ProAudio Review - March 2008 - (Page 10)

STUDIO | REVIEW by Rob Tavaglione 30 Hz to 50 kHz, with a max SPL of 142 dB, self-noise of 13 dB (A-weighted) and a low 25-ohm impedance. This extended frequency response and low self-noise makes them suitable for high-res formats, “allowing them to record even the finest details for high sampling rate digital audio formats.” OK, let us see … | IN USE The audio world is abuzz over these MKH 8000 mics; I found lots of Internet interest from recorders of classical music, sports broadcast, and live concert “tapers,” and I eagerly jumped into testing. I didn't have access to any of the older MKH mics from Sennheiser — in which some users report problems with low-mid distortion and smearing — but I have Sennheiser MKH 8040 Microphone The 8040 emerges a recommended, standard, small-diaphragm condenser for nearly all applications. Affordable, small-diaphragm condensers are now as common as mushrooms after a rain, and many models on today's flooded market simply don't sound that great or perform that well. The Sennheiser 8040 elegantly satisfies a number of needs with its focus on sonic accuracy and a simplistic, flexible design. Like its brethren from the new MKH 8000 Series — the omnidirectional 8020 and the supercardioid 8050 — the 8040 is modular with a separate mic head and XLR module, allowing interchangeability, remote mounting and hidden placement. The 8040 has an MSRP of $1,295 with stereo kits (as reviewed here) coming in at $2,599 MSRP; this pair is available for about $2,200 street. | FEATURES Wine me, dine me, accessorize me. Yes, the MKH 8040 is part of an enticing stereo microphone kit made up of all highquality components. The 12- x 7- x 3-inch aluminum carrying case is sturdy and stylish with foam cutouts for two mics, two clips, two windscreens, and two shockmounts (and all package components are included here except the shockmounts). The clips are particularly strong and very snug, holding the little 19mm x 75mm mics so securely that you couldn't shake them out if you tried. They wouldn’t even budge if an artist tripped on the cable. The windscreens are superior to typical ones these days, with a dual-layered, two material design that is amply large, effective and durable. The complete range of accessories includes floor stands, table stands, ceiling mounts, extension tubes, shock mounts, remote cables and various mounting fixtures. In addition, all the MKH 8000 series microphones are covered in black Nextel coating that minimizes visual reflections, making the 8040 an ideal choice for oncamera TV work. The transformerless MKH 8000 series curiously uses a symmetrical push-pull transducer (the capsule's diaphragm is fitted between two acoustically transparent plates, not just a single backplate). This results in “an unchanging, acoustic impedance, extremely low distortion figures, a higher capsule output with much lower noise, thus a very clear signal,” according to Sennheiser. Frequency response is listed as a wide APPLICATIONS Studio, broadcast, field, and audio post recording KEY FEATURES Cardioid capsule; 30 Hz to 50 kHz, with a max SPL of 142 dB, self-noise of 13 dB (A-weighted) and a low 25ohm impedance; 19mm x 75mm dimensions; black Nextel coating; available microphone kit with 12- x 7x 3-inch aluminum carrying case and many accessories PRICE $1,948 and $3,897 list; mono and stereo pair, respectively CONTACT Sennheiser USA | ☎ 860-434-9190 ➲ www.sennheiserusa.com used them on location shoots and sports broadcasts. I figured that a comparable baseline would be the similar KM184 from Neumann and the C451 from AKG, both wildly popular and sonically familiar choices. Upon using the 8040s with their solid feel, diminutive size, and modularity, I immediately got the feeling they were Schoeps-like. Upon listening, such a comparison became more valid, as the 8040s were smooth, pleasant, and articulated without being harsh. In general, the 8040 was much flatter than the 451, especially in the top end (the 451 hyped while the 8040 remained accurate) but also in the bottom end (the 8040 had depth where the 451 was too lean). The KM184 proved to be a very close comparison, with similarly “hot” output levels, similar dynamic detail, and similar frequency response, although the KM184 sounds a little brighter. I recorded some clips with my True Precision 8 preamp, Apogee converters and MOTU's Digital Performer 5.12 DAW at 24-bit/96 kHz to bring out all of the 8040's detail and range. The always revealing, transient-laden test of tambourine 10 | ProAudio Review | March 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.proaudioreview.com/subscribe www.proaudioreview.com http://www.sennheiserusa.com http://www.proaudioreview.com http://www.proaudioreview.com/subscribe

Table of Contents Feed for the Digital Edition of ProAudio Review - March 2008

ProAudio Review - March 2008 Contents Publisher's Page Studio News and New Products Sennheiser MKH 8040 Microphone Digidesign Mbox 2 Micro Studio Spotlight Upsampler X/Audio Live News and New Products Touring Gear From the Road Broadcast News and New Products ION Audio Tape2PC Cassette Archiving System Brauner VMA Large-Diaphragm Microphone Audio Ltd. RMS 2040 Series Post News and New Products First Look NAB Showcase Buyers Guide Single Slice

ProAudio Review - March 2008

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