Sennheiser ME 66

Bryan Beasleigh · October 30th, 2003, 07:22 PM

So if you have a limiter in the circuit that should solve the problem.

I can't see that the mod would simply attenuate, that could be accomplished with a pad.

Dave Largent · October 30th, 2003, 09:23 PM

I have an ME64. I've heard it's not quite as hot as the ME66, but one of the things I like most about it is it's sensitivity to low volume sound. I've never used it in hi volume situations but if I needed to I might consider an attenuator. They fit on the end of the mic and are -10, -20, or -30dB -- and they also are available as adjustible. Anyone know of any small inline limiters? I just don't want to send my mic out for neutering!

Josh Bass · October 30th, 2003, 09:59 PM

Ah. . I see. . .so if I only encounter extremely loud sounds every great once in a while, but shoot dialogue where people might not always project a lot. . . I'd be shooting myself in the foot with the modification.

What about using the XL1s attenuator, as well as that located on the Beachtek DXA 4C, my XLR adapter. . .might this not remedy the situation?

Dave Largent · October 31st, 2003, 11:46 PM

Don't know about the XL1s but I'd think the Beachtek would act the same as an in-line attenuator. Main thing regarding the Canon is this: is the attenuator *before* or *after* the preamp.
Perhaps a Canon guy can chime in here.
By the way, I agree with you Josh: Slash rules! Greatest guitarist there is. I remember reading that, when Axl Rose heard
the radio version of "Sweet Child of Mine", which had been edited
down (cuz the album version is long) by taking out the middle guitar solo, he was really pissed cuz he felt it was the best part of the song. Can still remember where I was the first time I heard a Guns 'n' Roses song. Really. At the time there was nothing like them. I was there the first night of their come-back World Tour in support of *Use Your Illusions* at Alpine Valley in
Wisconsin. Worst concert I ever saw. Hardly played any of their old stuff, only the new -- and the album hadn't even been released yet so no one was familiar with any of the tunes!

Dave Largent · November 1st, 2003, 11:32 AM

Just want to reiterate for those looking around for a good mic. I know you see how everyone is talking about the ME66 as a good mic to get. I was in your position. I got the ME64 cuz my needs were for a little broader range of pick up. NO ONE SAYS THIS BUT I WILL: These mics aren't "all that". They're *functional*. They are like news-gathering mics. If you're making low-budget movies or even docs with hope for a potential wider release, to use these mics, is shooting yourself in the foot. They're real dry. And *sensitive*, which I like in a mic. If you are particular and value a good-sounding mic, I would say spend a couple/few hundred more. If I had to do it over again that's what I would do. How I know this is this: I have a Rode NT4 stereo mic which I've A/B compared side-by-side for spoken word. The ME-64 is a bit more sensitive, but the Rode *sounds* much better. Any other NT4 users out there? I've got some backstage footage that I've shot with the NT4 and you're, like, "right there"!

P.S. I welcome alternative views on this mic. Let's hear it. I'm just trying to help the newbs out -- who are looking to make an investment in their future.

Bryan Beasleigh · November 1st, 2003, 02:47 PM

I certainly agree in sharing information. There isn't enough written about the various microphones. Unfortunately it's been a hands on learning experience for me.
That said, the ME66 (and others in the K6 family) are really the first stage in the microphone food chain. They are hot enough that they can be used without a mic preamp or mixer. There are other fine mics out there like the AT 835 and 815 , but these often require preamplification to give optimum results.

This same high output comes back to bite us in the butt when it comes to loud venues. The answer then is to use a mic of less sensitivety or buy a mic preamp with limiters. With the preamp we can use any mic of any output level. We have more diversity but we've also invested more money.

I'm shopping for another mic for use in close confines, noteably indoor interview situations. Im toying with the Oktava 012 kit. When and if I buy I certainly report back. I'd also like more info on the Rode NT3.

Josh Bass · November 1st, 2003, 04:40 PM

I bought this mic a long time ago, and unless I could get back what I paid for it, and then buy another better mic, there's just no point right now in investing in something more expensive.

Dave Largent · November 1st, 2003, 08:24 PM

Bryan, I think the NT4 is just two NT3 capsules in an XY pattern. Hi SPL. Just a little less sensitive than the K6 family. Very sensitive to wind gusts -- a foam windscreen is far from adequate -- you'd need a furry. Warm.
Best performance is had by feeding them a full 48V phantom.
I've tested them at 15V and they're alright. Okay at the lower for spoken word. For musical performance/singing, more detail is captured with the higher voltage.
And I agree: not enough is discussed about characteristics of particular mics.
Are there any mics you've had bad experience with?

