One of a Kind.
One of a Kind.
Stage Microphones
volution
—One of a Kind.
Vocal microphones
Instrument microphones
For some, music is a passion — for others,
it’s also a profession. The evolution series
has the right microphone for everyone. Each
series sees itself as the accompanist to a
development. And since demands can grow
quickly, the evolution mics simply evolve
along any sound.
What all of the microphones in this series
have in common is impressive sound, a clear
focus and on the job at hand extreme ruggedness. All have been created in the best
tradition of German engineering and are the
result of the dedication of our engineers, of
countless tests, and of the most meticulous
manufacturing processes.
Vocal microphones
Instrument microphones
Contents
04 Introduction 600/800 series
06 e 835
07 e 845
07 e 865
08 e 602-II
08 e 604
09 e 609 silver
09 e 608
09 e 614
10 Introduction 900 series
11 e 935
11 e 945
12 e 965
14 e 901
14 e 902
14 e 904
15 e 906
15 e 908
15 e 914
16Accessories
17 Technical Data
EVOLUTION stage microphones. 02 03
volution 600/800 Series
German Engineering
— Surprisingly Affordable.
For everyone who makes music from passion — and wants others to hear and feel
their passion. For everyone who needs a
reliable microphone and the best possible
sound on a budget. For everyone who
appreciates it when it just sounds better:
the evolution 600 series (instruments) and
evolution 800 series (vocals/speech) are
based on Sennheiser legends such as the
MD 409 and MD 421. And they are available
for a price far below their class. Unpack, plug
in and enjoy the sound.
Be it loud or delicate, wild or gentle, for
home recording or on stage: the evolution
600/800 series fits every style. Anything
else would be stagnation instead of
evo­lution.
EVOLUTION stage microphones. 04 05
e 845
More focus. More presence.
Maximum focus, enhanced presence: the
e 845 delivers differences you can hear. Its
expanded high frequency range creates
space for demanding dynamics with a high
signal quality. Vocals become more alive
and sound wider and more open — even at
different speaking proximities. Designed as
a super-cardioid, the e 845 easily eliminates
ambient noise. A reliable, easy to use
companion for presentations, conferences,
spoken word performance, choirs as well as
rehearsal rooms and on stage.
ƒƒ Dynamic microphone
for speech and vocals
ƒƒ Extended high frequency range
ƒƒ Consistent sound quality
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
(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
e 865
Sensitive to every nuance
— and tough on the road.
e 835
Everything else is just standard.
No plastic — metal. No muffled, mids-centric sound, but tight low
mids and present treble. No problem with feedback, spill or handling
noise; instead, maximum flexibility for the voice: the e 835 sounds
better than the standard class. Moderation and singing remain
crystal clear and natural, even at varying distances from the capsule.
Its extremely rugged construction and uncomplicated handling make
the e 835 the first choice for rehearsal rooms, home recordings or
the stage. It has also become a top seller in its class everywhere that
speech intelligibility is critical: lectures, presentations or conferences
in auditoriums large and small alike.
ƒƒ Dynamic microphone
for speech and vocals
ƒƒ Clear reproduction with a high presence
ƒƒ Consistent sound quality
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
(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
No matter whether it’s quiet or loud, far
away or right up close: the e 865 makes
every tone worth its weight in gold. The
entry into the condenser class can be heard
immediately. The highly sensitive membrane
picks up the finest vocal nuances and then
transmits even extreme dynamics into
the signal chain with ease. Even if the lips
are some distance from the capsule, the
e 865 delivers consistent sound quality. It
combines the professional options of the
condenser capsule with the rugged design
of the 800 series. On the one hand, this
is: studio sound, even for demanding live
gigs. And, on the other: a special class for
moderators and speakers that allows precise
reproduction, even of plosive sounds.
