The Sennheiser MKH 60 is a stalwart in the professional sound world. It's been used on countless films and TV shows since it was originally introduced, alongside the rest of the original MKH range (20, 30, 40, 50, 60 & 70). It's the mic I've used most in the time that I've been a sound recordist and boom operator. I've swung it on everything from news, to feature films and it's never gone wrong (despite me dropping it on a fair number of occasions). I see the MKH 60 as the sh

As a part of the original MKH range of mics, the 40 is part of a range that has been in service for a very long time, and while it's not the most used of the set it still has a part to play in certain situations. Its cardioid pattern makes it very forgiving in fast close dialogue scenes, and simultaneously makes it sound very natural and open in the right acoustic space. As a boom mic to be chosen against say a MKH 60 and MKH 50 it has a lower key and less frequent part to pl

Sony's ECM-77 has been a broadcast standard since it arrived on the market sometime in the mid 1980's. It's both very good sounding and has a reasonably low noise floor for a miniature electret mic, and has stuck around for a very long time. Only really being equalled in more recent years due to the proliferation of Sanken COS-11 and DPA 4060/61/71 series lav mics. The latter of which are very much the lavs of choice for theatre, film and TV productions. Despite that the ECM-

The Sony UWP-D Wireless package has been around for a few years now, and is a replacement for Sony's older mid-tier UWP radio mic package. It has most of the same features of the older system (including backward compatibility with that system) but offers a new digital companding mode; more on that in a minute. Design The first thing you notice about this new system is the design and build quality. Sony have redesigned the packs, to be more in line with your typical radio mic