Catalog 5 CONDENSER MICROPHONES FOR PROFESSIONAL USE

Foreword

Dr. Schoeps the founders of the company

Dr. Küsters

only a few small, private rooms. The company now occupies a site of over 1,500 sq.m., where 40 people are engaged in the development, production and distribution of professional condenser microphones and accessories. High quality, reliability and neutral, accurate sound have always been hallmarks of our products and of paramount importance in our production philosophy. Over the years, the reputation of our microphones has spread, largely by word of mouth, and the number of satisfied SCHOEPS users has grown steadily. Nowadays we supply our microphones to broadcasters, sound recording studios and film recordists throughout the world. Our products are designed to deliver the finest quality sound in the most demanding environments, yet they are equally at home in conference and sound reinforcement applications. CMV 50/2 1948 CCM 4ULg today We have grown as a company by maintaining close contact with our customers, by remaining flexible and being available to offer individual advice. With this approach we hope to continue fulfilling our customers’ requirements and, with them, to further the development of the recording art.

S

challtechnik Dr.-Ing. SCHOEPS GmbH was estab-

lished in Karlsruhe in 1948, at first operating from

Preparing the microphone capsules – done almost entirely by hand.

2

Contents

Overview Microphone Capsules & COMPACT MICROPHONES Microphone Amplifiers Accessories (by application) Stereo Surround PolarFlexTM Microphone Processor Vocalist Microphones Headsets Explanation of symbols Microphone Preamplifier Accessories Technical Appendix Index

Jörg Wuttke The present-day leadership of Schoeps GmbH

Ulrich Schoeps

35 43 59 75 81 85 89 91 95 117 127

COLETTE
modular

microphones of the COLETTE MODULAR SYSTEM:

compact

CCM

microphones of the COMPACT SYSTEM:

XLR-3M

3

page

4 9

. This allows many different types of placement. and is constantly being expanded. microphone amplifier COLETTE modular pg. 12 pg. With very few exceptions..e. 47 Active Accessories can be connected between the capsule and amplifier of a microphone.COLETTE MODULAR SYSTEM . any type of capsule can be used with any type of amplifier. “Active” means that these accessories contain electrical circuitry. including unobtrusive and visually attractive setups.. an impedance converter which connects directly to the capsule... i. 36 Modular “COLETTE” Microphones . consist of the combination of two basic units as shown above – a microphone capsule and amplifier. MK. The number of possible combinations is quite large – there are 20 types of microphone capsule and 6 basic types of amplifier... microphone capsule CMC. Active Accessories pg.has been well proven for over 25 years.. some of which have further special versions available. Example for the use of an Active Accessory: RC 1200g microphone tube (page 47) 4 .

92) 5 . 20 capsules in total VMS 5 U: microphone preamplifier with M/S matrix (pg. 92) CMC 4: T12 RC Active Tube (pg. 39) RC KC Active Tube (pg. l 97) atte n pg. uator 101 MK DZC GVC CUT CMC 6: P12 / P48 KC (Active Cable) pg. phone amp 36) lifier lowc (pg. pocket transmitter etc. ut filte 100 r ) electrically Active Accessories swiv e (pg. 97) CMC 5: P48 CMC 3: P12 TR 200 KCg Active Table Stand (pg. 39) NT 222 DC special powering unit (pg. 103) AK SU/2U adapter cable XLR-5F to 2× XLR-3M (pg. 98) VST 62 IUg phantom-powered stereo microphone amplifier (pg. 38) unbalanced input (DAT recorder.) Stereo RCY Active Stereo Tube (pg. 102) signal: balanced unbalanced VMS 5 U microphone preamplifier with M/S matrix (pg. 98) KS 5 I extension cable (pg. 100) . ut filte r 99) lowc (pg. 48) (special version) NT 222 AC special powering unit (pg. 40) KCY Active Y-cable (pg. uator 96) micr o (pg. 65) AK I/2C adapter cable (pg. . 39) CMBI battery-powered microphone amplifier (pg. . phone caps 12 ule atte ) n (pg.COLETTE MODULAR SYSTEM System Overview micr o (pg. 47) input with parallel powering M222 tube microphone amplifier (pg. 53) LC MDZ COLETTE modular LP 40 U low-pass filter (pg.

The capsules are identical to the corresponding Colette models. 44 Mounting accessories originally designed for Colette capsules on Active Cables can also be used with either version of CCM. permanently attached cable XLR-3M Accessories pg. In one type of CCM the output cable is detachable. while the amplifiers follow the same circuit principles as CMC amplifiers.g. 13 pg. 106 BF 250 floor stand. The capsule and amplifier of a CCM (“Compact Condenser Microphone”) form a single unit. but the capsules and amplifiers cannot be interchanged like those of the COLETTE MODULAR SYSTEM. with low-impedance balanced output circuitry that allows the use of microphone cables up to hundreds of feet long without interference. the standard version with thin. pg. detachable cable (see following page) The CCM-U.COMPACT SYSTEM CCM COMPACT MICROPHONES CCM-L CCM-U pg. CCM 4Lg (cardioid). 108 6 . a slightly smaller version with a more robust. Several additional mounting accessories have been designed with Lemo connectors to hold the capsule-and-amplifier unit of a CCM-L. pg. Example for accessories: RL microphone tube CCM-L COMPACT MICROPHONE. pg. 13 RL 1200g microphone tube (RG 8 swivel included). 47 STR 350g support rod. pg. e. 41 compact CCM The CCM represents the logical next step in the miniaturization of classic condenser microphone technology without any compromise in quality. There are two basic versions: The CCM-L.

VMS 5 U: microphone preamplifier with M/S matrix (pg. pg. 50) compact CCM adjustable-height stand STV 900/1400 L3Ug (pg.COMPACT SYSTEM System Overview CCM-L COMPACT MICROPHONE (pg. 41) microphone tube e. 50) table stand TR 200Lg (pg.. all signals shown above are balanced 7 . 100) attenuator MDZ (pg. 103 Stereo Y-cable KLY I (pg. 13 ff. 41) elastic suspension for tables. 100) low-cut filter LC 60 U (pg. special version (pg. RL 700g (pg....g. 92) . 103) AK SU/2U adapter cable XLR-5F to 2× XLR-3M (page 102) low-pass filter LP 40 U (pg. 47) tube for mounting in table surface RLG 350 Ug (pg. 13 ff. 53) gooseneck for mounting in table surface S 250 L5Ug (pg. 101) mechanical accessories for CCM-L and CCM-U see page 44 ff. 46) CCM-U COMPACT MICROPHONE with permanently attached cable. for decoupling of vibrations K 5 LU adapter cable (Lemo / XLR-3M. included with CCM-L). 103) adapter cable to XLR-5M: KS 5IU (page 103) Y-cable KLY SU (pg.

SCHOEPS M 221F tube microphone with M 934B capsule. 1959 8 . shown with special attachment for the cardioid setting.

Headline Microphone Capsules & COMPACT MICROPHONES Guidelines for Selection Overview Pressure Transducers Boundary-Layer Capsules Wide Cardioids Cardioids Supercardioids Figure-8 Switchable Microphones Microphones for Close Pickup 10 12 14 18 21 23 25 27 28 30 page 9 .

