Sennheiser MKH 8030 & 8060: A winning team, part of a big family

With the recent addition of the 8030, the latest member of the family, we bring to our pages the lab test of a couple of microphones featuring the latest in technology and quality for the capture of clear, clean and natural sound

*This is included in the January issue of TM BROADCAST. You can access the full magazine here.

We would like to begin by thanking Sennheiser Europe for their cooperation and time granted to us with these two test units to enable us to carry out this lab test.

Audio is an absolutely critical part of any serious AV production, and while it is true that initially it may not be as striking as spectacular visual effects, absence of sound or defects found in it can certainly ruin the best production.

We could say that sound is the basis that creates and supports most of the emotions that are generated in practically all productions. It is capable of reaching our brains directly, without us being able to prevent it. It is not possible to close our ears as we do with our eyes.

We do not mean that audio is better or worse than image. We simply want to highlight that there is a symbiosis, a synergy, between sound and image, in which one enhances and boosts the qualities of the other to levels that would be hard to achieve in any other way. But we must not forget that there are still many productions where sound is the only element, while visual shows without associated audio are hardly conceived.

For the perfect capture of any type of sound we may want to achieve, whether to amplify it in a live show or to include it in our production, the best manufacturers have been for many years developing a myriad of microphone systems with multiple purposes, and improving results -which seemed impossible to achieve- on each successive try. As we have already mentioned, it is the case here.

As a result of this research and technological development, today we bring you two microphones from Sennheiser that, in addition to being excellent as standalone equipment, make up an even more outstanding set when working together. Furthermore, they are part of an even larger family that shares many of those key characteristics to successfully tackle almost any situation or need thanks to their multiple combinations.

The family in question is the MKH-8000 series, which offers a wide range of microphones whose main difference lies in their different polar patterns. Just by listing them, the complete range currently comprises 7 models: MKH-8020, an omnidirectional mic with no proximity effect. The recently added MKH-8030, bidirectional in a figure of eight. MKH-8040, a classic cardioid. MKH-8050, a supercardioid. MKH-8060, supercardioid/lobular. MKH-8070, lobular. And MKH-8090, a wide cardioid.

All of them are designed to meet the highest standards in broadcast, cinematography and concert hall environments.

One of the features that we find quite remarkable is that the entire 8000 series shares the same timbre response, thus improving off-axis linearity. In this way, it is very easy to combine any model in the range without concerns about shades in response.

And although in all types of microphones it is normal that the attenuation is somewhat more noticeable for higher frequencies, the uniformity of coloration in the polar response has also been dealt with to avoid significant alterations as well in this regard.

The entire 8000 series shares the same timbre response, thus improving off-axis linearity.

But, wait a second: Do we all know what linearity or coloration are? Knowing that they are fundamental and generic concepts in any audio environment, and the better part of our readers being acquainted with them, we are also aware that a some of them may not be familiar with all the concepts, or have come across information that is not sufficiently clear.

For this reason and in view of the importance of these concepts, we have decided to write this content in a somewhat different way than usual: instead of making brief clarifications for each term throughout the introduction, we will continue with the content ignoring these clarifications so as not to distract our higher-level readers. Instead we will list and define the concepts at the end of this piece, thus adding deeper and more detailed explanations to also take into account readers that may be a little less familiar with the impact and influence of each of these concepts on the final performance of the microphones.

Returning to our MKH-8000 family, it is especially important to have available a whole range of models in which not only a high uniformity in the intrinsic response of each microphone is maintained regardless of polar pattern (that is: neatness of coloration in the linearity of each microphone), but also that all the models in the range share the same timbre response (that is: there is also uniformity of coloration between different microphone models).

Similarly, there are other outstanding features that are common to all models in the range, so we will discuss them in general before delving into the specifics of the models we have tested.

The first very important concept to clarify relates to the type of RF capacitor capsule. But let’s not confuse the RF microphone that refers to the radio frequency emission to reach the amplifier in a wireless transmission, with the RF capacitor that makes up the capsule, and this is one of the technical features enabling the wide range of frequencies and the neatness and quality of the sound obtained, which will then be conveyed by cable.

These types of capsules provide significant advantages: more precise polar patterns, greater bandwidth, better linearity in response, lower internal noise levels, and better results and resilience in adverse environmental conditions of temperature and humidity. Also dispensed with is the usual compromise between all of them in classic designs.

All these intrinsic qualities are housed in all instances in solid, robust and compact units, 19 mm in diameter and with different body lengths, with a rough matte paint finish that facilitates their presence in all types of environments without adding reflections or light bounces. Also in all of them, the end with the XLR connector is a separate (MZX 8000 XLR) module provided as standard and removable by thread.

This modularity provides enormous versatility of use, by allowing a filter (MZF 8000) to be inserted directly into the microphone body; or to separate the capsule from the bulky XLR connector by means of a specific cable (MZL 8003 or MZL 8010) and then install it in the least intrusive way possible; and even replace it with a digital module (MZD 8000) so as to obtain the audio output directly in AES digital mode.

