an NGT3 soon.

Thanks again for all the advice.

Rather annoyingly, I'm just off to the dentist, having chipped my front tooth by smacking MYSELF in the mouth with a Sennheiser! Serves me right - I had 3 in one hand, testing them all, and wasn't paying attention. I wonder if I should do an advert? "I was testing 3 microphones, and was not paying attention. I got precisely nothing from haveihadanaccident-tough.com".

I've noticed that once the ring is partially tightened on the SKP 100, you have to push it into the mic to ensure that the locking tab has caught. Once it has, then you can tighten the ring the rest of the way. If you look at how it works, the ring actually exposes the locking tab, since there's not exterior button like on regular XLR female connectors. I have a mic (Electro-Voice, actually) that I have to do this to so the transmitter stays on.