Personal Audio
MK 4 - Sennheiser USA
Article No. 504298
Key Features
- Full metal housing
- True condenser design
- Large-diaphragm capsule (1")
- 24-carat gold -plated diaphragm
Condenser Microphones - Condenser Mics - Studio
$299.95
Related product
$299.95
General Description
In a world where low-quality side address condenser microphones are all too common, Sennheiser is proud to introduce the MK 4 studio condenser microphone. MK4 is Sennheiser’s first large-diaphragm studio condenser microphone. MK4 features a 1” true condenser capsule, optimized for project studio and home studio applications. Sennheiser designed the MK 4 to provide maximum sound quality at a very competitive price point, focusing on exactly what it takes to make an excellent studio microphone. The MK 4 is made in Germany, which is also unique at this price point. While the MK 4 is chiefly designed for professional use in project studios, it is also a versatile tool for all recording environments and even on stage. Due to its affordable price the MK4 is also an ideal choice for home recorders and musicians on a budget.
Features
- Large-diaphragm capsule (1")
- True condenser design
- 24-carat gold -plated diaphragm
- Full metal housing
- Capsule shock-mounted internally to minimise structure-borne noise
- Designed for project studios and stage use
- Low inherent self-noise and high maximum SPL
- Made in Germany
Delivery Includes
- MK 4 microphone
- MZQ 4 microphone clamp
- Pouch
- Instruction manual
$299.95
Technical Data
| Transducer principle | externally polarized condenser microphone |
| Pick-up pattern | Cardioid |
| Frequency response | 20 Hz - 20 kHz |
| Sensitivity as per 121 TR 9-5 | 25 mV/Pa |
| Max. sound pressure level (passive) | 140 dB |
| Equivalent noise level | 10 dB(A) |
| Dynamic range | 130 dB |
| Nominal impedance | approx. 50Ω |
| Min. terminating impedance | 1,000Ω |
| Power supply | 48 V phantom powering (P48) |
| Current consumption | 3.1 mA |
| UPC code | 615104186057 |
| EAN code | 4044155054842 |
| Dimensions (single) | 10.03 x 4.52 x 3 in |
| Weight (single) | 1.72 lbs |
| Dimensions (master carton) | 22.44 x 9.64 x 10.24 in |
| Weight (master carton) | 26.23 lbs |
| Master carton quantity | 14 |
$299.95
Recommended Accessories
| Part/Accessory | Article No. |
| MKS 4 | 504299 |
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Elastic suspension with open ring - allows the mic to be positioned close to the sound source |
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| MKW 4 | 504611 |
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Foam windscreen for MK 4 |
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| MXP 40 | 003132 |
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Pop shield |
|
Glossary
| Dynamic range |
| The "bandwidth" of the differences in level between the quietest and loudest passages of a sound event, given in dB. Recording and transmission media must be able to process the dynamics without interference. The dynamic range of a microphone is limited at the lower level by its so-called self-noise and at the upper level by overload distortion or clipping. The dynamic range is determined from the difference between the maximum sound pressure level and the A-weighted equivalent noise level (evaluated in accordance with DIN/IEC 651). Studio microphones, for example, can process a dynamic range of up to 126 dB. The dynamic range of an RF system is the range between the inherent noise and the start of clipping, given in dB. |
| Equivalent noise level |
| The output signal of every microphone always includes a low noise signal in addition to the useful signal. In order to illustrate the extent of the noise voltage, it is given as a fictitious sound pressure level. In an ideally noise-free microphone, a sound pressure level of this magnitude would result in an output voltage of the magnitude of the noise. Self-noise is measured and weighted either in accordance with CCIR 468-3 or – in order to assimilate the measured result with the listening impression of the human ear – in accordance with DIN/IEC 651 (so-called A-weighted). Studio condenser microphones generally have an equivalent noise level of between 20 and 30 dB (CCIR) or between 10 and 20 dB(A). |
| Frequency response |
| The frequency response of a microphone is given within the limits defined by the manufacturer. In studio condenser microphones it is generally within the range of between 20 Hz and 20 kHz. |
| Min. terminating impedance |
| Impedance at which the connected unit meets the specified technical data. If the unit is connected to a lower impedance, it will usually have a lower output voltage or a greater distortion. |
| Nominal impedance |
| See impedance. |
| Pick-up pattern |
| Also known as polar pattern, directivity. According to their acoustic design, microphones differ in their sensitivity towards sound from different directions. Pressure microphones have a sensitivity that is largely independent of direction (omni-directional pick-up pattern). Pressure gradient microphones have the pick-up patterns wide cardioid, cardioid, super-cardioid or figure-of-eight. Interference microphones can be used to achieve a further concentration of the pick-up pattern (lobar pick-up pattern). As a special case, dummy head microphones achieve the pick-up pattern of the human ear/head (dummy head stereo). |
| Power supply |
| Description of the power source used for powering a unit, for example mains, battery, rechargeable accupack, etc. |
| Sensitivity as per 121 TR 9-5 |
| Sensitivity as specified in the regulations issued by the Luftfahrtbundesamt (German aviation authorities). |
| Transducer principle |
| Two transducer principles have become established for the conversion of electric energy into mechanical energy: electrodynamic and electrostatic transducers, whereby the latter is only to be found in audiophile systems, due to their relatively high manufacturing costs. Electrodynamic transducers basically consist of a ring-shaped permanent magnet and an oscillation coil, which is fixed to the receiver diaphragm. When an audio-frequency alternating current is passed through the oscillation coil, it is caused to vibrate in accordance with the audio-frequency alternating current, thus causing the diaphragm to vibrate in the same way. |
