Sennheiser MKH 418-S - Manuel utilisateur

USING THE SENNHEISER MKH 418S

STEREO MICROPHONE

The Sennheiser MKH 418S is a stereo version of the MHK 416. It is an M-S (Mid - Side) stereo mi-

crophone. It is actually two microphones in one housing -- a directional mic (mid) picking up sounds

from the front and a bi-directional mic (side) picking up sounds from the left and right sides.

The output of the 418S is two signals -- the Mid and the Side. As such they are NOT normal Left -

Right stereo, but can be turned into L-R stereo with a special “matrix” circuit. The 418S is intended

to be used with the Sound Devices hard disk recorders (722 and 744T) which have the M-S matrix

circuit built in. No other Cage equipment has this circuit.

There are times and situations to record in stereo, and times and situations NOT to record in stereo.

These are detailed on pages 2 and 3. On pages 4 and 5 are instructions about menu settings for the

Sound Devices recorders for the different applications.

Use the 418S exactly as you would use any other shotgun, and record only the MID. DON’T

RECORD DIALOGUE IN STEREO! Really, don’t. It’s been tried and rejected, because it

creates many more problems than it solves.

MONO APPLICATIONS

RECORDING DIALOGUE

moving mic

in mono

YES

stationary mic

in stereo

moving mic

in stereo

Use the MID

signal only.

The “sweet spot” of

the mic isn’t aimed at

anyone.

The “sweet spot” is

aimed at whoever is

speaking, BUT the

background will be

heard moving.

RECORDING STATIONARY SOUND EFFECTS

Specic sounds that are (usually) connected to something happening on the screen (e.g.

door slam, toast popping up, hammer hitting nail, car starting, etc.) are best recorded in

mono. Record them with the mic held or clamped in position, and in mono, using the MID

signal only. It’s preferable to use a less directional mic -- cardiods are very good for efffects

recording -- but the MID capsule of the 418S is useable. 2

STEREO APPLICATIONS

RECORDING MOVING SOUND EFFECTS

Very specic sounds -- and backgrounds -- that have movement should be recorded in ste-

reo.

Keep the mic stationary as the moving object passes. If possible use a tripod or mic stand.

Panning the mic to follow the object

will defeat the purpose of recording in stereo.

stationary mic

a single car

(aka “car-by”) trafc

stationary mic stationary mic

stationary mic

RECORDING BACKGROUNDS and AMBIENCES

This is the most common use for a stereo mic. Use a tripod or mic stand. Step away while

recording and avoid making any noise.

THE CABLE

mic end

5-pin XLR female

(aka XLR5F)

recorder/mixer end

standard 3-pin XLR male (aka XLR3M) x2

labels

1 (MID)

2 (SIDE)

MIC 1

input

MIC 2

input

The cable that comes with the 418S is pretty much a no-brainer, except that you MUST plug

the 3-pin XLR labeled 1 (MID) into the MIC 1 input, and the one labeled 2 (SIDE) into the

MIC 2 input of a Sound Devices 722 or 744T. THIS IS VERY IMPORTANT.

Even if you’re recording mono (MID only), plug both XLRs into the recorder so you don’t have

a cable end just dangling.

NOTE:

These instructions assume that you are familiar with the operation

of the Sound Devices 722 and 744T. If necessary, refer to the PDF hand-

outs “722 Quick Start” and 744T Quick Start.”

NOTE:

Menu numbers on the 722 or 744T may differ from those used here.

This is because Sound Devices issues frequent rmware updates, often

including menu revisions. Even if the number differs, the

name

will be

correct.

MONO RECORDING (MID ONLY)

Make sure that INPUT 1 is set to MIC.

Turn INPUT 1 48V phantom power ON.

1 2

18) Input 1: 48V Phantom (menu)

Set Input-to-Track

routing to 1 -> A

Set Headphone

Source to 1 (or A) (main display)

You are now ready to record.

RECORDER SET-UP AND SETTINGS

29) Input 1,2: Linking, MS

STEREO RECORDING (MID-SIDE)

Make sure that INPUT 1 and INPUT 2 are set to MIC.

Turn INPUT 1 and INPUT 2 phantom power ON. 18) Input 1: 48V Phantom

19) Input 2: 48V Phantom

1 2

Set Input-to-Track routing

to 1 --> A and 2 --> B

(menu)

Set Headphone

Source to 1,2 (or A,B) 1,2

Set Input 1,2: Linking, MS to Linked 1/2 and MS

select

Input 1,2 Gain Controls

Unlinked

Linked 1,2

> Linked 1,2 and M/S <

Input 1 and 2 Gain controls are now “linked.” This means that the Input 1 knob controls the

level of both Input 1 and Input 2, and the Input 2 knob controls the balance between them.

Selecting M/S activates the matrix circuit, sending normal L and R to your tracks.

Now when you adjust the Input Gain controls, the Bit-Depth / Sample Rate display...

...changes to

Gain (Input 1 control) and

Balance (Input 2 control).

A moving bar shows the balance. M

all Mid

mostly Mid, some Side

mostly Side, some Mid

all Side

equal Mid and Side

At equal balance the bar turns into a star.

Start with the balance equal. Because of the high directionality of the Mid mic, you may want

to balance slightly (or not so slightly) in favor of the Side mic in order to achieve a natural-

sounding stereo. You are now ready to record. 5

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