we would like to offer some ideas to help orient the choice that must be made. ? SCHOEPS is often asked to recommend a microphone for a particular instrument or application.” For instruments the omnidirectional type “2” may be of interest (no proximity effect.or off-axis. or for improved low-frequency reproduction: the type “21” wide cardioid – for essentially perfect pickup of low-frequency information and “room” sound: the omnidirectionals. It has an omnidirectional pickup pattern. for grand piano. since – according to experience – one must also consider the aspects of taste. type “2H” or “2S” – for very close miking: With directional microphones it is necessary to compensate for proximity effect by means of a corresponding bass rolloff. assuming that there is no nearby sound source or loudspeaker behind the microphone. the polar pattern is rarely ideal at the highest frequencies. however. proximity effect causes the low-frequency response to vary significantly while with nearly all microphones (especially omnidirectional microphones). there may be good reasons to make a different choice.. That might make sense if a microphone has a frequency response that is tailored to the characteristic sound of a given instrument. “popping” and handling noise). Obviously this ideal can be achieved only to a finite degree.. which could include: – increased directivity either for the sake of a “drier” recording or for the suppression of sound from adjacent instruments: supercardioid type “41” (= MK 41 or CCM 41). – for very distant miking with essentially perfect bass response and/or as an “ambience” microphone: omni type “3. Only in rare cases can “the” correct microphone be chosen unequivocally. In particular situations.” – for outdoor recording if directivity is not required (at close miking distances): omni type “2S” + windscreen W 5 or W 5 D (advantage: low sensitivity to wind. recording location. For voice: try type “4S” or “4VXS. Some basic observations The microphone type that comes closest to the theoretical ideal is the classic pressure transducer. – for decreased directivity or very natural sound quality even for sound arriving at the sides. see our recommendations on page 57. thus it should be suitable for any instrument. W 20 R1. With directional microphones. Any absolute prescriptions would thus be of limited value at best. and the atmosphere of the music or other program material. In practice some degree of directionality is generally considered desirable and the most commonly used pattern for medium-distance pickup is the cardioid. But the possible applications for such microphones would then be restricted significantly. since it has a rear lobe 10 . Some microphone manufacturers readily answer such requests. or the corresponding COMPACT MICROPHONE CCM 5. As a starting recommendation: the switchable omni/ cardioid capsule MK 5 plus any of the modular “Colette“ Series amplifiers. position of sound sources and the microphone. low sensitivity to “popping” or to solid-borne noise). This requires flat frequency response and a directional characteristic independent of frequency.Guidelines for Selection Which is the best microphone for . There will be no difference in sound quality whether the pickup is on. Our opinion In our opinion a good microphone ought to sound natural. reproduces even the lowest audio frequencies with full sensitivity. just as one expects a good audio amplifier to sound. the BLM 03 Cg. and has no proximity effect. – for high directivity: type “41” with W 5 D. However. or WSR MS (“basket”-type windscreen with built-in elastic suspension for mono or stereo). This is especially true when miking instruments.

cardioid. with accurate reproduction of low frequencies. in particularly good acoustic.g. switchable) with windscreen B 5 D or W 5 D or W 20 R1 (the omni setting if there is strong wind. “41” (supercardioid). bass drum. supercardioid (hypercardioid). 20). cardioid) Reduced sensitivity (rolloff) at lower frequencies.Guidelines for Selection Applications: On a lectern Conference recording TV speaker’s table Radio announcer Noisy environments TV “round table” discussion Church Stage News reporting Speech/ Speakers Recommendations: type “4” (cardioid) with close-speech guard B 5 D type “4” (cardioid) with close-speech guard B 5 D type “4” (cardioid). to pick up room sound as well. etc. For this reason even omnidirectional microphones are aimed toward the sound source. Shotgun microphones: see pg.). in particularly good acoustic: sphere microphone KFM 6 (pg. 79) Type “4”= CCM 4 or MK 4 + CMC 6 Pressure transducers (omnidirectional microphones) Frequency response: Essentially flat. “4V” (cardioids) with pop filter PR 120 S. are single-diaphragm electrostatic transducers. 11 . for best low-frequency reproduction. 20) e. 73). No proximity effect Pressure-gradient transducers (directional microphones – e.). under a thin tablecloth or in a car under the top Orchestra OCT surround. bidirectional (figure-8). 65 ff. 18) or modular microphones (pg.) with MK 4 (cardioid) and B 5 D popscreen or MK 2S (omni) MK 5 (omni/ cardioid. boundary layer with BLM 03 Cg (pg. 71). “41S” type “4” (cardioid) or boundary-layer capsule BLM 03 Cg (hemisphere) type “40” (cardioid).g. or type “2S” (omni) type “2” (omni) flute: type “8” (figure-8).) with type “41” (supercardioid) in the M-channel or X/Y on a boom (pg. Our figure-8 and wide cardioid have an exceptionally frequency-independent polar diagram. sphere microphone KFM 6 Small orchestra/ ensemble M/S with RCY Active Tube (pg. simple foam-type windscreens are usually sufficient.) with MK 4 (cardioid) or MK 2S (omni) and popscreen B 5 D type “4” (cardioid) on RC Active Tube with windscreen B 5 D. saxophone: type “4” or “4V” (cardioids) in the orchestra: type “4” (cardioid). boundary-layer microphone (pg. Considerable All of the wide variety of SCHOEPS microphones. cardioid if other nearby sound needs to be reduced) radio microphone HXiR (Audio Ltd. with type “2S” or with BLM 3g or BLM 03 Cg (pg. 72 ff. vocalist microphone CMH 64 (cardioid) type “4”. wind and popping: Very little. chorus ORTF microphone MSTC 64 (pg. no popscreen required at distances greater than 0. The on-axis response of the free-field capsule does not have a highfrequency emphasis but the capsule meant for the reverberant sound field does. 66 ff. 119. 68 ff. Proximity effect: Elevation of the low frequencies as working distance decreases in near-field use (quite noticeable at less than 50 cm) Near field: Sensitivity to vibration. X/Y (pg. but also “21” (wide cardioid) or “2” (omni) Vocals Instruments Surround Stereo Stage (moveable) Stage (fixed) Studio All except organ and deep percussion Tympani. or an organ: type “21” (wide cardioid) especially when the room’s character is less than optimal. which can be compensated by close placement to the sound source (proximity effect) Directional pattern: Types: wide cardioid.).g. PR 120 SV type “4” (cardioid). A/B recording e. 63) Film and video dialog/effects M/S (pg. At very high frequencies there is an increasing directivity. 20) radio microphone type HXiR (Audio Ltd. Omnidirectional pattern in its ideal form only at low and middle frequencies. violin: type “4V” (cardioid). without exception. 12) or BLM 03 Cg (pg.5m type “4V” (cardioid with lateral pickup) with pop filter PR 120 SV (super-)cardioid for close pickup (10 – 20 cm) with bass rolloff: types “4S”. perhaps as boundary layer microphone with BLCg (pg. KFM 360 Film and video dialog/effects double M/S on a boom (pg. Instruments with adapters Accent miking (spot mike) Orchestra. “40”.

100 mm diameter “warm” sound page 21 cardioid MK 4g MK 4Vg universally applicable page 23 supercardioid universal. page 20 hemi cardioid wide cardioid MK 21g BLCg mounting plate for directional hemi supercardioid boundary-layer recordings with MK 4 (cardioid) or MK 41 (supercardioid) with Active Cable. Blumlein page 27 switchable MK 5g Technical specifications: see page 120. we can deliver specially matched capsule or COMPACT MICROPHONE pairs for a small extra charge. Surface finish: matte gray (g) or nickel (ni) page 28 12 . Although our normal production tolerances are very close.the most popular Microphone Capsules omni MK 2g MK 2Hg MK 2Sg COLETTE modular for close pickup page 14 for medium distance page 15 universally applicable page 16 boundary layer hemisphere BLM 03 Cg miniature boundary-layer capsule. lateral pickup page 24 MK 41g universally applicable page 25 figure-8 MK 8g actual size 20 mm diameter for M/S.

7 mm shorter. lateral pickup page 24 CCM-L special version. ca. Blumlein page 27 switchable CCM 5g page 28 13 .the most popular COMPACT MICROPHONES omni CCM 2g for close pickup page 14 CCM 2Hg for medium distance page 15 CCM 2Sg universally applicable page 16 compact CCM boundary layer hemi cardioid BLCg mounting plate for directional boundaryhemi supercardioid layer recordings with COMPACT MICROPHONE CCM 4 (cardioid) or CCM 41 (supercardioid). with permanently attached cable CCM-U supercardioid CCM 41g universally applicable page 25 actual size 20 mm diameter figure-8 CCM 8g for M/S. 100 mm diameter wide cardioid CCM 21g “warm” sound page 21 All CCM types are available in two versions: cardioid CCM 4g universally applicable page 23 CCM 4Vg universal.

