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This is an industry standard microphone that is used in studios and on-stage applications worldwide for capturing clear and clean sounds. Primarily an instrument mic, but can be used in a variet of applications. The mic features a low roll off switch at the base of the mic, that can be rotated to reduce low end transient frequencies. The Sennheiser MD421 has a great deal of clarity for capturing high end frequencies such as horn sections and drums where high volume SPL (Sound Pressure levels) are produced. This mic can handle the extreme high volume application without distortions. This is not a condenser mic and meant to be up close to the sound source. For best use a moderate amount of gain is required to get that deep rich sound to reproduce the tonal qualities of a Sax, Trumpet, etc, as well as most percussion instruments. This mic has a plastic hard shell housing and a metal grill that are both tough, but can be damaged, although the mic can take some abuse of being dropped and still survive. The only caution that the user should be aware of, is the mounting clip that is both fragile of breaking if handled roughly and the tendency to separate from the mic if accidentally activated. This unwanted separation can be prevented by inserting a tip of a zip tie (cut-off) or small piece of wire under the release button to prevent any unwanted depression of the button.Vollständige Rezension lesen
There is disagreement in the guitar community as to whether or not this is a great recording mic. I bought mine to record Jazz. I couldn't be happier. The sound is rich, warm, and sweet. Is it worth the extra money when a SM-57 is a third the price? I say yes if you can. If not, the SM-57 will get the job done, but doesn't have the fat lows and rich mids you are looking for in a Jazz mic. With the low end roll off switch, you can dial this baby in for any use...It records accurately at high sound pressure levels, so I would trust it for recording classic rock, country, or blues as well. I think it's a wonderful mic for guitar cabs, and have had no issues with the unusual clip used for attaching to a mic stand. I would only say be careful with it and it should last for many years. It's plastic, so if you are clumsy or bad at taking care of your equipment you may end up replacing it. I kind of like it, though many don't. Even so, this is a professional mic with many uses...like the SM-57 but more deluxe. I'm very happy with it and think you will be too. For reference purposes, I use it to record an early Fender D'Aquisto Elite played through a Tone King Imperial upgraded with a Tone Tubby Ceramic speaker. The sound is classic Jazz from the 50's and 60's, only better...sweeter and more consistent from room to room than the old Fender amps. This mic captures it very well.Vollständige Rezension lesen
I've been doing radio broadcasting since I was 15 years old in 1978. Now 39 years later, I am 54 and have worked with virtually every studio microphone configuration you can imagine. While most are good, some stand out as better, and a few rise above the rest. Throughout the spectrum of microphones, from the old standard Electrovoice RE20 to the Shure SM7, the one microphone that was the top choice of the top stations was always the Sennheiser MD421u and it's present-day descendant the MD421II. The Sennheiser MD421-II is a microphone that truly was made for the broadcast studio. It has an enormously ballsy low end, which you can control with the multi-position bass roll-off switch. It also has great brilliance on the high end, which has improved over the older models as technology has improved. This microphone is very friendly from a distance of 2 inches all the way out to 12-18 inches. Proximity only enriches the sound, and when you learn how to ride this microphone, you will have trouble believing how your vocal instrument is received by this microphone. Legendary low-end, and superb performance throughout the audio spectrum. These studio microphones are a superb value when compared to the much more expensive EV RE27 N/D and the Neumann family of Condensor microphones. True, the Neumann condenser microphones are superior in performance. But for the value, nothing beats the MD421-II. In fact, when I switched from the Neumann TLM 103 to the Sennheiser MD421, my listeners could not tell any difference. And for the money, you can own two Sennheisers and still have money left for shock mounts and wind screens for what you would pay for one Neumann. The Sennheiser is also a dynamic microphone, which means you don't need phantom power, and while I highly recommend a microphone processor, you do not have to have one to use this microphone, and against other dynamics, this will almost certainly outperform any prosumer-grade microphone you may already have. The MD421-II should cost you no more than about $375 brand new. The shock mount should run about $50, and the custom wind screen come sun around $35. What you get for your money is a warm, top-notch studio microphone that will always deliver the quality whether you are using it for vocals or for instruments(the MD421 is also a favorite among drummers). And if you have a multi-studio facility, this microphone is the ultimate in terms of user-friendliness and consistency. I own two myself, and will never be without one as long as I am still in the business.Vollständige Rezension lesen
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I would consider this mic to be my all time favorite mic for tom toms. Also features a 4 position filter switch that for drums I leave in the M (music) position. It also sounds great on the snare drum. For kick drum it has a nice lower mid punch and has a very clean and quick response, without mud and being flappy sounding. With a little eq on the low frequencies this mic can get the desired in your face bass drum sound. When searching out this microphone I look for the older ones. If you are a drummer or are recording drums this mic should be in your collection.
I received the sennheiser and immediately plugged it in to test it. I noticed a slight crackle when turning the EQ switch, five positions to control bass roll off. And the screen was bent in several places. Finding instructions on the internet, I found how to disassemble it. I took it all apart, bent the screen back out, and reassembled it. Upon testing it after reassembly, the crackle was gone, completely. It sounded better over all. I not only fixed the crackle, I renewed all the internal connections. I am now very happy with my new microphone.
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