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SENNHEISER MK 4

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SENNHEISER MK 4

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Sennheiser Mk 4 ReviewIt’s fair to say that no one can accuse Sennheiser of making products with gimmicks or unnecessary frills – everything we’ve seen, tested and subsequently bought has always taken a workhorse approach, and it’s always endured, too.It’s a commitment to detail and sturdiness that I was looking forward to testing out in the studio upon hearing the news that the company was to release a new condenser mic, the Mk 4. I suspect others will be excited to hear of the news too, not least because Sennheiser just so happens to own Neumann. While obviously the high-priced legendary models of the latter company won’t have been exactly copied for use in a more affordable format here (in fact this mic has been created as an affordable answer to Senny’s own more expensive affair, the e965), it’s at least fair to reason that the parent has picked up more than a few tricks from its kid when it comes to putting together a formidable microphone.Sennheiser do at least admit that “made in Germany, the transducer is manufactured in the same clean room as all high-end Sennheiser and Neumann condenser capsules, “ so, because I’m perhaps a little overexcited, instead of even thinking about the specifications I’m going to go ahead and fire it up straight away, working my way through a few vocal takes and then some acoustic instruments.The first thing to say is that right from the off, this mic doesn’t have much of a quirky character, and the second thing to say is that that’s good news. I think that when you’re forking out £1,000 plus for tube circuitry then that’s one thing – we all like to think that we could put the nuances and pleasant anomalies of valve sound to good use in our studio at some point – but when you’re at a more intermediate stage of studio operation, what you actually need is a mic that does what it’s told and records faithfully, letting your preamps and plug-ins colour in the sound later on. Fortunately, that’s exactly what happens here.I have a very bassy voice, and my girlfriend is a powerful soprano, so testing ranges wasn’t much of an issue, but whether giving up a depth of detail from my rumblings or achieving a steady consistency when she got shrill, the spectrum of frequencies was handled amicably by the Mk 4.It’s a quiet microphone, too, which meant that we could afford to turn things up a little when we moved onto acoustic instruments. An acoustic guitar and violin were tested, and although close micing rendered the best results, we were still able to stand back a little to let the sound breathe and could pick up the full tonal range without bringing in much in the way of noise to the recording.It’s a near-as-damn-it transparent reproduction; perhaps there’s a little shine in the mids, but otherwise it’s a good case of what you hear is what you get. For that reason, I’d be happy to use this micing for live recordings and ambient room recording too – it’s the sort of sound that’s raw and real without being ragged, and it provides enough detail at a consistent level that this will be a particular winner for the singer songwriter looking to get the best out of acoustic recordings while maintaining a modern consistency.Just to let the techies relax a little, it’s a 1” capsule paired with a 24-carat gold-plated diaphragm, with a 20Hz-20kHz response, a dynamic range of 130dB and a max SPL of 140dB(!) – as we found with the testing, you can indeed give it a fair bit of welly without coming a cropper, and you’re treated to an even response whether high or low. It’s sturdily built too, which as I say is something you expect from Sennheiser but nice to see again all the same.For the money, this is great. It’s a good all-rounder that will give you accuracy whether you’re tracking high or low, loud or soft, and it backs that up with a beautifully quiet operation. If you’re getting started in production and want to jump in at an already-impressive level of quality, this mic, which comes with a particularly decent pop shield thrown into the bargain, is hard not to like. It sounds ridiculous to say it, but forget Neumann until you have the cash to think otherwise, and realise that maybe these days, the parent already knows as much as the kid when it comes to mic design. 
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