For calibration with B&K devices a mechanical adapter (type AMBK1. This yields a very natural sound when recordings are made within the reverberation radius.Pressure Transducers CCM MK 2g CCM 2 Ug CCM 2 Lg compact Microphone Capsule MK 2 COMPACT MICROPHONE CCM 2 – – – – omnidirectional pattern flat frequency response corrected for the free (near) sound field for use close to the sound source (frontal sound incidence) COLETTE modular As can be seen from the frequency response curve. where it has gained a considerable reputation. The MK 2 capsule has qualities of a measurement microphone and is used in acoustimetric applications. this microphone type has a flat frequency response for frontal sound incidence.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 2 + CMC 6 xt 14 . where the direct sound (frontal incidence) predominates over the reverberant sound (random angles of incidence). CCM 2 from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 20 Hz – 20 kHz 15 mV/Pa 11 dB-A 23 dB 83 dB-A 130 dB-SPL (0. This microphone type can and should be used fairly close to the sound source – the sound image never becomes overly brilliant or sharp – and should be directed towards it. from 20 mm to one inch diameter) is available. since there is some loss of high frequencies in sound arriving off axis. +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK2 + CMC 6.

when recording a large orchestra. +10 0dB -10 -20 compact CCM COLETTE modular 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 2H + CMC 6. this microphone type distinguishes itself from the other SCHOEPS pressure transducers: the typical grill is absent. This microphone type would be used in the near field only if a slight high-frequency emphasis were desired. near the reverberation radius (page 119).g. e. The primary application for this capsule is at a greater distance from the sound source. It resembles the MK 2S/ CCM 2S. and the sound inlet (surrounded by a gold-plated ring) is smaller than that of other types. CCM 2H from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 20 Hz – 20 kHz 15 mV/Pa 12 dB-A 23 dB 82 dB-A 130 dB-SPL (0. a field in which it is highly acclaimed. These special design features lead to a frequency response that rises only above 6 kHz. This microphone type is particularly designed for the recording of classical music.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 2H + CMC 6 xt 15 . though the high-frequency emphasis of the MK 2H/ CCM 2H is audibly less pronounced and begins around an octave higher.Pressure Transducers MK 2Hg CCM 2H Ug CCM 2H Lg Microphone Capsule MK 2H COMPACT MICROPHONE CCM 2H – omnidirectional pattern – mild high-frequency rise to compensate for losses at medium recording distance Even from its appearance alone. The choice between the MK 2H/ CCM 2H and the equally well-liked MK 2S/ CCM 2S is essentially a matter of personal preference.

Pressure Transducers CCM MK 2Sg CCM 2S Ug CCM 2S Lg compact Microphone Capsule MK 2S COMPACT MICROPHONE CCM 2S – omnidirectional pattern – slight high-frequency rise to compensate for losses at recording distance near the reverberation radius (page 119) – for universal use The MK 2S or CCM 2S exhibits a slight high-frequency emphasis for frontal sound incidence. CCM 2S from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 20 Hz – 20 kHz 12 mV/Pa 12 dB-A 24 dB 82 dB-A 132 dB-SPL (0. It has been proven particularly useful in two. where its normal placement near the reverberation radius of the sound field presents a sonically balanced pickup favored by many recording engineers. with only a slight rolloff of high frequencies off axis and in the reverberant sound field.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 2S + CMC 6 xt 16 . This microphone type represents a technically sophisticated and attractive compromise between the two extremes represented by the MK 2/ CCM 2 and the MK 3/ CCM 3.and threemicrophone stereo arrays. These models have become our most popular pressure transducers. 50 100 200 500 1k 2k 5k 10k 20kHz COLETTE modular +10 0dB -10 -20 20 frequency response curve MK 2S + CMC 6. and is thus close to being universally applicable.

Therefore the MK 3/ CCM 3 is most often used as an ambient room microphone. CCM 3 from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 20 Hz – 20 kHz 10 mV/Pa 14 dB-A 26 dB 80 dB-A 134 dB-SPL (0.Pressure Transducers MK 3g CCM 3 Ug CCM 3 Lg Microphone Capsule MK 3 COMPACT MICROPHONE CCM 3 – omnidirectional pattern – corrected for the diffuse sound field – for use at a great distance from the sound source With the MK 3 or CCM 3 the aim was to create a microphone type which would compensate for highfrequency losses and brighten the room sound to some extent when placed at a great distance from the sound source. When this type of microphone is used close to the sound source. the high-frequency emphasis shown in the on-axis frequency response plot is integrated with the less brilliant off-axis pickup and is not audible as such. or in special cases when the extra brilliance is desired. well beyond the source’s reverberation radius (page 119) in a room. Used in a reverberant sound field. +10 0dB -10 -20 compact CCM COLETTE modular 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 3 + CMC 6. producing an overly brilliant sound image. the emphasis of high frequencies for on-axis sound incidence becomes clearly audible.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 3 + CMC 6 xt 17 .

since at the boundary in which the transducer is mounted there can be no phase difference between the direct sound and its reflection. The sound pressure for direct sound is doubled at an acoustic boundary (6 dB increase). The BLM 3g does not interfere with the natural sound field.Boundary-Layer Capsules Boundary-Layer Capsule BLM 3g COLETTE modular – microphone capsule (pressure transducer) designed for placement at an acoustic boundary layer – highly uniform hemispheric directional pattern. off-axis sounds thus encounter very little frequency discrimination. In a properly-placed boundary-layer microphone. offering unobtrusive microphone placement possibilities (no stands or hanging fixtures required. Ordinary pressure transducers show a difference in sensitivity between direct and diffuse sound at high frequencies. Microphones used near sound-reflecting surfaces ordinarily produce comb-filter effects. This does not occur with the BLM 3g. its output voltage will be twice that of an equivalent transducer in a free sound field. perfectly soundreflecting surface. So the microphone should be placed on a floor. It is based on an effect in physics by which sound pressure doubles along a sound-reflecting surface. or mounted on another surface large enough to reflect the lowest frequencies of interest. when the pickup angle changes. the plate in which the small transducer of the BLM 3g is mounted assures reflection of only the high and medium frequencies. because the frequency response is essentially the same for all angles within the hemispherical pickup pattern. this difference occurs at all frequencies. Since the plate of the BLM 3g is only 5 mm thick and the transducer is not mounted at its center.5% THD) 18 . To reflect sound at lower frequencies (greater wavelengths). Sound coloration is low. the sound “color“ does not change – excellent reproduction of low frequencies Boundary-layer recording is a well-known technique by now. and it is not necessary to aim the microphone) and a directional characteristic that is independent of frequency. Thus a BLM 3g with CMC 6 microphone amplifier +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve BLM 3g + CMC 6 from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 20 Hz – 20 kHz 19 mV/Pa 12 dB-A 23 dB 82 dB-A 128 dB-SPL (0. soundreflecting surface. the edges of the plate have very little effect upon the sound pickup. and would be mounted flush with an infinitely large. In theory an ideal transducer of this type would have a membrane of infinitesimally small size. however. In practice. even for moving sound sources. If a transducer is placed upon (or within) a large. while the essentially random phase relationships of reflections in the diffuse sound field cause the boundary-layer microphone's sensitivity to increase by only 3 dB. the dimensions of the surface must be correspondingly larger. wall or ceiling.

the capsule will not be harmed by normal footwear. and the red dot should point to the left when viewed from behind the microphones. Since the microphone may well be used on the floor. Typical applications include pickup of stage dialogue. Its larger side holds the CMC microphone amplifier or capsule connector of the KC Active Cable. For example. when footsteps are recorded. The apparent width of the stereo image can then be set appropriately for the given situation. as an ambience microphone and for special public address applications. or in orchestra pits. This arrangement allows the attenuator (DZC) and Active Accessories such as the variable low-cut filter (CUT 1 or CUT 2) or the Active Cable (KC) to be added as well. This type of transducer is inherently insensitive to wind and vibration and the BLM 3g is comparatively heavy. so it picks up very little solid-borne noise. the likelihood of damage from its being stepped on has been reduced by careful design and construction. Color: gray COLETTE modular MS-BLM Accessory for BLM 3g (optional): Special clamp MS-BLM allowing Mid-Side (M/S) stereo pickup with the BLM 3g in the Mid channel This double clamp can be used when making M/S recordings with a BLM 3g.Boundary-Layer Capsules boundary-layer microphone will suppress diffuse sound somewhat. The BLM 3g (boundary-layer microphone capsule) resembles any other microphone capsule (MK) of the Colette Series in that it needs a microphone amplifier (CMC) to form a complete microphone. 19 . even though it is not directional. Its miniaturized version (BLM 03 Cg) is often used on conference tables and speakers' podiums. Dimensions: plate: 200 mm × 200 mm × 5 mm Height of the microphone-amplifier connector: 21 mm Weight: 570 g (without microphone amplifier) Surface finish: matte gray Setup for M/S recordings with BLM 3g + MS-BLM and MK 8 + KC Active Cable or COMPACT MICROPHONE CCM 8U The engraved “8” on the end of the MK 8 or CCM 8 U should lie parallel to the plate of the BLM 3g. The “M“ and “S“ channels can be recorded directly. most of the sound reaching the microphone will be conducted through the air rather than the floor. As a rule. screwed onto the BLM 3g. It will pick up less “room sound“ and the recording will be slightly “drier“ than it would be with an omnidirectional microphone. which assures accurate reproduction of even the lowest frequencies along with the high signalto-noise ratio and stable performance typical of professional condenser microphones. which should be placed over the sound inlet of the BLM 3g. The great advantage of M/S technique is the ability to make adjustments during post-production. The capsule itself is a classic electrostatic pressure transducer. The smaller side either holds an Active Cable with an MK 8 capsule or a CCM 8 U COMPACT MICROPHONE. and matrixed into stereo left and right signals in playback.

