Sennheiser

Sennheiser MD431-II Super-Cardioid Dynamic Microphone

4.1 (17 reviews)

Built for loud stages and tight monitors, the MD431-II delivers feedback-resistant super-cardioid clarity that survives the chaos of live vocal performance.

$549.00*
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*Price sourced from Amazon.com. Last updated:Jul 14, 2026.Price and availability are subject to change.

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Overview

The Sennheiser MD431-II is built for the signal-chain realities of live vocal work — loud stages, dense monitor mixes, and rooms where feedback headroom is the primary constraint on the night. Its super-cardioid polar pattern narrows the acceptance window compared to a standard cardioid, which translates directly to more rejection of floor-monitor wash and neighboring instrument bleed. The frequency response is tuned to serve intelligibility over flatness: the presence lift in the upper midrange helps vocals cut through a full band without requiring aggressive EQ at the console, while the controlled top end keeps sibilance from turning harsh in reverberant venues.

The MD431-II's internal shock mount is a genuine workflow advantage — not a marketing feature. On stage, where performers grip, tug, and move constantly, a mechanically isolated capsule keeps low-frequency handling artifacts out of the channel entirely. The hum-compensating coil addresses a real-world problem in venues where stage lighting and power infrastructure generate electromagnetic interference that cheaper dynamics pick up as a persistent buzz. The integral pop filter and lockable reed switch round out a mic that's been clearly designed by engineers who've worked front-of-house. It's a durable, no-compromise tool for live vocal applications where reliability under pressure matters more than studio flatness.

Key Features

Exceptionally good feedback rejection

Shock mounted capsule provides very good rejection of handling noise

Hum compensating coil

Integral pop filter

On/off switch (reed switch) can be locked in the ON position if required

Specifications

Microphone Type
Dynamic
Polar Pattern
Super-Cardioid
Feedback Rejection
Exceptionally good
Handling Noise Rejection
Very good (shock mounted capsule)
Hum Compensation
Yes (hum compensating coil)
Pop Filter
Integral
On/Off Switch
Yes (reed switch, lockable)

Pros & Cons

👍 Pros

  • Exceptionally tight super-cardioid pattern gives strong gain before feedback in monitor-heavy live rigs
  • Shock-mounted capsule keeps handling transients out of the signal — performers can move freely without thumping the mix
  • Hum-compensating coil rejects electromagnetic interference from stage lighting dimmers and power transformers
  • Integral pop filter controls plosives without adding proximity effect artifacts at close mic distances
  • Lockable on/off switch prevents accidental muting in broadcast, theater, and podium applications

👎 Cons

  • 16kHz upper frequency limit means some air and sparkle on acoustic sources is lost compared to condenser alternatives
  • No pad switch — high-SPL sources like loud theatrical actors require gain management at the console rather than at the mic
  • Super-cardioid rear lobe at 180° requires careful monitor positioning; unlike hypercardioids, the null is not directly behind the mic
  • Heavier than entry-level handhelds, which can cause fatigue for performers doing long theatrical runs

Frequently Asked Questions

Super-cardioid patterns have a tighter acceptance angle than standard cardioids — roughly 115° vs 130° — which gives the MD431-II significantly more rejection of off-axis stage noise and monitor bleed. In practice, you can push the channel harder before the PA starts ringing.
No. It's a dynamic microphone and draws no phantom power. You can plug it into any XLR preamp input without concern for phantom compatibility — including older analog consoles that don't carry 48V.
The internal shock mount mechanically decouples the capsule from the body, so grip adjustments, cable tug, and stand vibration don't couple into the signal chain. You'll hear the difference most clearly in quiet passages — no low-frequency thud when the performer shifts grip mid-song.
The MD431-II runs 40Hz to 16kHz. The upper rolloff at 16kHz is deliberate — it keeps sibilance controlled in untreated live rooms without needing heavy de-essing at the console. The presence lift in the upper mids adds articulation to vocals in dense mixes.
Yes. The reed switch can be locked in the ON position, which is standard practice for broadcast and theater applications where an accidental cut mid-performance would be unacceptable.