ƒƒ Condenser microphone
for speech and vocals
ƒƒ Natural reproduction
with emphasized presence
ƒƒ Consistent sound quality
(varying distances, moving off axis)
ƒƒ Distortion-free reproduction
ƒƒ
ƒƒ
ƒƒ
ƒƒ
even at very high sound pressure levels
Optional silent on/off switch
Excellent feedback rejection
High handling noise rejection
Rugged metal housing
EVOLUTION stage microphones. 06 07
e 602-II
Feel more bass.
e 608
Don’t just hear it. Feel it. Punching and
vibrating, the e 602-II follows bass instruments down to the low frequencies that
shake things up. The punch of the kick drum
keeps its forceful volume at the bottom of
the sound image; the attack remains precise
throughout the mic’s entire frequency
response. The e 602-II hears bass guitars
and tubas with the same attention to detail:
warm, dynamic and always with substance.
It sounds as solid as it looks and, thanks to
its lightweight aluminum body, is easy to
position — in studios, clubs, rehearsal rooms,
at smaller gigs or for home recording.
ƒƒ Dynamic microphone
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
with expanded bass range
Fast transient response
Designed for extreme
sound pressure levels
Rugged lightweight aluminum body simplifies positioning on long microphone
boom arms
Extremely lightweight
construction
Hum compensating coil
Integrated stand mount
Holds everywhere — and
listens to the essentials.
A solid choice for brass- und woodwindplayers. With its flexible gooseneck,
the e 608 snuggles right up to the instruments and saxophones, while the multi­
functional clip lets it find an optimal position
on every instrument. The shock-mounted
capsule reliably protects against structureborne noise. When something is in the air — it doesn’t get lost here. The e 608 comes
closer to the heart of each instrument and
transmits its character in soft, warm tones.
ƒƒ Dynamic microphone
No stand needed. Hang it directly in front
of the amp, plug in the guitar and get going.
The result sounds significantly closer to the
source: a precise resolution with a wide spectrum ranging from clean to distorted or with
effects. The amp sound remains natural,
powerful and assertive, both live and in the
studio. After all, the e 609 silver is following
an honorable tradition in its sound design:
the MD 409, which still sets standards in its
class today.
ƒƒ Dynamic microphone
ƒƒ Flat shape for easy position-
Extremely wide frequency range. Focused
pick-up. Outstanding impulse response. As a
condenser microphone, the e 614 convinces
in demanding scenarios with a natural, full
sound. Its wide frequency range captures
nearly every instrument; its extraordinary
response dynamics conjure fine nuances
from the air, giving them space and depth.
Thanks to the precise directivity, the e 614
safely reduces the bleed from other instruments on stage or in the studio. With its
high maximum sound pressure level, it is
especially designed for percussion and as an
overhead mic, but also effortlessly supports
stringed and woodwind instruments.
ƒƒ Condenser microphone
ƒƒ Excellent directivity
with gooseneck
ƒƒ Low sensitivity to structureborne noise
ƒƒ Extremely rugged fiberglass
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
housing with tear-resistant
cable (XLR connector)
Simple handling and flexible
positioning
Very low intrinsic noise
Almost invisible clip-miking
Hum compensating coil
Highly effective shock mount
e 609 silver
The rugged workhorse
with a practical shape.
e 604
The classic — thanks to
clip and character.
Character instead of mainstream. Close to
the attack, tough, easy to handle: the e 604
has long since been a classic on the rims
of tom-toms and snares the world over.
Thanks to the practical clip-on holder, the
microphone can be mounted in seconds
and positioned however you choose. Lightly
emphasized in the upper mids and highs, the
e 604 provides a forceful sound, open and
clear in the lows. The snare receives a warm
to dynamic presence; woodwind instruments
also receive a marked spaciousness. This is
no wonder, since the sound design is based
on the legendary MD 421 microphone.