universally applicable The BLM 03 Cg offers all the recognized advantages of the BLM 3g. It should be noted that any boundary-layer microphone must be placed on a sufficiently large soundreflecting surface for adequate low-frequency pickup. or beneath the lid of a piano). Dimensions: diameter: 80 mm.g. It is recommended in those cases where the BLM 3g is too large (e.g.g. for example. height: ca. e. for TV or film sound) or too heavy (e.g. for mounting in the interior of a car under the roof.6 mm Cable length: 5 m Weight without microphone amplifier CMC: 233 g Surface finish: matte gray +10 0dB -10 -20 BLM 03 Cg with microphone amplifier CMC 6Ug 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve BLM 03 Cg + CMC 6 A related technique: directional boundary-layer recording: suitable for from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz directional microphone. but most music recordings will require the use of a larger surface. while its smaller size permits more unobtrusive microphone placement. The Active Filter CUT may also be added. e. a table top may be sufficient. under a light tablecloth. when a conference is to be recorded. Its shallow profile and circular shape can often be disguised or hidden.5% THD) 20 .Boundary-Layer Capsules Miniature Boundary-Layer Capsule BLM 03 Cg COLETTE modular – pressure transducer with hemispherical pattern – active miniature version of the BLM 3g – unobtrusive. An Active Cable hard-wired to the BLM 03 Cg allows it to be joined to any microphone amplifier of the Colette Series (except the battery-operated model CMBI) to become a complete microphone. 8. CCM 4 or MK 4 (cardioids) compact CCM polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: COLETTE modular BLCg mounting plate 20 Hz – 20 kHz 19 mV/Pa 12 dB-A 23 dB 82 dB-A 128 dB-SPL(0. For speech applications as. max.

For wide pickups where some directivity of the microphone is advantageous. This results in a pickup pattern which blends the two sets of characteristics in a useful manner.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 21 + CMC 6 xt 21 . while attenuating side. When used as a spot microphone it must be placed somewhat closer to the sound source than a cardioid would be. and with cardioids (at least smaller ones). with less proximity effect.and rear-incident sound less than a cardioid. The low directivity of this microphone type prevents it from generating large enough level differences for X/Y use. the MK 21/ CCM 21 can be especially helpful. After the cardioid and supercardioid. The polar diagram shows the directivity of the MK 21/ CCM 21 to be only slightly dependent on frequency. often described as “warm” This type of capsule has a directional pattern between omni and cardioid. this is one of the most preferred types among our microphones. due to its lower directivity. It has fuller and more extended low-frequency response than a cardioid. The basic idea in designing this capsule was to combine the advantages of the cardioid with those of the omni. which tend to accentuate high frequencies that arrive at oblique angles. as in acoustically difficult rooms where the bass would be too strong when using omnis. though M/S and near-coincident spacings are often successful. The MK 21/ CCM 21’s orientation is less critical than with a cardioid. CCM 21 from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 30 Hz – 20 kHz 13 mV/Pa 15 dB-A 25 dB 79 dB-A 132 dB-SPL (0. This contrasts with omnidirectional microphones. MK 21g CCM 21 Ug CCM 21 Lg compact CCM COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 21 + CMC 6. whose directivity increases with rising frequency. Its uniform off-axis response helps to blend nearby instruments seamlessly into the overall mix. since direct sound arriving on axis and reverberant or other sounds off axis are both reproduced accurately.Wide Cardioids Microphone Capsule MK 21 COMPACT MICROPHONE CCM 21 – wide cardioid pattern very well maintained throughout the frequency range – pleasant sound image. This lack of coloration in the off-axis pickup produces a “warm” and natural sound image.

reaching +4 dB at 7 kHz. As with our MK 21 or CCM 21. CCM 21H from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 30 Hz – 20 kHz 10 mV/Pa 16 dB-A 26 dB 78 dB-A 134 dB-SPL (0. the frequency response of this model is exceptionally independent of the direction of sound incidence. it does not then roll off. COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 21H + CMC 6.Wide Cardioids CCM MK 21Hg CCM 21H Ug CCM 21H Lg compact Microphone Capsule MK 21H COMPACT MICROPHONE CCM 21H – wide cardioid pattern very well maintained throughout the frequency range – high-frequency emphasis for a slightly "brilliant" sound image – slightly brilliant sound image This microphone type is an outgrowth of our field experience with the MK 21. The frequency response of the MK 21H/ CCM 21H rises at high frequencies. It embodies suggestions made by various pop musicians who wished certain instruments (such as percussion.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 21H + CMC 6 xt 22 . acoustic guitar and vocals) to be reproduced with a touch of additional brightness. Unlike most other condenser microphones. but “stays up” even at very high frequencies. while maintaining the essential uniformity of response to sound originating anywhere in the microphone's front hemisphere.

with a well-defined sound image free of coloration. 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 4 + CMC 6.8 dB. Typical of the classic cardioid. it delivers exceptional results. while maintaining the same proportion of direct and reverberant sound. the less “room sound” is picked up by a microphone. for instance). at 90° to its axis the attenuation is 6 dB. When used for X/Y recording or as a Mid microphone in a Mid-Side configuration. and the less susceptible it is to acoustic feedback. It is also the capsule intended for use with our ORTF stereo microphone (MSTC 64 or STCg. depending on the frequency.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 4 + CMC 6 xt 23 . the MK 4/ CCM 4 can be placed 1.Cardioids Microphone Capsule MK 4 COMPACT MICROPHONE CCM 4 – cardioid pattern well maintained throughout the frequency range – for universal application The MK 4 and CCM 4 are optimized for maximum rejection of rear-incident sound. see pages 70 and 71). +10 MK 4g CCM 4 Ug CCM 4 Lg compact CCM COLETTE modular It is ideal for speech as well as for music recordings. CCM 4 from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 40 Hz – 20 kHz 13 mV/Pa 15 dB-A 24 dB 79 dB-A 132 dB-SPL (0. This microphone type has the most general applicability and is the type most widely used. (The higher this figure. In the diffuse sound field (distant from a sound source in a room.) Due to its directivity.7 times farther from the sound source than a pressure transducer of equivalent sensitivity. while from the rear (180°) it can be as much as 30 dB. The random-energy efficiency – the ratio of on-axis sensitivity to diffuse sound field efficiency – is 4. this microphone type has flat frequency response except for a slight emphasis around 10 kHz.

it still sounds somewhat brighter overall than the MK 4 or CCM 4. due to the acoustically transparent housing. when fully tightened it will rarely be aimed where you intend. The MK 4V may be easier to use in near-coincident setups than the MK 4: the microphone bodies do not get in each other's way. The directional response is especially well maintained even at higher frequencies.5% THD) 24 . SCHOEPS offers the pop filter PR 120 SV (page 112). High-frequency emphasis of offaxis sound – typical of most small axial-response cardioids – occurs less with the MK 4V/ CCM 4V. CCM 4V from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 40 Hz – 20 kHz 13 mV/Pa 14 dB-A 24 dB 80 dB-A 132 dB-SPL (0. With the MK 4 this can be avoided using GVC “elbows” or Colette cables. since its slight emphasis around 10 kHz helps to improve intelligibility.Cardioids CCM MK 4Vg CCM 4V Ug CCM 4V Lg compact Microphone Capsule MK 4V COMPACT MICROPHONE CCM 4V – cardioid for lateral pickup – for universal application – slight high-frequency emphasis The MK 4V and CCM 4V were created in answer to requests for a cardioid microphone whose main axis is along the side of the capsule. COLETTE modular +10 0dB -10 -20 Note: Though not specifically designed for such use. For speech applications. but because of its inherent frequency response. 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 4V + CMC 6. the MK 4V capsule can also be used on the RC Active Tube or the variable angle joint GVC. In addition to its usefulness in the concert hall. On request we will supply an elastic ring which can be slipped over the threads of the RC or GVC so that the final turn of the capsule will place it at the desired angle of rotation. this microphone type is of particular value in speech recording.

