Sennheiser MD 21-U ENG microphone, dynamic, omnidirectional, 3 pin XLR-M, 3/8” tripod thread, black - 000292

Product Overview

The Sennheiser MD 21-U is an omnidirectional dynamic microphone that has served broadcast journalists, ENG crews, and radio interviewers for decades as the standard handheld interview microphone. Its omnidirectional polar pattern eliminates the need for precise aiming during fast-moving interviews and multi-speaker panel discussions, while the large dynamic transducer provides excellent rejection of handling noise—one of the most important practical qualities for a field-used microphone. The MD 21-U connects via XLR-3M and includes an integral 3/8-inch tripod thread for direct mounting to boom poles and compact stands.

Product Description

The omnidirectional pattern of the MD 21-U provides uniform pickup from all directions, which means the reporter does not need to aim the microphone precisely at the subject during a live interview. There is no proximity effect, so the tonal character of the subject's voice remains consistent regardless of whether they lean closer or pull back during the interview. The large dynamic transducer has very low sensitivity to handling noise, allowing the microphone to be repositioned, handed between speakers, and held in movement without mechanical noise reaching the recording. The stainless-steel sound inlet basket and full-metal body provide the durability expected of field broadcast production equipment deployed in outdoor and adverse environments. The integral 3/8-inch tripod thread is machined directly into the mic body, allowing direct attachment to compact boom poles, lightweight tripods, and desktop interview stands without a separate mic clip. No phantom power is required, keeping the signal chain simple for ENG field operation. The MD 21-U has remained in continuous production because its functional characteristics align precisely with what broadcast production requires from an interview microphone.

Key Features

• Omnidirectional Dynamic Transducer — No phantom power required; no proximity effect; no directional aiming required.
• Very Low Handling Noise Sensitivity — Stays quiet during repositioning and handoffs in live field conditions.
• Uniform Frequency Response — Consistent tonal balance regardless of mic orientation to the source.
• Integral 3/8-Inch Tripod Thread — Direct mounting to boom poles and tripod adapters without a separate clip.
• Stainless-Steel Basket and All-Metal Body — Withstands outdoor field broadcast conditions.
• XLR-3M Balanced Output — Standard connection for all field and studio equipment.
• Decades of Broadcast Production History — Proven in ENG, radio interview, and broadcast music recording.

Typical Applications

• Broadcast studio
• Government space

Technical Specifications

Frequently Asked Questions

Q: Why use an omnidirectional microphone for ENG interviews?

Omnidirectional microphones have no proximity effect and require no precise aiming, making them practical for the fast-paced conditions of news gathering. In street interviews, the reporter can speak into the mic and then extend it to the subject without repositioning—the mic picks up clearly from both directions at different distances without tonal variation.

Q: Can the MD 21-U be mounted on a boom pole?

Yes. The integral 3/8-inch thread allows direct attachment to boom poles and compact tripod stands. For lightweight news poles with 5/8-inch threads, a standard 3/8-to-5/8-inch thread adapter is required, which is widely available and not included with the microphone.

Q: Is the MD 21-U suitable for outdoor use?

The all-metal body and stainless-steel basket provide mechanical durability for outdoor field work. For high-wind outdoor recording, an appropriate foam windscreen is recommended—Sennheiser's MZW 21 foam windscreen is the compatible accessory.

Q: Does the omni pattern cause feedback problems in PA applications?

Omnidirectional microphones are generally less feedback-resistant than cardioid designs in reinforced sound environments. The MD 21-U is optimized for ENG, broadcast, and acoustic pickup applications rather than PA-reinforced stage use. For live reinforcement applications, a cardioid design is the more appropriate choice.