ƒƒ Compact dynamic
microphone
ing in front of guitar amps
ƒƒ Allows direct pick-up, even
with high sound pressure
ƒƒ Shock-mounted capsule
provides low sensitivity to
structure-borne noise
ƒƒ Hum compensating coil
ƒƒ High feedback rejection
ƒƒ Rugged housing
ƒƒ Transmits extreme sound
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
pressure (over 160 dB)
without distortion
Impact-resistant
fiberglass reinforced housing
Low sensitivity to
handling noise
Very low structure-borne
noise
Extremely simple handling
and flexible positioning
Hum compensating coil
Integrated stand mount
e 614
Universal in use — natural in sound.
over the entire extend­
ed frequency range
(40 – 20,000 Hz)
ƒƒ Natural sound for flexible
applications
ƒƒ Designed for high sound
pressure levels
ƒƒ Rugged and ready for the
road
EVOLUTION stage microphones. 08 09
volution 900 Series
German Engineering
— Uncompromisingly Reliable.
The stage doesn’t forgive mistakes. That’s
why professionals have to be able to rely
on their equipment without a second
thought. For microphones, that means: no
compromises. Anywhere. This is exactly why
the evolution 900 series was developed.
Conceived of as a family, the highly specialized vocal and instrument microphones
provide a finely calibrated, consistent sound
right out of the box.
A great deal of importance was placed
on reliability and sound. Every single
microphone provides exactly the sound it
was produced for: powerful, defined, highly
dynamic and rich in detail. The evolution 900
series sets new standards in ease of use and
ruggedness.
EVOLUTION stage microphones. 10 11
e 935
Extends Every Voice.
Its balanced frequency range qualifies the
e 935 for songs of every genre. It clearly
gives the voice more space and positions it
cleanly in front of loud instruments. With
a transparent high-end and lightly emphasized, warm basses, it lends even gentle
voices an impressive intensity and size.
The vocal track in the band mix can be emphasized much more easily. The e 935 also
clearly increases the speech intelligibility. It
remains extremely resistant to feedback as
well as to the hard conditions of live gigs.
ƒƒ Dynamic microphone
ƒƒ Clearly emphasizes voices on loud stages
ƒƒ Transparent high-end and
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
warm, defined lower mids
Highly consistent directivity
High feedback rejection
Shock-mounted capsule
Hum compensating coil
Extremely rugged metal housing
e 945
Presence all the way
to the peaks.
The e 945 renders the natural sounds of
the voice in particularly forceful colors.
Its extraordinary presence and full body
effortlessly position the vocals in front of
loud instruments. In doing so, the e 945
enriches the vocals with warm nuances that
give them a lively fullness in the mix. It is the
perfect choice for stages where the vocals
require strong emphasis. Its extremely
high resistance to feedback underscores
the e 945’s affinity for very high volumes.
Its solid performance makes it a reliable
companion for countless uses.
ƒƒ Dynamic microphone
ƒƒ Enormous emphasis even on extremely
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
loud stages
Gives the voice warm, lively fullness
Highly consistent directivity
High feedback rejection
Shock-mounted capsule
Hum compensating coil
Extremely rugged metal housing
e 965
Live sound on the highest level.
The advantages of high-end studio and stage microphones are
perfectly combined in the e 965: high-resolution, multifaceted sound
supplemented by high feedback rejection and an extremely rugged
design. The flagship of the evolution series is a true condenser, largediaphragm microphone that has been developed for professional
stage use. Its balanced sound is marked by clarity and sophistication.
It gives the high-end a silky gloss and reproduces the lower mids
in a warm, well-defined manner. The e 965 responds extremely
quickly and transmits even the finest nuances in impressive detail.
Depending on the stage setting, the pick-up pattern can be switched
between gentle cardioid and more direct super-cardioid. This top
model leaves no wishes unanswered in terms of ruggedness and
handling.
