Extended high frequency response and supercardioid pick-up pattern for higher signal output, cuts through high on-stage sound levels. Smooth warm tonal response and full dynamic range, with presence lift for vocal clarity and projection. Consistent on/off axis and proximity response maintain sound quality while moving, providing greater on-stage freedom.
Full metal construction and extensive suspension and shock-mounting minimize handling noise and signal interference. High output performance microphone, offering power, clarity and projection (also available with a switch: e 845-S).
- Dynamic super-cardioid microphone for speech and vocals
- Extended high frequency range
- Consistent sound quality (varying distances, moving off axis)
- Handles high sound pressure levels
- Optional silent on/off switch
- Isolates handling noise, hum compensating coil
- Excellent feedback rejection
- Rugged metal housing
|Ø 46 x 185 mm
Frequency response (microphone)
|40 - 16000 Hz
|Without cable: 330 g
Sensitivity in free field, no load (1kHz)
|1, 8 mV/Pa
Min. terminating impedance
Weight w/o cable
What's in the box?
- 1 e 845
- 1 microphone clip
- 1 pouch
Overview of all compatible product components within the series as well as compatible headsets and microphones.
Article No. 504051 Plug-on transmitter with phantom powering
- Up to 6 x 64 user-programmable channels
- Easy synchronization with receiver via infrared interface
- 48 V switchable phantom powering
More about SKP 2000
Article No. 009974 Plug-on Transmitter
- Electronically balanced input for professional requirements
- Compatible with 3000 and 5000 Series receivers
More about SKP 3000
SKP 100 G3
Article No. 503130 Wireless plug-on transmitter for wired dynamic microphones
- 1.680 tunable UHF frequencies for interference-free reception
- Easy transmitter synchronization via infrared interface
- User-friendly menu operation with back-lit graphic display
More about SKP 100 G3
SKP 300 G3
Article No. 505500 Plug-on transmitter with phantom powering
- P48 phantom power for easy use of any cabled mic
- Plug-on transmitter with XLR-3F connector for quick use, no visual interference of cables
- Up to 42 MHz switching bandwidth for flexible use at different locations
More about SKP 300 G3
Foam windshield designed for use with the MD 42, MD 46, MD 425, the MD 431 II and all e 800 and e 900 Series vocal microphones. Delivery includes a set of identification rings in five different colours.
Article No. 004515
Article No. 004516
Recording gear, studio setup.
So i finally invested in some recording software and bought a lexicon Lambda and I'm currently running it through Cubase 4. While it's working out great so far, i need to buy some new microphones to record vocals, acoustic guitar and banjo, and possibly drums? Well anyway, what are the best microphones/deals around and what should i look into getting? or am i better off buying an acoustic pickup for guitar/banjo and buying a mic just for vocals.
Any opinions or input, go for it.
Your reasoning for why reverb sounds better
It's really very simple- a sound recording is an artificial reproduction of a live event occurring in front of sound transducers (microphones), much the same way a photograph is a representation of what was happening in front of the camera lens, which is an optical transducer of sorts.
Like any mechanical recording/reproduction there will be inaccuracies- cameras take in the four dimensions of height, width, depth and time (shutter speed) and and render them in a two dimensional photo format. Sound recordings take spatial information and try to put it all into a multiple channel format that can only approximate reality