Jay Massengill · November 1st, 2003, 09:08 PM

I definitely agree the NT-3 is an outstanding mic as I've been very impressed with the one I recently purchased. All use has been in a studio for singing and dialog, running at 48v. I did test it with the internal 9v and it seemed fine.
It is sensitive to wind/breath and it's unfortunate that it's just so large and heavy for trying to use in the field. It's good on a static sand-bagged boom stand but I really don't think you'd be able to manually boom it for any length of time.
I recommend it for any indoor use where you want great clarity and sensitivity without harshness. It has a very smooth character.

Dave Largent · November 1st, 2003, 09:21 PM

I use my NT4 camera mounted, if you can believe.

Bryan Beasleigh · November 1st, 2003, 09:53 PM

I'm going to start a new thread on small hypercardoids`, if that's ok.

The NT4 is actually the same guts as the NT5. The NT4 on camera must be a sight to behold.

If you recall, I've been a tad piggish lately but have to resume my spending habits

I bought a 302 mixer and a marantz PMD670 recorder in September. I also bought a AKG D230 (dynamic ENG Omni) an AT 899 omni lav and an AT 851 cardoid boundary.

I haven't fully explored any of the mics yet. I'm very happy with the sound on the AKG dynamic and the AT Lav. Both have very pleasant open sound. very rich and lifelike. The Dynamic really surprised me by knocking the crap out of the ME66.

The jury is still out on the boundary. I was going to use it a a hidden mic for interviews.

October 30th, 2003, 09:59 PM	#33
Josh Bass Slash Rules! Join Date: Apr 2002 Location: Houston, Texas Posts: 5,472	Ah. . I see. . .so if I only encounter extremely loud sounds every great once in a while, but shoot dialogue where people might not always project a lot. . . I'd be shooting myself in the foot with the modification. What about using the XL1s attenuator, as well as that located on the Beachtek DXA 4C, my XLR adapter. . .might this not remedy the situation? __________________ The Bass' camerawork The Bass on IMDB

November 1st, 2003, 04:40 PM	#37
Josh Bass Slash Rules! Join Date: Apr 2002 Location: Houston, Texas Posts: 5,472	I bought this mic a long time ago, and unless I could get back what I paid for it, and then buy another better mic, there's just no point right now in investing in something more expensive. __________________ The Bass' camerawork The Bass on IMDB

October 30th, 2003, 07:22 PM	#31
Bryan Beasleigh Trustee Join Date: May 2002 Location: Barrie, Ontario, Canada Posts: 1,922	So if you have a limiter in the circuit that should solve the problem. I can't see that the mod would simply attenuate, that could be accomplished with a pad.

October 30th, 2003, 09:23 PM	#32
Dave Largent Trustee Join Date: Aug 2003 Posts: 1,483	I have an ME64. I've heard it's not quite as hot as the ME66, but one of the things I like most about it is it's sensitivity to low volume sound. I've never used it in hi volume situations but if I needed to I might consider an attenuator. They fit on the end of the mic and are -10, -20, or -30dB -- and they also are available as adjustible. Anyone know of any small inline limiters? I just don't want to send my mic out for neutering!

October 31st, 2003, 11:46 PM	#34
Dave Largent Trustee Join Date: Aug 2003 Posts: 1,483	Don't know about the XL1s but I'd think the Beachtek would act the same as an in-line attenuator. Main thing regarding the Canon is this: is the attenuator before or after the preamp. Perhaps a Canon guy can chime in here. By the way, I agree with you Josh: Slash rules! Greatest guitarist there is. I remember reading that, when Axl Rose heard the radio version of "Sweet Child of Mine", which had been edited down (cuz the album version is long) by taking out the middle guitar solo, he was really pissed cuz he felt it was the best part of the song. Can still remember where I was the first time I heard a Guns 'n' Roses song. Really. At the time there was nothing like them. I was there the first night of their come-back World Tour in support of Use Your Illusions at Alpine Valley in Wisconsin. Worst concert I ever saw. Hardly played any of their old stuff, only the new -- and the album hadn't even been released yet so no one was familiar with any of the tunes!