ƒƒ Large-diaphragm true condenser
microphone
ƒƒ Uniquely forceful, high-resolution sound
ƒƒ High-definition for finest nuances and
rich in detail
ƒƒ Switchable pick-up pattern
ƒƒ
ƒƒ
ƒƒ
ƒƒ
(cardioid/super-cardioid)
Low-cut and pre-attenuation options
Excellent handling noise rejection
Pop and wind protection
Extremely rugged metal housing
EVOLUTION stage microphones. 12 13
e 901
A balanced kick sound
to set and forget.
e 906
The e 901 is a rugged boundary microphone
that handles high sound pressure levels
extraordinarily well. Tailored to give the
kick drum a highly precise, very dry sound
character, the e 901 makes every attack
lightning fast and realistic. The positioning
of the e 901 in a bass drum couldn’t be
simpler: just put it in — done. The integrated
preamp and gold-plated XLR connector have
both proven themselves to be exceptionally
practical on stage.
ƒƒ Condenser microphone
ƒƒ Highly precise and
dry kick drum sound
A more direct sound — more directly from the amp.
ƒƒ Natural sound,
fast transient response
ƒƒ Designed especially for
high sound pressure levels
ƒƒ Integrated preamp and
gold-plated XLR connector
ƒƒ Slip-free, insulating rubber
pad underneath
ƒƒ Extremely rugged metal
housing
e 902
Clean bass meets
precise punch.
The e 902 was especially designed for the
low sound spectrum and convinces with
firm, clearly defined bass sounds with a tight
punch. The strongly contoured frequency
response features a clear damping of the
mid-range and an accentuated emphasis of
the high-end and bass. The result: a clear,
grainy sound with a full body and a precise
kick that effortlessly asserts itself in a
band context. The sound of the e 902 can
be flexibly shaped by its positioning in the
drum set: from warm and round to sharp
and direct. The rugged housing meets the
hardest of demands during live gigs.
ƒƒ Dynamic microphone
ƒƒ Very precise and defined
ƒƒ
ƒƒ
ƒƒ
ƒƒ
ƒƒ
reproduction of bass instruments
Sophisticated frequency
design, expanded bass range
Fast transient response
Shock-mounted capsule
Extremely rugged metal
housing
Hum compensating coil
e 904
Full of sound — full of life.
The e 906 captures the guitar sound just as
you want it to be: from clean to distorted,
from gentle to aggressive. It provides a
high-resolution, natural sound without
unwanted coloration. The transient response
of the e 906 convinces in every style: it
even transmits riffs with an extremely hard
punch directly and straightforward. The
microphone features a switchable presence
filter with three sound characteristic options: one to boost the presence range, one
for ‘normal’ presence and one to attenuate
the presence range. Thanks to its flat shape,
it can be positioned in front of the amp
hanging from its cable — completely without
a stand. Not to mention its distinctly rugged
design.
ƒƒ Dynamic microphone
ƒƒ Extraordinarily lively,
The high-end sound of a condenser microphone is combined with the features of
professional stage equipment to make the
e 908 a small, highly flexible marvel. With an
open and high-definition character, it creates
surprisingly forceful sounds. It transmits the
attack in a very clear and defined manner
while structure-borne noise is reliably suppressed. Thanks to its shock-mounted head,
gooseneck and special clips, the e 908 can be
quickly attached and precisely oriented to
the sound source. Despite its delicate form,
the microphone is ruggedly constructed and
easily takes even hard hits.
ƒƒ
ƒƒ
ƒƒ
ƒƒ
The e 914 is a condenser microphone of
the superior class with a full-bodied sound
and excellent dynamics. Its silky character,
never headstrong, is developed from the
gentle emphasis of the sophisticated treble.
Its straightforward transient response
accurately captures the temperament of
each set, even at very high sound pressure
levels. With its detailed resolution, the e 914
makes every live drum sound more refined.
The capsule has extraordinary feedback
resistance and can be individually adapted
to various needs: three positions of bass rolloff/cut-off and pre-attenuation can be set.
