I might as well come clean and admit from the start that I’m a microphone junkie. In fact, my mantra is that: “you can never have too many microphones.” I can get excited about a new kick mic or some cool new small-diaphragm (or even large-diaphragm) models, yet handheld vocal mics really grab my attention. Typically, when the subject of live performance handhelds comes up, the topic immediately drifts to condenser models, but to me, there’s something remarkable about a high-performance dynamic design.
So a month or so ago, when Sennheiser announced its two new flagship dynamic vocal mics, I was intrigued. The two models — the cardioid MD 435 and supercardioid MD 445 — have many similarities, yet each has its own distinct personality. The “MD” designation comes from the German phrase “Dynamisches Mikrofon” (“Dynamic Microphone”) used in a long legacy of models from 1946’s simple MD 1 to more “modern” classics such as the venerable MD 421, MD 441 and MD 409, so the new MD 435 and MD 445 mics are in pretty good company.
Features/Functions
Both the MD 435 and MD 445 models share many attributes, such as a rugged design with a non-reflective black satin finish; large-diaphragm capsule with a lightweight aluminum copper voice coil; hum compensation coil to protect from EMI sources; internal capsule shock-mount to reduce handling or stand-borne noise; max sound pressure levels of up to 163 dB; 245 ohm nominal impedance; and a three-stage pop filter to handle wind noise and/or breath plosives. The latter consists of a hardened steel outer grill, an inner foam layer and a circle of fine-weave fabric glued over the capsule. The grill unscrews easily for cleaning/sanitizing (very useful these days!) and each mic ships with five replacement inner foam screens — definitely an appreciated touch.
The MD 435 and MD 445 each carry a retail of $619, (NOTE: reduced to $499 in 2022) including stand adapter, carry pouch and five spare internal foam windshields. Both mics are also available as screw-on interchangeable capsule heads for Sennheiser wireless rigs, as the cardioid MM 435 and the supercardioid MM 445, to fit mic bodies ranging from the evolution wireless G4 and 2000 series to the Digital 6000 and Digital 9000 systems. The mic heads are also now priced at $499. Note that the two mics are improved variants on Sennheiser’s popular cardioid MD 9235 wireless mic head and benefit from an improved production process, so the cardioid MM 435 is slated to replace the existing MD 9235 capsule.
Both mics are straightforward and fairly basic, with no switchable pads, no LF rolloff switches or polar pattern-altering mechanisms, and of course, no phantom power is required, so they are pretty much plug-and play. The mics do include a very simple, two-sided set-up guide for the novice, but more importantly, a huge fold-out sheet with warranty and safety info in 17 languages.
The cardioid MD 435 is slightly longer/heavier at 181mm and 350 grams; the supercardioid MD 445 is 174mm long and weighs in at 329 grams. The mics have a quality feel and heft, without being overly heavy and balance nicely in the hand. Speaking of hands, the handling noise on both mics is mostly imperceptible. The internal shock mounting on the capsule performs its job well and LF rumble from stand-borne stage vibrations/bump noise was essentially non-existent.
The MD 445
The first of my tests was using a pair of 2-way stage wedges, placed in the approximate null points of the MD 445’s supercardioid pattern — about 120° off-axis. The MD 445 has a fairly tight supercardioid pattern, which stays mostly consistent from 500 Hz to about 16k Hz, providing high levels of gain before feedback with monitors off to the side. This mic could represent a real audio solution in modern stage setups with and front-of-the-P.A. runways and “B” stages where feedback is typically a major issue. Also, the MD 445 has a gentle mid-frequency rise from 2 kHz to about 7 kHz (peaking about 6 kHz), followed by a fairly steep HF rolloff beyond 10 kHz. (See Fig. 1).
The MD 445 has a natural sound, with plenty of LF is you want to push it, yet I didn’t automatically feel the need to kick in the console high-pass filter unless a male vocal got overbearing. The MF peak adds a nice punch without being edgy on male or female vocals.
The MD 445’s response from the front is tight, requiring the artist to stay mainly on-mic. As the vocal gets farther off-axis, there is a distinct drop-off in level, but the tone remains consistent. The mic’s proximity effect is quite subtle and to fully take advantage of this requires the vocalist to get in closer than two inches from the grill to get any benefit. However, the tight pattern (combined with the steep HF rolloff) really shines in terms of keeping extraneous stage noise — OK… drums and cymbals — out of the vocal feed, which is a real plus on a loud rock show on a small stage.
The MD 435
Switching to the MD 445’s cardioid cousin, the MD 435 offered a different perspective. Both mics are mostly similar in tone, yet the more subtle changes between the two are quite apparent. The cardioid pattern is much wider than the supercardioid MD 445, making the MD 435 far more forgiving to vocalists who can’t (or won’t) stay on-axis. Like the MD 445, the MD 435 remains tonally consistent even 45° off-axis, although at a reduced level. And in the rear 180° off-axis position, the back of the MD 435 is almost brick-wall silent, so you can put tons of level into a monitor directly in front of the mic and not have to worry about feedback.
The MD 435’s proximity effect is quite noticeable, and coming within two or three inches of the grill can produce a serious, rich and deep Barry White sound. The mic has a very pronounced 6k Hz midrange peak (see Fig. 2), which can really help punch vocals through the mix, while the top-end is more extended, adding a nice degree of sweet HF air to female vocals.
The Verdict
I liked both of these mics. I should add that the ultra-light diaphragm on both mics provides fast transient response, enabling a high degree of detail and transparency, resulting in a condenser-like sound rarely heard from dynamic mic designs. And besides vocals, these could easily double in a wide variety of instrumental miking applications, with ample SPL handling for snare drums, close-in percussion (the MD 435 is great on congas) or guitar amps. The mics’ main drawback is pricing, which at $619, (NOTE: reduced to $499 in 2022) will surely keep them from becoming the house mic at your neighborhood karaoke joint. However, for an artist who’s looking for something beyond the ordinary, these are definitely worthy of a listen, and sometimes going first-class is worth a little more.
At a Glance
Sennheiser’s Flagship Dynamic Handhelds
Sleek styling and new capsules based on an industry standard offer condenser-like performance from dynamic vocal mic designs.
Sennheiser MD 435 and MD 445
PROS:
- Smooth polar response
- Low handling noise
- Detailed, condenser-like sound
CONS:
- Slightly pricey
STATS
- Type: Dynamic
- Polar Pattern: Cardioid (MD 435); supercardioid (MD 445)
- Frequency Range: 40 Hz – 20k Hz
- Sensitivity (dBV/Pa): -54.9 (MD 435); -55.9 (MD 445)
- Output Impedance: 245 ohms
- Max SPL: 163 dB
- Dimensions: 47.5 x181 mm (MD 435); 47.5×174 mm (MD 445)
- Weight: 12.3 oz. (MD 435); 11.6 oz. (MD 445)
- Price: $499
Manufacturer: Sennheiser
More Info: www.sennheiser.com