November 1st, 2003, 11:32 AM	#35
Dave Largent Trustee Join Date: Aug 2003 Posts: 1,483	Just want to reiterate for those looking around for a good mic. I know you see how everyone is talking about the ME66 as a good mic to get. I was in your position. I got the ME64 cuz my needs were for a little broader range of pick up. NO ONE SAYS THIS BUT I WILL: These mics aren't "all that". They're functional. They are like news-gathering mics. If you're making low-budget movies or even docs with hope for a potential wider release, to use these mics, is shooting yourself in the foot. They're real dry. And sensitive, which I like in a mic. If you are particular and value a good-sounding mic, I would say spend a couple/few hundred more. If I had to do it over again that's what I would do. How I know this is this: I have a Rode NT4 stereo mic which I've A/B compared side-by-side for spoken word. The ME-64 is a bit more sensitive, but the Rode sounds much better. Any other NT4 users out there? I've got some backstage footage that I've shot with the NT4 and you're, like, "right there"! P.S. I welcome alternative views on this mic. Let's hear it. I'm just trying to help the newbs out -- who are looking to make an investment in their future.

November 1st, 2003, 02:47 PM	#36
Bryan Beasleigh Trustee Join Date: May 2002 Location: Barrie, Ontario, Canada Posts: 1,922	I certainly agree in sharing information. There isn't enough written about the various microphones. Unfortunately it's been a hands on learning experience for me. That said, the ME66 (and others in the K6 family) are really the first stage in the microphone food chain. They are hot enough that they can be used without a mic preamp or mixer. There are other fine mics out there like the AT 835 and 815 , but these often require preamplification to give optimum results. This same high output comes back to bite us in the butt when it comes to loud venues. The answer then is to use a mic of less sensitivety or buy a mic preamp with limiters. With the preamp we can use any mic of any output level. We have more diversity but we've also invested more money. I'm shopping for another mic for use in close confines, noteably indoor interview situations. Im toying with the Oktava 012 kit. When and if I buy I certainly report back. I'd also like more info on the Rode NT3.

November 1st, 2003, 08:24 PM	#38
Dave Largent Trustee Join Date: Aug 2003 Posts: 1,483	Bryan, I think the NT4 is just two NT3 capsules in an XY pattern. Hi SPL. Just a little less sensitive than the K6 family. Very sensitive to wind gusts -- a foam windscreen is far from adequate -- you'd need a furry. Warm. Best performance is had by feeding them a full 48V phantom. I've tested them at 15V and they're alright. Okay at the lower for spoken word. For musical performance/singing, more detail is captured with the higher voltage. And I agree: not enough is discussed about characteristics of particular mics. Are there any mics you've had bad experience with?

November 1st, 2003, 09:08 PM	#39
Jay Massengill Trustee Join Date: Jul 2003 Location: Burlington Posts: 1,976	I definitely agree the NT-3 is an outstanding mic as I've been very impressed with the one I recently purchased. All use has been in a studio for singing and dialog, running at 48v. I did test it with the internal 9v and it seemed fine. It is sensitive to wind/breath and it's unfortunate that it's just so large and heavy for trying to use in the field. It's good on a static sand-bagged boom stand but I really don't think you'd be able to manually boom it for any length of time. I recommend it for any indoor use where you want great clarity and sensitivity without harshness. It has a very smooth character.

November 1st, 2003, 09:21 PM	#40
Dave Largent Trustee Join Date: Aug 2003 Posts: 1,483	I use my NT4 camera mounted, if you can believe.

November 1st, 2003, 09:53 PM	#41
Bryan Beasleigh Trustee Join Date: May 2002 Location: Barrie, Ontario, Canada Posts: 1,922	I'm going to start a new thread on small hypercardoids`, if that's ok. The NT4 is actually the same guts as the NT5. The NT4 on camera must be a sight to behold. If you recall, I've been a tad piggish lately but have to resume my spending habits I bought a 302 mixer and a marantz PMD670 recorder in September. I also bought a AKG D230 (dynamic ENG Omni) an AT 899 omni lav and an AT 851 cardoid boundary. I haven't fully explored any of the mics yet. I'm very happy with the sound on the AKG dynamic and the AT Lav. Both have very pleasant open sound. very rich and lifelike. The Dynamic really surprised me by knocking the crap out of the ME66. The jury is still out on the boundary. I was going to use it a a hidden mic for interviews.