ƒƒ Condenser microphone
ƒƒ Perfect for ambitious
full sound
ƒƒ Extremly fast
transient response
ƒƒ Switchable presence filter
ƒƒ
ƒƒ
ƒƒ
ƒƒ
with three choices of sound
characteristic (boosted
presence range, ‘normal’,
attenuated presence range)
Perfect shape for the pick-up
of guitar amps
Shock mounted capsule
Hum compensating coil
Rugged metal housing
e 908
Solid, focused and
precisely positionable.
ƒƒ
ƒƒ
ƒƒ
ƒƒ
Condenser microphone
High-end sound and precise definition
Simple mounting thanks to practical clips
Precise orientation with
gooseneck microphone boom
Protection against impact
and handling noise
Intelligent MZA 900 P phantom powering
adaptor (only B and D versions)
Can be operated with an evolution
wireless instrument transmitter
Available with drum clip (e 908 D) or
multi­functional clip (e 908 B) and optional
with mini jack connector (e 908 B ew)
e 914
With its consistent frequency response, the
e 904 creates a sound that is as transparent
as it is harmonic and that can be wonderfully shaped. It can be cleanly embedded in
the drum mix thanks to its precise attacks
and voluminous body. The set receives an
extremely energetic and defined sound
with this microphone. The e 904 reliably
withstands even the hardest direct hits.
Thanks to its practical clip, it is child’s play to
attach to the rims of snares and tom-toms.
And, with its compact form, it takes up a
very small amount of space.
ƒƒ Dynamic compact microphone
ƒƒ Consistent frequency reƒƒ
ƒƒ
ƒƒ
ƒƒ
sponse offers wide flexibility
for individual sound designs
Very quick transient response
delivers precise attacks and a
voluminous body
Extremely simple handling
and flexible positioning
Extremely rugged metal
housing
Hum compensating coil
A brilliant multitalent
for demanding tasks.
(live) recordings
ƒƒ Excellent dynamics and
lively sound on a wide range
of instruments
ƒƒ Handles very high sound
pressure levels
ƒƒ Three-position bass
roll-off/cut-off switch
ƒƒ Three-position
pre-attenuation
EVOLUTION stage microphones. 14 15
Technical Data
e 604
e 608
Transducer principle (microphone)
dynamic
dynamic
dynamic
Pick-up pattern
cardioid
cardioid
super-cardioid
Frequency response (microphone)
20 – 16,000 Hz
40 – 18,000 Hz
40 – 16,000 Hz
0.8 mV/Pa
Sensitivity in free field, no load (1kHz)
0.25 mV/Pa; (50 Hz) 0.9 mV/Pa
1.8 mV/Pa
Impedance
350 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
250 Ohm (nom.); 1,000 Ohm (min. term.)
Max. Sound pressure level
—
—
—
Equivalent noise level
—
—
—
Phantom powering
—
—
—
Connector
XLR-3
XLR-3
XLR-3
Weight & dimensions
318 g; ∅ 60 × 153 mm
60 g; ∅ 33 × 59 mm
20 g; ∅ 17 × 185 mm
dBv
– 40
dBv
– 40
dBv
– 40
– 50
– 50
– 50
– 60
– 60
– 60
– 70
– 70
30°
0°
60°
2,000 Hz
4,000 Hz
8,000 Hz
16,000 Hz
90°
0°
30°
90°
Drum mounting clamp
(e 604)
pre-polarised condenser microphone
super-cardioid
super-cardioid
Frequency response (microphone)
40 – 15,000 Hz
40 – 20,000 Hz
Sensitivity in free field, no load (1kHz)
1.5 mV/Pa
3 mV/Pa = – 50 dB (0 dB = 1 V/Pa)