Thus the MK 41 and CCM 41 are surprisingly effective and space-saving alternatives to shotgun microphones – and being small.5% THD) +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 41 + CMC 6 xt 25 . comparable to that of a short “shotgun“ microphone up through midrange frequencies The MK 41 and the CCM 41 are strongly directional. where the shifting patterns of reflections cause corresponding shifts in sound color. Consequently. Its high-frequency linearity both on. MK 41g CCM 41 Ug CCM 41 Lg compact CCM COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 41 + CMC 6. see also page 119. they can often be placed closer to the sound source. Compared to the cardioid MK 4/ CCM 4. provided that a loudspeaker is not located directly on the rear axis of the microphone. the supercardioid has slightly more rolloff at the low end due to the gradient effect. Interference-tube microphones are notoriously sensitive to their position in a room. Sound arriving from off axis is attenuated even more than with a cardioid. even distant placement of the microphone produces a very natural sound pickup. so that even sounds arriving off axis and reverberant sound are registered without coloration.and off-axis also gives it a less brilliant sound than the MK 4/ CCM 4.This is a real advantage over interference-tube “shotgun” microphones.) An M/S microphone arrangement can be set up at quite some distance from the sound source if an MK 41 or CCM 41 is used for the “M“ channel. CCM 41 from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 40 Hz – 20 kHz 13 mV/Pa 16 dB-A 24 dB 78 dB-A 132 dB-SPL (0. Its directivity is highly independent of frequency.Supercardioids Microphone Capsule MK 41 COMPACT MICROPHONE CCM 41 – supercardioid pattern very well maintained throughout the frequency range – for music and speech – high directivity. whose directivity is very frequency-dependent – exceeding that of a supercardioid only at higher frequencies. The pickup is ‘drier’ and less susceptible to acoustic feedback than any other SCHOEPS microphone type. (Regarding shotgun microphones.

this type of microphone is addressed from the side. On request we will supply an elastic ring which can be slipped over the threads of the RC or GVC so that the final turn of the capsule will place it at the desired angle of rotation. comparable to that of a short “shotgun“ microphone up through midrange frequencies Like the MK 41 or the CCM 41. Theile of the Institute for Radio Technology. either as “spot“ microphones or as overall directional microphones. With the MK 41 this can be avoided using GVC “elbows“ or Colette cables. polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 40 Hz – 20 kHz 13 mV/Pa 15 dB-A 24 dB 79 dB-A 132 dB-SPL (0. CCM 41V from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz Note: Though not specifically designed for such use. This capsule type is therefore preferred for use as a support microphone as well as in the OCT (“Optimized Cardioid Triangle“) microphone system for surround sound recording introduced by Dr. when fully tightened it simply will not necessarily be aimed where you might intend. As a result.Supercardioids CCM MK 41Vg CCM 41V Ug CCM 41V Lg compact Microphone Capsule MK 41V COMPACT MICROPHONE CCM 41V – supercardioid pattern maintained particularly well throughout the frequency range – for lateral pickup – for universal application – high directivity. precise stereo imaging for normal music recordings. (The front left and right channels in that system are picked up by sidewaysfacing supercardioid microphones.5% THD) 26 . but is also of great benefit in obtaining stable. COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 41V + CMC 6. sound within 90º on either side of the main axis is picked up with virtually no alteration of frequency response or tone color. the MK 41V capsule can also be used on the Active Tube RC or the variable angle joint GVC. the MK 41V and CCM 41V are useful in all situations with music or speech. It excels particularly in the constancy of its polar response throughout the audio spectrum. see page 122 in the technical appendix to this catalog. This is strongly evident with sound sources that are in motion.) The MK 41V may be easier to use in near-coincident setups than the MK 41: the microphone bodies do not get in each other's way. However.

and as close to it as possible. (As an X/Y pair. As physics would dictate. the 0° axis faces to the left. The main axis of its bidirectional pickup lies at right angles to its cylindrical axis. two of them crossed at 90° are also ideal in the Blumlein stereo arrangement (page 62). and is marked at 0° and 180° with a red and a black dot respectively. as viewed from behind the microphone setup. When an MK 8 or CCM 8 is used as a spot microphone. at a precise right angle to the Mid capsule. When M/S stereo recordings are made.) Note: Though not specifically designed for such use. the frequency response rolls off above 16 kHz. the MK 8 capsule can also be used on the Active Tube RC or the variable angle joint GVC. A typical and interesting application of the MK 8/ CCM 8.Figure-8 Microphone Capsule MK 8 COMPACT MICROPHONE CCM 8 – pure pressure-gradient transducer with figure-8 pattern – directional pattern almost completely identical at all frequencies – main axis: radial (pickup perpendicular to the microphone body) This microphone type is a true dipole transducer. for which it is ideally suited. since sound arriving from the back is picked up with full level but reversed in polarity. is as the S channel of an M/S stereophonic system. care must be taken to avoid picking up early reflections or unwanted direct sound from its rear. polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 40 Hz – 16 kHz 10 mV/Pa 18 dB-A 26 dB 76 dB-A 134 dB-SPL (0. CCM 8 from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz 27 . The “8“ engraved on the top of the housing should be aligned on its side so as to appear horizontal. This could result in partial cancellation of the intended sound.5% THD) MK 8g CCM 8 Ug CCM 8 Lg compact CCM COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 8 + CMC 6. On request we will supply an elastic ring which can be slipped over the threads of the RC or GVC so that the final turn of the capsule will place it at the desired angle of rotation. – Proximity effect is present. which can lead to comb-filter effects at higher frequencies. – The directional characteristic and the random energy efficiency are extraordinarily independent of frequency. when fully tightened it will rarely be aimed where you intend. The microphone should be placed directly above or beneath the “M“ channel microphone. The inherent qualities of a pure pressure-gradient transducer are readily observed in this microphone type: – Its sensitivity decreases at low frequencies. operating with a single diaphragm. The sound quality of the MK 8 or CCM 8 is clear and neutral.) (Continued on page 126.

The polar diagram shows increasing directivity at high frequencies. CCM 5 The fact that response is maintained to the highest audible frequencies is unusual for a switchable-pattern microphone.5% THD) – 20 kHz mV/Pa dB-A dB dB-A dB-SPL 40 Hz – 20 kHz 13 mV/Pa 16 dB-A 25 dB 78 dB-A 132 dB-SPL +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz 50 100 200 500 1k 2k 5k 10k 20k 50kHz frequency response curve MK 5 (omni) + CMC 6 xt frequency response curve MK 5 (cardioid) + CMC 6 xt 28 .) COLETTE modular omni +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 5 + CMC 6. from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram cardioid +10 0dB -10 -20 frequency response curve MK 5 + CMC 6.Switchable Microphones CCM MK 5g CCM 5 Ug CCM 5 Lg compact Microphone Capsule MK 5 COMPACT MICROPHONE CCM 5 – omni and cardioid patterns. The pattern is selected purely by mechanical means. (Please make certain that the pattern selector is definitely in one position or the other. CCM 5 20 50 100 200 500 1k 2k 5k 10k 20kHz from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: 20 Hz Sensitivity: 11 Equivalent noise level: A-weighted: 14 CCIR: 26 Signal-to-noise ratio (A-weighted): 80 Maximum SPL: 133 (0. inbetween settings will yield undefined results. In the cardioid setting equal components of pressuregradient and pressure operation combine to form a cardioid pattern. via a slide switch on the side of the capsule. In its omnidirectional setting the capsule is a pressure transducer with flat response down to the lowest audio frequencies. but offers two selectable directional patterns. The MK 5/ CCM 5 has a slight high-frequency emphasis as compared with the corresponding single-pattern omni (MK 2/ CCM 2) and cardioid (MK 4/ CCM 4). mechanically switchable – slight emphasis of the high frequencies – broad range of applications The MK 5/ CCM 5 operates with only one membrane. which is typical for this type of transducer. The MK 5/ CCM 5 has near-universal usefulness and it is the capsule which we recommend most highly for those just starting out with the Colette Series.

