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In fact, in 90% of the documentary work I do, a shotgun is the best mic for isolating a person speaking (impromptu) when surrounded by other ambient noise; an office, a factory, a server room, workshop etc, regardless of whether it's interior or exterior.
That said, you ought to be able to get the headphone output from the mixer to work, as long as it's actually monitoring the right thing. I would be leery of doing this mostly because it's too easy to accidentally mess up what the mixer is sending to the headphone output. It is designed for the operator to be able to monitor the audio at various stages along the pipeline, anything from an individual input pre-fader to the output mix. It's also easy for the operator to accidentally change the level. The 416 is THE short shotgun that all others have been and will be compared to, my untrained ear can't tell the difference between this mic and the NTG 3.
Frequency pattern of MKE 600 is nothing short of epic and I love that curve above any other shotgun. It is reasonably flat and while peaking in the upper range with a slight 2-3 dB boost it gives just about enough presence not to sound “dull”. However, unlike with harsher AT897 this transition is very smooth, natural and unobtrusive. The lower end initially rolls off at 100 Hz, while the “low cut” switch sets it at 200 Hz. With this move, Sennheiser outsmarts both AT897 and NTG-2 whose “low cut” switches are set at 100 Hz and can’t roll off any further. The thing is, anything below 100 Hz is hardly usable anyway as it’s mostly mud and noise, but, it doesn’t stop there and sometimes you may want to cut it further. Sennheiser MKE 600 gives you that opportunity. 200 Hz is the range that often contributes to some annoying boominess, also amplifying wind and machinery noise – so this can be a great fix especially for run and gun /ENG situations. Better is to use a balanced to unbalanced converter. These are available as passive boxes that don't require any power. All they are is usually just a high quality 1:1 transformer properly wired. Often they can be used in both directions. Personally I like the Radial StageBug SB-6 which can do this but there are many different brands that have similar devices." The balanced XLR inputs have an impedance of 100K ohm. .. The IHF unbalanced -10 dBV rca line outputs have a 150 ohm impedance."
I would have to agree with Howard - the NTG-2 is probably the vest value proposition. I can be used in a variety of situations, is built well and is terrifically affordable for what it is. I know people that have been using one for nearly ten years without a problem. The mic is very quiet with no discernible onboard noise. It rejects noise from the side and rear very well.
The mic is a bit more on the neutral side and will not give you that harsh, deep voice everyone craves. It's great for recording soft sounds like speech but if your goal were something really high pitched then this wouldn't be best suited to capture it because of its 15 dB-A weighted rating which makes low volume noises very difficult indeed.
La batterie rechargeable du ntg4+ peut sembler un atout pour les tournage, mais je suis encore méfiant sur ce qui est des batteries rechargeables (sur les micros), sachant que a forcer de les charger-décharger cela peux vraiment diminuer la durée de vie de celle-ci. Comme je n'enregistrer que sur un enregistreur externe avec une alimentation Phantom, pas besoin de batterie intégré. In this week’s episode, we have a look at and a listen to the Sennheiser MKE 600 shotgun microphone. This medium sized shotgun mic — in Sennheiser’s words, a ‘microphone for video journalists’ — is highly directional and can be used both as a traditional shotgun mic or as a camera-top vlog microphone. The included XLR to 3.5 mm TRS cable also allows you to record from this mic directly into cameras with a 3.5mm mic input. In this video we walk through the MKE 600’s feature set and test it out in multiple environments and applications. Let’s take a closer look! The Sennheiser IE800 is a step up from AT897 in so many ways. For one, its lower end roll off point at 100 Hz has been outsmarted by the clever design of this headset. This means you can hear sounds better without having any harshness or distortion on top-end frequencies like what's found with other manufacturers' lower audio cutoffs (200Hz). The "low cut" switch sets everything to 200Hz which will make sure your favourite bass lines still come through nicely while also staying safe around potential safety hazards such as machinery operation nearby where sound travels easily.
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I like the Sennheiser MKE 200 audio characteristics and hardware. Granted, it’s bulkier than other shotgun mics and sits on the higher end of the price range, but it certainly looks professional, stable, and capable. The built-in wind protection inside the capsule design means it’s more forgiving when used without the furry windshield, which I tend to do all the time so that also comes in handy. More testing and recordings are needed before I finalize my thoughts on the MKE 600 and 200, but my early impressions of the two are positive. The MKE 600 has a professional swag with a few important features for modern-day creators and videographers, while its versatility to switch between shooting environments and the way it handles itself is very attractive. Noise is kept to a minimum which offers wiggle room for post-processing.
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