Impedance
350 Ohm (nom.); 1,000 Ohm (min. term.)
50 Ohm (nom.); 1,000 Ohm (min. term.)
Max. Sound pressure level
—
139 dB
Equivalent noise level
—
24 dB(A)
Equivalent noise level (CCIR 468-3)
—
35 dB
Phantom powering
—
12 – 52 V/3 mA
Connector
XLR-3
XLR-3
Weight & dimensions
140 g; 55 x 34 x 134 mm
93 g; ∅ 20 × 100 mm
dBv
– 40
dBv
– 40
– 50
– 50
– 60
– 60
90°
0
5
10
15
20
25
dB
0°
Windshield (e 608)
– 90
5,
00
0
10
,0
00
20
,0
00
Hz
20
0
10
0
50
50
0
1,
00
0
2,
00
0
0°
– 80
0°, 5 cm
50
0
1,
00
0
2,
00
0
20
0
50
10
0
5,
00
0
10
,0
00
20
,0
00
Hz
30°
60°
90°
120°
180°
180°
150°
0°, 100 cm
30°
60°
90°
120°
150°
180°
180°
180°, 100 cm
30°
120°
Windshield
(evolution vocal mics)
0°
– 70
0°, 100 cm
60°
Drum mounting clamp
(e 908, e 608)
5,
00
0
10
,0
00
20
,0
00
Hz
dynamic
0
5
10
15
20
25
dB
0°, 5 cm
120°
150°
Pick-up pattern
2,000 Hz
4,000 Hz
8,000 Hz
16,000 Hz
90°
150°
Transducer principle (microphone)
125 Hz
250 Hz
500 Hz
1,000 Hz
Brass instruments mounting
clamp (e 908, e 608)
180°
e 614
30°
MZW 48F
180°
0°
60°
90°
e 609 silver
– 90
MZW 4032
60°
Instrument Microphone
– 80
MZH 908 D
30°
120°
150°
0°, 100 cm
– 90
30°
120°
150°
– 70
MZH 908 B
0°
– 80
0°, 5 cm
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
5,
00
0
10
,0
00
20
,0
00
Hz
Quick mount drum clamp
(e 604)
180°
0
5
10
15
20
25
dB
50
0
1,
00
0
2,
00
0
Clamp for stands
(evolution vocal mics)
MZH 604
90°
20
0
Clamp for stands
(e 614, e 609 silver)
MZH 504
180°
0°
60°
120°
150°
MZQ 800
30°
60°
120°
MZQ 100
– 90
50
The MZA 900 P can also be used as a cable tester for XLR microphone
cables.
125 Hz
250 Hz
500 Hz
1,000 Hz
0
5
10
15
20
25
dB
0°, 100 cm
50
0
1,
00
0
2,
00
0
20
– 90
– 70
– 80
0°, 5 cm
20
0
0°, 100 cm
50
– 80
10
0
The adaptor is also a quick and flexible solution if a microphone is to
be used for both wired and wireless applications. One and the same
microphone can be used together with the MZA 900 P(-4) for wired
applications (e.g. in the studio) or with a transmitter of the evolution
series for wireless applications.
10
0
The phantom power adaptor is available in two different versions:
ƒƒ MZA 900 P with lockable 3.5 mm jack socket
(as evolution wireless)
ƒƒ MZA 900 P-4 with lockable 3-pin special socket
e 602-II
5,
00
10 0
,0
0
20 0
,0
00
Hz
The MZA 900 P phantom power adaptor connects pre-polarized
condenser microphones with a 3.5mm jack plug to microphone
inputs with 10 – 52 V phantom powering (P12 – P48). The connected
microphone is supplied via the adaptor.
Instrument Microphone
50
0
1,
00
0
2,
00
0
MZA 900 P
Phantom power adaptor
50
10
0
20
0
Accessories
30°
60°
90°
120°
120°
150°
180°
180°
150°
EVOLUTION stage microphones. 16 17
Technical Data
Application
Singing
Instrument Microphone
e 901
e 902
e 904
e 906
e 908
e 914
Transducer principle (microphone)
pre-polarised condenser microphone
dynamic
dynamic
dynamic
pre-polarised condenser microphone
pre-polarised condenser microphone
Speech
Pick-up pattern
half-cardioid
cardioid
cardioid
super-cardioid
cardioid
cardioid
Frequency response (microphone)
40 – 16,000 Hz
20 – 18,000 Hz
40 – 18,000 Hz
40 – 18,000 Hz
40 – 20,000 Hz
20 – 20,000 Hz
Sensitivity in free field, no load (1kHz)
0.5 mV/Pa
0.2 mV/Pa; (60 Hz): 0.6 mV/Pa
2 mV/Pa
2.2 mV/Pa
4 mV/Pa
7 mV/Pa
Impedance
< 100 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
e 908 B, e 908 D: 100 Ohm (nom.);
e 908 B, e 908 D: 2,000 Ohm (min. term.)