MK 6g COLETTE modular omni +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 6 + CMC 6 from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram cardioid +10 0dB -10 -20 frequency response curve MK 6 + CMC 6 from outer to inner: up to 2 kHz 20 50 100 200 500 1k 2k 5k 10k 20kHz Note: Though not specifically designed for such use. As with the MK 8. A black dot marks the 180° direction. in the figure-8 setting. As with any microphone whose switchable patterns include the figure-8.) In the omnidirectional setting it is a true pressure transducer with flat response down to the lowest frequencies. When the ribbed cap of the capsule is rotated. the frequency response is neither as flat nor as extended in the high-frequency region as with the capsules described earlier.5% THD) – 16 kHz 40 Hz – 16 kHz mV/Pa 10 mV/Pa dB-A dB dB-A dB-SPL 17 dB-A 27 dB 77 dB-A 134 dB-SPL 40 Hz – 16 kHz 10 mV/Pa 19 dB-A 29 dB 75 dB-A 134 dB-SPL frequency response curve MK 6 + CMC 6 from outer to inner: up to 2 kHz 20 50 100 200 500 1k 2k 5k 10k 20kHz 4 kHz 8 kHz 16 kHz polar diagram 29 . However. the MK 6 closely resembles the MK 8. On request we will supply an elastic ring which can be slipped over the threads of the RC or GVC so that the final turn of the capsule will place it at the desired angle of rotation.Switchable Capsule Microphone Capsule MK 6 (not available as COMPACT MICROPHONE) – omni. then back through cardioid to omni. the MK 6 capsule can also be used on the Active Tube RC or the variable angle joint GVC. cardioid and figure-8. mechanically switchable – very broad range of applications – main axis: lateral (perpendicular to the microphone body) The MK 6 operates with a single diaphragm. In this setting the MK 6 shows an increasing directivity toward the high frequencies which is typical for such a transducer. the 0° axis is perpendicular to the body of the microphone and is indicated by a red dot at the lower rim of the capsule. when fully tightened it will rarely be aimed where you intend. a system of internal shutters alters the acoustic chambering around the diaphragm to change its characteristic from omni to cardioid to figure-8. 4 kHz 8 kHz 16 kHz polar diagram figure-8 +10 0dB -10 -20 Frequency range: 20 Hz Sensitivity: 9 Equivalent noise level A-weighted: 15 CCIR: 26 Signal-to-noise level (A-weighted): 79 Maximum SPL: 135 (0. (There is no functional difference between the two available cardioid settings.

When it is used at a distance of ca. The MK 4 or CCM 4 – without the lowcut – can then be used for recording music or more distant dialogue on a different occasion. and speech pickup at greater distance would sound thin and bright. but the CUT reduces the danger of overloading their inputs due to pop or wind noise. and wherever good speech audibility in a noisy environment is a prime requirement. this type of microphone may not be the most practical choice since it is intended to be used for very close miking. its working distance and the locale. Instead. This microphone is suited for the recording of music in exceptional cases only.Microphones for Close Pickup CCM MK 4Sg CCM 4S Ug CCM 4S Lg compact Microphone Capsule MK 4S COMPACT MICROPHONE CCM 4S – for pickup of speech or music at close range (under 50 cm). If the user is faced with such problems only occasionally. especially of speech. from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 80 Hz – 20 kHz 13 mV/Pa 15 dB-A 24 dB 79 dB-A 132 dB-SPL (0. designed exclusively for the intelligible pickup of speech at close range in acoustically unfavorable conditions where proximity effect is inherent in the situation. the standard version of the cardioid (MK 4 or CCM 4) can be used in combination with a variable filter (CUT or LC for MK 4.5% THD) 30 . Of course the low frequencies could also be reduced at the preamp or console. Thus it is not normally suitable for music. COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 4S + CMC 6. CCM 4S Please note: This microphone type is a pressure-gradient transducer with a distinct bass rolloff. The CUT allows the amount of low-frequency attenuation to be tailored to the specific voice. otherwise the sound may become “thin“ – cardioid pattern – considerable attenuation of low frequencies The MK 4S/ CCM 4S has a low-frequency rolloff to compensate for the low-frequency boost which occurs when close-miking. 10 cm flat frequency response can be obtained. LC for CCM 4) which attenuates the low frequencies electrically. The MK 4S/ CCM 4S is used primarily in voiceover and sound reinforcement applications.

CCM 40 from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 80 Hz – 20 kHz 18 mV/Pa 13 dB-A 22 dB 81 dB-A 129 dB-SPL (0. its working distance and the locale. Thus it is not normally suitable for music. but in addition emphasizes the frequency response in the 9 kHz region by 4 dB. If the user is faced with such problems only occasionally. the standard version of the cardioid (MK 4 or CCM 4) can be used in combination with a variable filter (CUT or LC for MK 4. LC for CCM 4) which attenuates the low frequencies electrically.Microphones for Close Pickup Microphone Capsule MK 40 COMPACT MICROPHONE CCM 40 – for pickup of speech or music at close range (under 50 cm). This effects a further improvement of speech intelligibility. It is not particularly recommended for music recording. especially of speech.5% THD) 31 . this type of microphone may not be the most practical choice since it is intended to be used for very close miking. but the CUT reduces the danger of overloading their inputs due to pop or wind noise. otherwise the sound may become “thin“ – cardioid pattern – considerable attenuation of low frequencies – emphasis of high frequencies – for severe acoustic conditions This microphone type has the same features as the MK 4 S. The CUT allows the amount of low-frequency attenuation to be tailored to the specific voice. particularly in very reverberant venues such as churches. Instead. and speech pickup at greater distance would sound thin and bright. The MK 40 or CCM 40 is used primarily for sound reinforcement of speech. The MK 4 or CCM 4 – without the lowcut – can then be used for recording music or more distant dialogue on a different occasion. MK 40g CCM 40 Ug CCM 40 Lg compact CCM COLETTE modular +10 Please note: This microphone type is a pressure-gradient transducer with a distinct bass rolloff. Of course the low frequencies could also be reduced at the preamp or console. 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 40 + CMC 6. designed exclusively for the intelligible pickup of speech at close range in acoustically unfavorable conditions where proximity effect is inherent in the situation.

this type of microphone may not be the most practical choice since it is intended to be used for very close miking. Of course the low frequencies could also be reduced at the preamp or console. with a stronger low-frequency rolloff and 10 dB lower sensitivity. The MK 4 or CCM 4 – without the lowcut – can then be used for recording music or more distant dialogue on a different occasion. especially of speech. In addition.5% THD) 32 . So SCHOEPS offers the MK 4S/ CCM 4S in a special version known as the MK 4A or CCM 4A (“A“ for “attenuation“). its working distance and the locale. e. from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: close pickup 3 mV/Pa 18 dB-A 29 dB 76 dB-A 144 dB-SPL (0. Neither characteristic is desirable. Instead. Thus it is not normally suitable for music.Microphones for Close Pickup CCM MK 4Ag CCM 4A Ug CCM 4A Lg compact Microphone Capsule MK 4A COMPACT MICROPHONE CCM 4A – for pickup of speech or music at close range (under 10 cm). COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 4A + CMC 6.g. the standard version of the cardioid (MK 4 or CCM 4) can be used in combination with a variable filter (CUT or LC for MK 4. but the CUT reduces the danger of overloading their inputs due to pop or wind noise. otherwise the sound may become “thin“ – cardioid pattern – reduced sensitivity – considerable attenuation of low frequencies When cardioids are used in some situations. At greater distances it would only deliver a low output level. proximity effect can become quite prominent. the output level can become much higher than that of the other microphones being used at the same time. If the user is faced with such problems only occasionally. CCM 4A Please note: This microphone type is a pressure-gradient transducer with a distinct bass rolloff. resulting in an effective reduction in signal-to-noise ratio. This microphone type is recommended for use exclusively in situations of very close pickup and high sound pressure levels. which may be more distant and/or of dynamic type. as hand-held microphones for vocalists or announcers. LC for CCM 4) which attenuates the low frequencies electrically. and speech pickup at greater distance would sound thin and bright. designed exclusively for the intelligible pickup of speech at close range in acoustically unfavorable conditions where proximity effect is inherent in the situation. The CUT allows the amount of low-frequency attenuation to be tailored to the specific voice.