But going into the details of the specific models that we have had the opportunity to test and enjoy:

The MKH-8060 is a short-barrel model just 18 cm in total length, whose supercardioid/lobular polar pattern presents 10 dB of attenuation at 90º from the axis, and about 12 dB backwards (180º) with occlusion cones centered around 120-135º. The first use that comes to mind is to have it mounted on camera or located in booms or studios where a directionality greater than that of the conventional cardioid is required without totally losing the back of the axis.

And thanks to its design and build qualities, it will also provide magnificent results in outdoor environments in an uninterrupted and predictable way. According to specifications, it features a wide frequency response between 50 and 25,000 Hz, a sensitivity of -24dBV (63 mV/Pa), a sound pressure level of 129 dB SPL, and an equivalent noise level of 11 dB(A), which when it comes to yielding results, translates into a clean sound capture with an extremely natural result even with faint sounds.

Unlike the above-mentioned model, the MKH-8030 is a very small unit with a total length of 9 cm. This bidirectional or figure-of-8 model is characterized by mounting the capsule in a way that directs maximum sensitivity to the sides symmetrically, with the occlusion cones forward and backward. In this way, when mounted in parallel to a directional microphone, it is capable of capturing the signal that is required to recreate the stereo space in the mix.

It can be combined with any other model, as its natural partners can be a cardioid MKH-8040 or the MKH-8060 that we have tested. But let’s continue with the technical part before going into the results of our tests and impressions.

Its specifications are impressive: Frequency response 30 to 50,000 Hz, sensitivity -31 dBV (28 mV/Pa), sound pressure level of 139 dB SPL and an equivalent noise level of 13 dB(A).

If in the 8060 we already saw figures that exceed our physical capabilities, in this case even more so. Remember that the frequency range of the human ear falls between 20 and 20,000 Hz. But anyone who has toyed with a frequency generator has felt like long before you get to 20 Hz and 20,000 Hz at the other end, an unmistakably attenuated sound is clearly perceived. Few people actually get to hear anything clearly when reaching the thresholds.

Realistically speaking, this is where the real difficulties begin, because how do you describe the quality of sound that a microphone is capable of picking up? Graphs are great for understanding the concepts, but in the end listening is a subjective process, different for each person, and one that also depends on the equipment enabling us to “listen” to the microphone: mixing consoles, recorders, cameras, amplifiers, speakers…

So, the only option left has been to compare these microphones. Not only between themselves, but also with other microphones to whose response we are already accustomed: a good quality cardioid featuring good response in a wide range of frequencies; and another with a short mid/high range camera barrel that, although it has been in use for some time now, keeps yield good results. Both are “first-class brands”, as we are looking for different scenarios and situations, using different media, to finally reproduce them in different environments.

We recorded human voices, some musical instruments, and different types of noises, from faint ambient sounds to even bangs and hits. We tested them outdoors on a street with traffic, inside a theater during rehearsals, inside a small and inadequately soundproofed studio, and in a bedroom of a house. We recorded on an independent recorder (WAV format, quality 96 kHz, 24 bits), and on the audio tracks of a video camera (linear PCM, 48 kHz, 16 bits).

Then we played back from the recorder itself, from the camera and from a computer, listening through studio headphones, through equipment with class A amplifiers, and through mere passive computer speakers connected to the standard sound card integrated in the motherboard.

In short, taking into account the qualities and cautions of each means of playback, the differences in result are noticeable. And very much so, even on the simplest playback device. Although, at first directionality is the one that is more striking, which is logical considering the different polar patterns, when listening more carefully the linearity of the response is worth noting as the sound source deviates from the axis. Especially when comparing the result between both short-barrel microphones that share similar patterns.

In all cases, both Sennheisers have been capable of capturing more nuances, in a neater way, and with a more natural feel than our “good old microphones”. It is true that ours are not laboratory reference equipment, but even in the case of equipment that provides steadily good results, we must recognize that our devices have been outperformed by the Sennheisers.

That neat and natural feel in the sound captured while keeping proportions and balance in all situations, surely comes from many of those frequencies that, although not part of the directly audible spectrum, do end up being perceived somehow. Above all, when we have the least number of media between capturing and listening.

Regarding the MKH-8030 microphone, it is the perfect tool to use in M-S (Mid-Side) recordings. This recording technique also uses two microphones to capture the stereo field, although unlike the conventional method that resorts to two equal microphones, it combines a directional microphone (“Mid”, pointing towards the sound source) with a bidirectional microphone (“Side”, capturing the sound from the sides).

Subsequently, the “Side” signal is recorded in two channels -one of them inverted- in order to create the stereo image. The great benefit of this M-S method is that it provides a more accurate control over the stereo field width in the final mix.