100 Ohm (nom.); 1,000 Ohm (min. term.)
Orchestra
Brass/Woodwind
Choir
Max. Sound pressure level
154 dB
—
—
—
147 dB
137, 147 or 157 dB (switchable)
Equivalent noise level
—
—
—
—
e 908 B, e 908 B ew: 35 dB(A);
e 908 D: 30 dB(A)
19 dB(A)
Acoustic guitar
Attenuation
—
—
—
—
Phantom powering
48 V/1.1 mA
—
—
—
e 908 B, e 908 D: 12 – 48 V/3 mA
48 V/2.2 mA
Connector
XLR-3
XLR-3
XLR-3
XLR-3
e 908 B, e 908 D: XLR-3;
e 908 B ew: 3,5mm mini jack
XLR-3
Weight & dimensions
550 g; 126.5 × 105 × 26.5 mm
440 g; ∅ 60 × 128.5 mm
125 g; ∅ 41 × 63 mm
140 g; 55 x 34 x 134 mm
140 g; ∅ 47 × 193 mm
198 g; ∅ 24 × 157 mm
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
– 50
– 50
– 50
– 50
– 50
– 60
– 60
– 60
– 60
– 60
– 60
– 70
– 70
– 70
– 70
– 70
– 70
– 80
– 80
– 80
– 80
– 80
– 80
– 90
– 90
90°
180°
90°
0
5
10
15
20
25
dB
0°
30°
60°
180°
90°
180°
90°
0
5
10
15
20
25
dB
0°
30°
60°
180°
90°
180°
90°
0
5
10
15
20
25
dB
0°
30°
60°
180°
90°
180°
90°
0
5
10
15
20
25
dB
0°
180°
60°
90°
0
5
10
15
20
25
dB
0°
5,
00
0
10
,0
00
20
,0
00
Hz
cut off
50
0
1,
00
0
2,
00
0
0°
60°
90°
180°
20
0
50
30°
120°
150°
roll off
30°
120°
150°
Brass (bass)
bass
10
0
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
0°
60°
120°
150°
20
0
50
30°
120°
150°
10
0
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
0°
60°
120°
150°
20
0
50
30°
120°
150°
10
0
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
0°
60°
120°
150°
20
0
50
30°
120°
150°
10
0
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
0°
60°
120°
180°
20
0
50
60°
120°
150°
10
0
30°
Kick drum
60°
Snare drum
90°
120°
150°
Piano/Grand piano
30°
Tom-tom
120°
150°
180°
180°
150°
Floor tom
Vocal Microphone
e 835
e 845
e 865
e 935
e 945
e 965
Transducer principle (microphone)
dynamic
dynamic
pre-polarised condenser microphone
dynamic
dynamic
externally polarized dual diaphragm
AF condenser microphone,
Diaphragm: 25.4 mm/1”
Pick-up pattern
cardioid
super-cardioid
super-cardioid
cardioid
super-cardioid
cardioid/super-cardioid (switchable)
Percussion
Overhead
Frequency response (microphone)
40 – 16,000 Hz
40 – 16,000 Hz
40 – 20,000 Hz
40 – 18,000 Hz
40 – 18,000 Hz
40 – 20,000 Hz
Sensitivity in free field, no load (1kHz)
2.7 mV/Pa
1.8 mV/Pa
3 mV/Pa
2.8 mV/Pa
2.0 mV/Pa
7 mV/Pa (2.3 mV/Pa with preattenuation)
