This article was born a long time ago, when I started to do voice imaging on-site for the Global Television Network here in Canada circa 2006 – my first encounter with the Sennheiser 416 MKH-P48.
At the time, the Global studios were located on Barber Greene in North York, Toronto. Shortly after I started working there, Post Audio was re-located to the News Room area from the ground floor of the building, just down the hall from where ET Canada was shot, along with all the makeup and wardrobe rooms.
The new booth in post audio was a cube and thus, the need for technical manipulation in the form of the super-cardiod pattern proffered by the Sennheiser 416 MKH-P48. This decision – I think – was wholly based on the opinion of a single audio engineer.
I won’t mince words; I hated that mic from the moment I first spoke into it. Having worked in some of the finest VO studios in Toronto, I know transparency when I hear it and that mic didn’t even come close to accurately capturing my true voice.
In fact, it sounded – to me – like I was speaking into a tin can……WTF?
At the risk of appearing to be a prima-donna over the whole thing, I reserved further comment in lieu of cogent research.
Long story short, some audio engineer in L.A. decided to use the Sennheiser 416 MKH-P48 because it made the job of recording voice talent easier! Everybody sounded the same sonically speaking; less work, more money.
Next thing you know, recording studios all over the world are adopting the Sennheiser 416 MKH-P48 for voiceover – not because of its transparency and/or quality – but because it solved a lot of problems for audio engineers.
Subsequently, this idiocy went viral and today, we have a plethora of voice talent using the mic, ignorant of the fact that it was originally designed for problematic on-location audio recording, like isolating the voice of a weather reporter in a hurricane – that sort of thing.
A great microphone for that singular purpose? Yes. In fact, spectacular.
For voiceover in a studio environment? No. There’s no need nor purpose for it there……unless there happens to be a very lazy, complacent and ignorant audio engineer at the controls.
Ouch. Yeah, I’m talkin’ smack. Bite me. The Sennheiser 416 MKH-P48 is for engineers who can’t figure out how to use a proper large diaphragm condenser microphone; whiners who dissect the sonics of a recording space with sublime ignorance of the final product “regular” humans will be hearing.
The Sennheiser 416 MKH-P48 – by way of it’s design and super-cardioid recording pattern – both removes frequencies and adds compression to the “natural” sound of the human voice.
Go ahead, speak into a thin tin-can. It’s kinda the same sound. Oh, you may “think” your voice sounds good, but A/B that mic with a large diaphragm condenser? Yeah, you’ll think twice about spending $1500.00 on the Sennheiser 416 MKH-P48.
Fundamentally, that’s the problem. Most voice talent purchase a mic based on what they’re “told” not what they’ve “heard” with their own ears.
Choosing the right mic for your voice isn’t very complicated, but it does take some effort. These days, immediate gratification rules the day, so that’s why we have all these people using the wrong equipment for the task at hand.
To select the right mic for your voice, you use an “A/B” configuration where two different mics are placed vertically end-to-end (one capsule above, one below) and then you speak into the middle of the two mics at full voice, controlling performance/proximity dynamics. Recording is done for each mic on a separate track. Then, the next pair and the next pair and so on….it takes about 20-30 minutes or so, depending on how many mics you’re going to test.
It’s usually best to do this in your studio environment, but out-sourcing an hour to a local studio with a good space is normally the better option. They normally will have a variety of mics in addition to the ones you bring to the session.
Then, you listen back to each mic, noting whether or not the microphone sonically “colors” the voice. You listen for transparency IE: The most accurate reproduction of the voice.
It should be noted that you can’t do this same test with the Sennheiser 416 MKH-P48, because of its design (the first clue it’s the wrong mic).
Once you’ve narrowed down a “brand” of mic that you like, you can take the testing even further by trying out a range of microphones offered by that manufacturer.
A “personal” choice for the right vocal mic takes time and some effort – not simply what someone told you to use or the mic that was on sale at the music store.
The aforementioned method to choose a vocal mic is always limited to large diaphragm condenser microphones. Trust me, when you compare a regular condenser mic to the Sennheiser 416 MKH-P48? Yeah, the 416 will be the first mic you’ll take off the list; it won’t make the cut.
Ask any vocalist, musician or audio engineer who records vocals professionally – none will use the Sennheiser 416 MKH-P48. It’s only used in advertising circles by those that fell for the fad or talent who foolishly listened to the voice coach or lazy audio engineer who insisted it’s the right mic.
Note: The Neumann TLM 103 and U87, Microtech Geffel (the East German version of Neumann) and other high-end microphones are far too sensitive and unforgiving for a home-based studio as they are designed for “pristine” recording environments. I have seen people reduced to tears trying to make expensive mics work in a home studio environment.
AKG, Audio Technica, Rode, Blue, CAD, Shure, Marshall….all affordable and worthy choices for selecting the most “transparent” microphone for vocals. The list is endless, really. Again, what sounds good on “your” voice? That’s the goal.
Fundamentally, to get a great sound, drop a few hundred on a condenser mic that flatters your voice sonically speaking (the test above)……and then, piles of money ($2,000+) on the best mic pre-amp you can afford. Focusrite, DBX, Avalon……etc.
Behind every great condenser mic, is an even greater mic pre-amp. Words to live by.
I found Neumann products too sensitive and harsh in the mids for my voice. I use a Rode K2 (tube) variable pattern condenser, about $1200. Behind that….a Focusrite ISA 430 MKII Producer Pack, with good power conditioning in the signal chain. The Rode K2 flatters what little timbre I can bring vocally to performances and the tube brings a touch of warmth and personality to the conversational and natural style of read where I make most of the money.
Ultimately, I made a personal choice for a mic. As it should be for everyone doing voiceover half-assed seriously.
The Sennheiser 416 MKH-P48? C’mon…..that’s not a personal choice….it’s a lazy one. Did you listen to anything else? At all? Be honest with yourself.
Problem with your space? Fix it. Don’t be lazy. You’ll be doing both your voice and “product” a favor.
Hope this helps.