It is so well thought out for this purpose that not only is its pickup axis perpendicular to the build axis, but it even comes with the clamps to couple with the “Mid” microphone on a single support. Having obtained good results with the MKH-8060, we would have loved to get the opportunity to compare it with the MKH-8040 too, because of its conventional cardioid pattern that perhaps would have provided a bit more coherent common sound space.

To close, we should point out that both are supplied with the foot support and the windbreaker appropriate to their respective size and pattern. The 8060 comes with a very compact case to protect it in transport, for example in the bag of the sound engineer or the camera bag. However, the 8030 comes in a hard case that also houses the pair of additional clamps mentioned for that M-S configuration.

Regarding the MKH-8030 microphone, it is the perfect tool to use in M-S (Mid-Side) recordings

In short, even though we have only tested a couple of microphones, we have sufficient information on the qualities and results that can be expected from any other member of the family. As for the tested units, we especially welcome this new two-way microphone with flying colors, as this is a piece that will surely provide great satisfaction to those lucky professionals who know how to squeeze the whole juice out of it.

Because, as we always say, no matter how good the tool is, it will always work better in good hands.

As we had mentioned, please find below the list of technical aspects by conceptual order, which will make grasping this content an easier task.

Coloring: A key characteristic of microphones that refers to the difference in the processing carried out by capturing different frequencies, slightly altering the tonal features of the original sound and providing “warmer” or “brighter” results in general. Each range from every manufacturer features a sound “style”, being the end use, the desired result or even personal taste what will make us choose one model or other.
Axis: Direction in which a microphone is most sensitive to sound waves. Frequently, the axis of a microphone coincides with the main axis of its body, although there are a fair number models in which this axis is perpendicular to the body. It is on this axis that the polar pattern develops.
Attenuation: A parameter related to the reduction of the magnitude of any signal for different reasons. For example, in the case of frequency, it would be the different responsiveness to different frequencies.
Polar pattern: A representation of the different levels of sensitivity attenuation of each microphone depending on the direction in which the sound originates in relation to its axis. The most common are: omnidirectional, cardioid, figure-of-8, lobular, etc.
Linearity: A quality of a microphone to reproduce the variations in sound pressure proportionally and faithfully to the sound it is capturing without altering either the tone or the amplitude of the original source.
dB (decibel): A submultiple of a bel, a logarithmic, relative and dimensionless scale unit of measurement that always expresses the relationship between two values. It is used both for measuring sound signals and in electronics, signage and communications. Very useful when it is necessary to compare magnitudes featuring huge variation ranges. We must always have a reference value: thus 0 dB would be the reference value, an increase of 3 dB is practically doubling the magnitude, an increase of 10 units means multiplying the magnitude by 10 and an increase of 20 units is equivalent to multiplying the magnitude by 100. The reason for using a logarithmic scale is that it coincides with the natural response of the human senses to differences in the intensity of stimuli, such as light or sound.
Timbre: It is the feature of sound that allows us to distinguish voices or instruments from each other, even if they are producing the same sound or the same musical note. It is created from the combination of each fundamental frequency with the harmonics of each emitter, its way of generating sound and its soundboard.
Frequency range: The interval of frequencies that can be accurately captured. That is, maintaining the actual level within the indicated attenuation margins. For example: 20 Hz to 20,000 Hz < 10 dB (with an attenuation of less than 10 dB)
RF Capacitor Capsule: In conventional capacitor capsules, one plate in the capacitor is fixed and the other is the membrane that vibrates due to the effect of sound in order to generate variations in the current passing through it. However, in an RF capacitor microphone the membrane vibrates freely between two fixed plates subjected to a radio frequency voltage that is the carrier. The movement of the diaphragm modulates the frequency of said carrier, and this modulated signal is sent as output. This construction technique provides multiple advantages.
Impedance: It is the resistance that opposes the passage of the current. This is a parameter to take into account especially when connecting the microphone correctly to other equipment such as preamplifiers or mixing consoles.
Own or internal noise: It is a measure of the amount of electricity generated in the circuits when no acoustic signal is being recorded. The lower the value the better, as it will allow for a cleaner and clearer record.
Sensitivity: It is the ability of a microphone to convert sound pressure into an electrical signal. Although it is one of the values related to the minimum signal threshold that the microphone can pick up, this feature becomes more significant when indicating the accuracy in capturing up weak sounds.
Sound Pressure Level (SPL): It is an indicator of the maximum sound pressure measurement that the microphone is able to convert into an electrical signal without distortion. It is expressed in dB over 20 micropascals, a reference of the human ear’s hearing threshold. The higher the value, the better, because it indicates that higher sound levels can be neatly captured.

We hope that the whole of this text will be useful and pleasant to everyone: to readers who are more acquainted with the terms, as they will focus better on the main arguments; and to the less familiar readers, to make it easier for them to delve more in this interesting and very important field. We look forward to receiving your feedback.