(See headset. page 89.Microphones for Close Pickup Microphone Capsule MK 4VXS COMPACT MICROPHONE CCM 4VXS – for pickup of speech or music at close range (under 10 cm). especially of speech. the standard version of the cardioid (MK 4 or CCM 4) can be used in combination with a variable filter (CUT or LC for MK 4. and speech pickup at greater distance would sound thin and bright. As a result. Thus it has (up to the point of its high-frequency emphasis) a flat frequency response for the speaker’s voice. The MK 4 or CCM 4 – without the lowcut – can then be used for recording music or more distant dialogue on a different occasion. In this case it is attached to the user’s headphones. Of course the low frequencies could also be reduced at the preamp or console. designed exclusively for the intelligible pickup of speech at close range in acoustically unfavorable conditions where proximity effect is inherent in the situation. background sounds are picked up less strongly than the person speaking. The MK 4VXS or CCM 4VXS should be used with the popscreen B 5 in order to prevent “popping“ sounds from the voice. The CUT allows the amount of low-frequency attenuation to be tailored to the specific voice. while showing a rolloff at low frequencies for all sound that originates from a greater distance. It is designed for the very closest speech pickup.) MK 4VXSg CCM 4VXS Ug CCM 4VXS Lg compact CCM COLETTE modular +10 Please note: This microphone type is a pressure-gradient transducer with a distinct bass rolloff. i. CCM 4VXS from outer to inner: up to 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: close pickup 10 mV/Pa 14 dB-A 24 dB 80 dB-A 134 dB-SPL (0. 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 4VXS + CMC 6. its working distance and the locale. LC for CCM 4) which attenuates the low frequencies electrically. directly in front of the speaker’s mouth. The CCM 4VXS has proved itself especially when used in the broadcasting or recording of motor sporting events. this type of microphone may not be the most practical choice since it is intended to be used for very close miking. improves speech intelligibility in very loud environments. with its main axis along its side. If the user is faced with such problems only occasionally. but the CUT reduces the danger of overloading their inputs due to pop or wind noise.5% THD) 33 . Its low-frequency rolloff is compensated by proximity effect. Instead. otherwise the sound may become “thin“ – cardioid for lateral pickup – considerable attenuation of low frequencies – emphasis of high frequencies This cardioid microphone. Thus it is not normally suitable for music.e.

Of course the low frequencies could also be reduced at the preamp or console. The MK 41 or CCM 41 – without the low-cut – can then be used for recording music or more distant dialogue on a different occasion. LC for CCM 41) which attenuates the low frequencies electrically. the standard version of the cardioid (MK 41 or CCM 41) can be used in combination with a variable filter (CUT or LC for MK 41. CCM 41S Please note: This microphone type is a pressure-gradient transducer with a distinct bass rolloff. Instead. The rolloff of its low-frequency response is offset by proximity effect at close working distances. from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz polar diagram Frequency range: Sensitivity: Equivalent noise level: A-weighted: CCIR: Signal-to-noise ratio (A-weighted): Maximum SPL: 80 Hz – 20 kHz 13 mV/Pa 15 dB-A 24 dB 79 dB-A 132 dB-SPL (0. but the CUT reduces the danger of overloading their inputs due to pop or wind noise. and it is less prone to feedback. COLETTE modular +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz frequency response curve MK 41S + CMC 6.5% THD) 34 . especially of speech. but due to its greater directivity it attenuates reverberant sound further. otherwise the sound may become “thin“ – supercardioid directional pattern which is highly uniform throughout the frequency range – considerable attenuation of low frequencies – excellent suppression of ambient noise In its frequency response and in the range of its applications this microphone type resembles the MK 4S or CCM 4S. and speech pickup at greater distance would sound thin and bright. If the user is faced with such problems only occasionally. Thus it is not normally suitable for music. this type of microphone may not be the most practical choice since it is intended to be used for very close miking. designed exclusively for the intelligible pickup of speech at close range in acoustically unfavorable conditions where proximity effect is inherent in the situation. The CUT allows the amount of low-frequency attenuation to be tailored to the specific voice.Microphones for Close Pickup CCM MK 41Sg CCM 41S Ug CCM 41S Lg compact Microphone Capsule MK 41S COMPACT MICROPHONE CCM 41S – for pickup of speech or music at close range (under 50 cm). its working distance and the locale.

. with vacuum tube ..Microphone Amplifiers . phantom-powered/ T-powered .... battery-powered ..stereo COMPACT MICROPHONES 36 38 39 40 41 page 35 ...

CMC 6 U“xt“ – the 40 kHz Version This version is indicated by the letters “xt“ engraved on the microphone's output socket as shown at left. it may be possible to add 12 Volt powering rather easily by using a supply voltage that is already present internally. direct-coupled class-A output stage. Several standard versions of CMC microphone amplifier are available which differ only in their powering. In most cases 48 Volts would need to be generated with a voltage multiplier circuit. which is rarely encountered nowadays except in video and film sound. the CMC 6 is essentially flat to 20 Hz. That is why we recommend the CMC 6.) standard microphone amplifier: The chief task of the amplifier in a condenser microphone is to convert the extremely high-impedance signal of the capsule to a very low-impedance and balanced one suitable for transmission through a microphone cable. COLETTE modular CMC 6Ug for 12 V and 48 V phantom powering (auto-switching) additional microphone amplifier models: CMC 5Ug for 48 V phantom powering CMC 3Ug for 12 V phantom powering CMC 4Ug for 12 V parallel powering Special Versions new +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 50kHz Please note: The two amplifiers in a stereo pair of microphones should always be of the same type. very low-impedance output – can be used with very long cables (several hundred meters) – can be used with Active Accessories for miniaturization and special applications (see pages 5 and 47 ff. It extends the frequency response of the axially addressed Colette capsules beyond 40 kHz. If necessary it can also be driven from certain 48 Volt phantom supplies. The CMC 3 is designed for 12 Volt phantom powering. the CMC 5 should be fully satisfactory. They all feature a symmetrical. This design helps them to achieve extremely low distortion and light physical weight. the circuit uses neither coupling condensers nor an output transformer. while their very low output impedance helps make them insensitive to electrical interference. while with digital recording in mind. If it is certain that 48 Volt phantom powering will be available in all foreseeable recording situations. On the choice of amplifier type: If a recording device has balanced inputs but lacks phantom powering. The CMC 4 works only with 12 Volt parallel powering (“T-feed“). which works with both 12 V and 48 V phantom powering so long as the relevant standard is followed. output levels.Microphone Amplifiers CMC Microphone Amplifiers – balanced. the two amplifiers differ in their response at the very bottom of the audio frequency range. frequency range and surface finishes. The CMC 5 rolls off below 30 Hz. In addition to the CMC 6's dual-voltage circuitry versus the CMC 5's single-voltage circuitry. but it will draw significantly more current than a CMC 5 or CMC 6 without offering any particular advantage for doing so (a CMC 3 draws 11 mA at 48 V). Frequency response curve of CMC 6 xt with MK 4 (cardioid) 36 . which is more difficult to implement.

