Schoeps CMC Stereo Set
Schoeps CMC Stereo Set – SCHOEPS now offers pairs of the best-selling ”Colette”- series microphones in sets. Each wooden case contains two complete microphones with selected, matched capsules, SG 20 stand adapters, B 5 D windscreens and in most cases, CMC 6 analog microphone amplifiers.
The part of each stand adapter that holds the microphone is made of soft plastic, while the base is metal. The foam windscreens have an inner construction which makes them considerably more effective than typical windscreens of their size, while their surface treatment lends them a ”high-class” appearance.
CMC 6U Pre Amp:
- flat frequency response
- extremely low noise and distortion
- balanced, very low-impedance output
- can be used with very long cables
- well-protected against RFI
- for use with 12- or 48-Volt phantom powering
The capsules of condenser microphones (the only type which SCHOEPS manufactures) can’t be connected directly to microphone cables or inputs; a microphone amplifier is required in between. Thus a complete microphone of the Colette series comprises any of the twenty available types of capsules combined with an amplifier.
The CMC 6 U is designed for standard 48- and 12-Volt phantom powering. Its circuitry recognizes the supply voltage and adjusts itself automatically. Its performance characteristics remain essentially the same either way; mainly, the difference is that the current drawn at 12 Volts is greater than at 48 Volts. However, the 12-Volt mode consumes less power and might be preferred for battery-powered recording.
The microphone amplifier provides the electrostatic charge which the capsule requires in order to produce a signal. Since only a miniscule amount of current is contained in this signal, amplification of the current is required. To avoid interference to the signal on the way from the microphone to the input of the mixer or preamp, the signal is conveyed at low impedance and in balanced form. The CMC 6 U amplifier offers a symmetrical, transformerless, direct-coupled Class A output stage with low impedance, low distortion, and high freedom from interference.
- omnidirectional pattern
- very flat frequency response
- corrected for a free sound field
- for use close to the sound source (frontal sound
- often preferred for relatively close miking of instruments, vocalists, etc.
- omnidirectional pattern
- mild high-frequency rise to compensate for losses at medium recording distance
- often chosen for “spaced microphone” stereo pickup and “Decca Tree” arrangements
The sound inlet of the MK 2H is narrower than that of our other pressure transducers, causing a slight, purely acoustic response elevation above 6 kHz. This reduces the high frequency loss for diffuse sound, thus helping to preserve natural sound quality.
- wide cardioid
- especially consistent directionality throughout its frequency range
- pleasant sonic impression, often described as “warm”
- often preferred for use as a spot microphone, or as the main pair for overall stereo pickup
- new kind of directional pattern: “Open Cardioid”
- optimal combination of classic cardioid directionality (MK 4) with the sonic character of the wide cardioid (MK 21)
- directional pattern largely constant throughout the frequency range
- often preferred for spot miking and as a soloist’s microphone
- classic cardioid
- suitable for the widest range of applications, either as a spot microphone or for stereo recording with coincident, ORTF or M/S microphone arrangements
- with consistent directionality throughout its frequency range
- often preferred for singing or speaking voices and most instruments
- supercardioid with highly consistent directionality throughout its frequency range
- for music and speech
- high directivity, comparable to that of a short “shotgun“ microphone up through midrange frequencies
- often preferred for use in film sound recording and as a spot microphone in orchestras
- omni and cardioid patterns, mechanically switchable
- slight emphasis of the high frequencies
- broad range of applications
- preferred uses similar to those of the MK 2 or MK 2S and the MK 4:
- in the cardioid setting: for use with singing or speaking voices or most instruments, as a spot microphone, and for stereo recording with coincident, ORTF or M/S microphone arrangements
- in the omni setting: for recording instruments, singers, etc. at relatively close range