Impedance
350 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
200 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
350 Ohm (nom.); 1,000 Ohm (min. term.)
50 Ohm (nom.); 1,000 Ohm (min. term.)
Max. Sound pressure level
—
—
150 dB
—
—
142 dB; 152 dB (passive) (switchable)
Equivalent noise level
—
—
—
—
—
21 dB
Attenuation
—
—
—
—
—
—
Phantom powering
—
—
12 – 48 V
—
—
48 V/3.5 mA
Pick-up pattern
Cardioid
330 g; ∅ 46 × 185 mm
311 g; ∅ 47 × 193 mm
355 g; ∅ 47 × 151 mm
365 g; ∅ 47 × 186 mm
396 g; ∅ 48 × 199 mm
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
dBv
– 40
– 50
– 50
– 50
– 50
– 50
– 50
– 50
– 60
– 60
– 60
– 60
– 60
– 60
– 60
– 70
– 70
– 70
– 70
– 70
– 70
– 80
– 80
– 80
– 90
– 90
– 90
30°
0°
60°
2,000 Hz
4,000 Hz
8,000 Hz
16,000 Hz
90°
0
5
10
15
20
25
dB
0°
120°
180°
180°
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
60°
90°
180°
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
30°
30°
60°
90°
120°
120°
150°
180°
180°
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
30°
30°
60°
90°
120°
120°
150°
180°
180°
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
60°
90°
180°
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
60°
90°
180°
50
30°
120°
180°
PAD
– 90
30°
120°
150°
– 80
low cut
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
20
0
50
30°
120°
180°
– 70
PAD
30°
120°
150°
Super-cardioid
10
0
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
20
0
50
30°
120°
180°
10
0
30°
120°
150°
0°, 100 cm
– 90
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
20
0
30°
90°
120°
150°
50
30°
60°
– 80
0°, 100 cm
– 90
5,
00
0
10
,0
00
20
,0
00
Hz
50
0
1,
00
0
2,
00
0
20
0
50
10
0
– 90
125 Hz
250 Hz
500 Hz
1,000 Hz
– 80
0°, 100 cm
10
0
– 80
5,
00
0
10
,0
00
20
,0
00
Hz
330 g; ∅ 48 × 180 mm
50
0
1,
00
0
2,
00
0
Weight & dimensions
20
0
—
50
XLR-3
—
10
0
XLR-3
—
5,
00
0
10
,0
00
20
,0
00
Hz
XLR-3
50
0
1,
00
0
2,
00
0
XLR-3
on/off
20
0
XLR-3
on/off
50
XLR-3
on/off
10
0
Connector
Switch
150°
0°
60°
90°
0
5
10
15
20
25
dB
0°
low cut
5,
00
0
10
,0
00
20
,0
00
Hz
90°
30°
– 90
Bass amplifier
– 50
50
0
1,
00
0
2,
00
0
2,000 Hz
4,000 Hz
8,000 Hz
16,000 Hz
0°
0°, 100 cm
– 90
180°
Guitar amplifier
20
0
60°
125 Hz
250 Hz
500 Hz
1,000 Hz
0
5
10
15
20
25
dB
0°, 100 cm
– 90
0°, 100 cm
switch position:
0°
Acoustic bass
10
0
0°
0°, 5 cm
5,
00
0
10
,0
00
20
,0
00
Hz
20
0
50
10
0
30°
50
0
1,
00
0
2,
00
0
0°, 100 cm
– 90
0, –10, –20 dB
30°
60°
90°
120°
120°
150°
180°
180°
150°
EVOLUTION stage microphones. 18 19
Sennheiser electronic GmbH & Co. KG
Am Labor 1, 30900 Wedemark, Germany
www.sennheiser.com
548764 01/13 Printed in Germany. Sennheiser and evolution are registered Trademarks of Sennheiser electronic GmbH & Co. KG. www.sennheiser.com
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