Sennheiser WANDEL U. GOLTERMANN MD 420S

Vandel & Goltermann MD420S.

This microphone is, physically and sonically, the same platform as the classic Sennheiser MD 420 — same design— issued under a different name

This example is finished in a bright, mirror-like silver and comes in exceptional condition, showing virtually MINIMAL signs of use.

OPTICAL CONDITION

• excellent condition
• Clean, shiny silver finish
• No dents, corrosion, or visible wear
• Switch and connector present as new
  

TECHNICAL CONDITION

Tested and operating exactly as intended.

• On/off switch works perfectly
• Stable output, no noise issues

THIS ITEM INCLUDES

• Vandel & Goltermann MD420S microphone
• Original CARTON box labeled Sicherheitsmikrofon (SECURITY MICROPHONE)

BUILD & DESIGN

Short, compact dynamic microphone Solid metal body and grille,Large 3-pin Tuchel connector - Integrated on/off or remote switch.

a rugged, purpose-built design where everything exists for function.

TECHNICAL SPECIFICATIONS

• Type: Dynamic
• Polar pattern: Cardioid
• Frequency response: approx. 60 Hz – 15,000 Hz
• Impedance: approx. 200 ohms
• Connector: Large 3-pin Tuchel
• Output: Balanced
• Made in: West Germany

SOUND CHARACTERISTICS

This microphone is clearly voiced forward, with a strong emphasis in the upper mids and high-mids, extending into a very present, compact high-frequency range.

It does reproduce low frequencies, but it is not a bass-forward microphone. Even with a healthy, original capsule, the sound remains lean and articulate by design. The low end feels restrained, while the midrange — especially the high mids — is pushed forward with clarity and urgency.

This voicing gives the microphone - Extremely clear articulation, Strong intelligibility, High detail retrieval in the presence region

This microphone works extremely well around drums, especially  snare.

Because of its strong high-mid focus and restrained low end, it naturally reduces proximity buildup, ringing, and low-frequency thump that often become problematic in close snare miking. On difficult snares with excessive overtones or boxy resonance, placing a microphone like this can solve problems before any EQ is touched.

It is not a clean, neutral snare microphone and not a first-choice all-rounder — but as a problem-solver or for modern, pop-leaning productions where a natural drum sound is not the goal. When drums need to cut through dense arrangements, layered elements, or programmed material, this microphone delivers articulation and presence without relying on heavy processing.

On snare top or bottom, it emphasizes attack and definition while keeping low-frequency buildup under control. This can be especially useful when working alongside MIDI or sampled drums, or in productions where clarity and sparkle matter more than realism.

It is not a neutral microphone, and it does not try to be one. Used intentionally, it can shape the drum sound at the source and give a mix a more focus and character.

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