Sennheiser MD441-U Dynamic Supercardioid Microphone
Sennheiser MD441-U Dynamic Supercardioid Microphone, a condensor like sound...from a dynamic!
Sennheiser MD441-U Dynamic Supercardioid Microphone Details
The Sennheiser MD441-U Dynamic Supercardioid Microphone is a microphone of exceptional quality: its acoustic properties come as close as possible to those of a condenser microphone. Accurate signal response and low distortion are ensured, even with the highest sound pressure levels. Surface: all metal body with black leatherette finish, sound inlet basket: nickel plated.
Sennheiser MD441-U Dynamic Supercardioid Microphone Features
- Exceptionally good feedback rejection
- Excellent sound quality
- Hum compensating coil
- Spring capsule mounting provides low sensitivity to handling noise
- Brilliance (treble boost) switch
- Five position bass roll-off switch
- Integral pop filter
- 1 MD 441 U
- 1 MZA 441 Clamp
What We Think - Sennheiser MD441-U Review
"The Sennheiser MD441-U Dynamic Supercardioid Microphone is a time-tested and proven performer in the studio and on stages of performers such as Frank Zappa circa 1974. The MD 441 is a studio staple for live in the studio vocals (Tom Petty and Stevie Nicks used the MD 441 quite frequently in the studio) and snare drum mic-ing - it's supercardioid pattern offers excellent rejection of extraneous kit sounds and really focuses in on the snares themselves. This really is a microphone that no serious studio should be without."
Front End Audio
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AKG 414's are my studio standard piano mic. Last week I was recording live in a church for the first time, a piano jazz trio. The bleeding between mic's was horrible. In a panic, I looked at the mic's I had with me and started to evaluate which mic I could use to isolate the instruments a little better.
The furtherest thought from my mind was to use a dynamic mic on a piano. Since I was in a state of anxiety I decided to pull out the 441 because of their super-cardioid pattern. I sat them up in ORTF inside the piano about center pointing one mic toward the treble hammers and the other pointing toward the middle of the bass strings. I had the trio perform a sound/level check.
WOW-!! Gated attenuation from bleeding using the S-C pattern was about 95%. I could not believe the sound of these mic's clarity and ability to capture so much of the Grand Piano tambour without sacrifice. The 441's cut through the mix and with almost nonexistent reverb from the church walls.