non-reflective surface finish COLETTE modular CMC “linear“ In past years. Since pressure transducers can pick up very low frequencies. but respond much more strongly to low-frequency mechanical stimuli such as air currents and solid-borne noise. but they can overload electronic circuitry and produce severe distortion. while the signal-to-noise ratio is essentially the same with either gain setting. certain commercially available power supplies. and/or for working with sounds that occur mainly at low levels. when using pressure (omnidirectional) transducers. preamplifiers. on the ring near the output connector.Microphone Amplifiers CMC “+5 dB“ In past years. however. on the ring near the output connector. The PHS 48 accessory test plug (described on page 101) can be helpful in testing equipment quickly and easily to see whether it is compatible with SCHOEPS 48 Volt phantom-powered microphones. This version might be chosen in order to raise the microphone's signals above the noise level of the equipment to which it will be connected. is even greater. Such signals may be below the audible range of frequencies.) 116 mm (incl. 3 mm capsule thread) 20 mm 65 – 68 g. The sensitivity of a microphone using this type of amplifier is 5 dB higher than with the standard version. July 97). concert halls) or traffic rumble can create a problem. this version was marked with a blue dot after the model designation. CMC microphone amplifiers normally have a gradual rolloff in response below 30 Hz (20 Hz in the CMC 6) to guard against infrasonic disturbances from various sources such as air movement and vibration. particularly in transformer-coupled circuitry. The special technology of the CMC microphone amplifiers makes this possible. Where doubt exists. They are far less sensitive to very low frequency sound. but the equivalent noise level and maximum output voltage are not materially affected. Included accessory with every CMC microphone amplifier: polished wood case for two microphones A note of caution: The current required by the SCHOEPS class “A“ output circuit falls well within the 10 mA limit set by the prevailing standard (DIN EN 61938. and mixing desks – mostly older. it can be desirable to pick up frequencies below 20 Hz without attenuation. Type designation of a complete microphone: CMC 64 Ug 6 powering 12V and 48V phantom 4 capsule type MK 4 U connector XLR-3M g surface finish matte gray. on request we can deliver microphone amplifiers with response that is flat to as low as 3 Hz. With pressure gradient transducers the risk Technical specifications: Amplifier type CMC 6U/ 6Uxt: Powering Current consumption 12 V phantom 8 mA 48 V phantom 4 mA (automatically switched) 48 V phantom 4 mA 12 V phantom 11 mA 12 V parallel 9 mA Impedance 25 Ohms 35 Ohms 35 Ohms 20 Ohms 13 Ohms Low-cut frequency (-3 dB) 20 Hz 20 Hz 30 Hz 30 Hz 30 Hz CMC 5U: CMC 3U: CMC 4U: Maximum output voltage: Minimum recommended load impedance: Length: Diameter: Weight: Surface finish: 1 V (at 1 kHz and 1 kOhm load resistance) 600 Ohms (If a lower load impedance is used. equipment should be checked to verify its suitability for professional work with SCHOEPS microphones. particularly with digital recording. but some more recent – may fail to meet this standard. Such units may not be able to power SCHOEPS microphones adequately. depending on type matte gray (g) or nickel (ni) 37 . However. Caution must be advised with respect to infrasonics. Thus the highest sound pressure level which the microphone can accept without distortion is 5 dB lower than in the standard version. especially where headroom at high SPL is desired. However. the main effect will be to reduce the maximum output level of the microphone. ventilation systems in large spaces (churches. this version was marked with a dash after the model designation.

140 mV Maximum sound pressure level at 0.g. The CMBI features a readily available internal 6 V silver oxide battery which. gives up to 80 hours of operation. In addition to battery operation. a phantompowered microphone can be awkward to use.setting: 700 mV “-15 dB“. the total cable length should be kept to less than about 15 m to avoid possible RF interference and impaired performance. CMBIg with matte gray surface finish 38 . etc. About 6 hours before the end of battery life a built-in LED begins to light up as a warning.6 mm mini stereo phone plug. the CMBI allows for external powering through a standard XLR microphone cable. Please note: Neither the Colette Series Active Accessories nor the BLM 03 Cg can be used with the CMBI. 5 m long) Available separately: microphone capsules. Accessories: included: wooden case. impedance: in setting “0 dB“: 500 Ohms in setting “-15 dB“: 300 Ohms Switches: combined on/ off/ attenuation switch with three settings: on (0 dB)/ off/ on (-15 dB) Powering: internal: 6 V silver oxide battery (e. windscreens.) Technical specifications: Sensitivity and equivalent noise level: see page 120 Maximum output voltage: “0 dB“.5% THD (capsule. combined with powersaving circuitry. (The included K 5 ISK cable is not suitable for this mode of operation.Battery-powered Microphone Amplifier Battery-powered Microphone Amplifier CMBI COLETTE modular – unbalanced. For these and other situations SCHOEPS offers the CMBI. Combine this with one of 19 microphone capsules of the Colette Series and you obtain a microphone which is acoustically equivalent to the balanced version using a CMC microphone amplifier.setting: ca. 120 dB-SPL switch setting “-15 dB“: at least 130 dB-SPL Output: unbalanced.and load-dependent): switch setting “0 dB“: RL > 10 kOhm: > 130 dB-SPL RL= 1 kOhm: ca. adapter cable K 5 ISK (miniature plug to 3. low-level output and its medium output impedance. battery. maximum battery life: 80 h External powering: 7 – 13 VDC Output connector: 5-pin miniature Diameter: 20 mm Length without capsule: 92 mm Weight: 72 g Surface finish: matte gray (g) or nickel (ni) Because of this model's unbalanced. Possible arrangements for connecting the CMBI are shown in the technical appendix on page 125. IEC 4 SR 44). medium-impedance output – for use with short cables (a few meters) – for connection to any desired microphone input If a recorder has no phantom powering or a microphone input is unbalanced as in many portable recorders and wireless microphone transmitters. a battery-powered microphone amplifier with unbalanced output.

The power supply offers a “TUBE DIRECT“ switch setting in which there are no semiconductors in the signal path whatsoever. BAL. its circuit design does not merely recycle techniques from the sixties. the output is also switchable to line level.g.de Supplied equipment: transport case with: tube microphone M 222 microphone cable KS 5U. Thanks to its universal output circuitry it can be used with any microphone input. and the overall specifications and performance are significantly improved. requires 12 V or 48 V phantom powering) Powering: 90 – 260 V AC powering KS 5 U: XLR-5 microphone cable for use with NT 222 DC and NT 222 AC. cable length at the output: more than 100 m (TUBE DIRECT: 40 m total length) Switches: ON/OFF FILTER 150 Hz (6 dB/Oct) HARMONICS (for more “tube sound“) (DC: 1 step. but its mains transformer is internal and the output is not switchable to line level. car battery) is possible as well. 300 mA.5%) with MK 2S Output: transformerless. Technical specifications: M 222: Dimensions: diam. length 116 mm (without MK capsule) Output connector: XLR-5M (gold-plated contacts) Maximum SPL: 142 dB-SPL without attenuation (k=0. the audio signal path is transformerless. an AC adapter is supplied but portable operation from an external 12 Volt supply (e. The M 222 can be ordered with two different powering units. for extra charge: matte red gold NT 222 DC and NT 222 AC: Dimensions: 105 mm × 50 mm × 140 mm Input: XLR-5 with gold-plated contacts. balanced Output: XLR-3 with gold-plated contacts (balanced. causing the gradual increase M 222 with MK 4g microphone capsule COLETTE modular of harmonics to set in earlier. 5 m long. GAIN (-10 dB(Tube Direct)/0/10/20/30 dB) Powering: with miniature mains adapter (included) or other mains adapters offering 12 VDC. Any capsules of the Colette Series be used (including the BLM 03 Cg) as well as all Active Accessories such as the CUT. can be operated in unbalanced mode without loss of level) Max. 100% shielded. nickel. to emphasize the typical “tube sound. rather it unites a first-quality tube with fully up-to-date circuitry. flexible. output level: DC: 9. KC. The dimensions and fittings of the M 222 amplifier are the same as those of the CMC series. may be unstabilized (internal switching regulator). RC and GVC. whether phantom powered or not and whether balanced or not. With the NT 222 DC. galvanic isolation from ground (switchable) NT 222 AC: Further switches: ATT –10 dB. The NT 222 AC has identical dimensions. A “HARMONICS“ switch alters the Q-point of the tube. balanced Surface finish: matte gray. for cable lengths up to 200 m. gold-plated contacts 39 .Tube Microphone Amplifier Tube Microphone M 222 Powering Units NT 222 DC and NT 222 AC – made exclusively for SCHOEPS by The model M 222 is based on the name of the legendary SCHOEPS tube microphone M 221 B.5 Vrms (+19.“ Visit : www. ca. GROUND LIFT. AC: 5 steps) NT 222 DC: Further switches: FILTER 60 Hz (12 dB/Oct).6 dBV) AC: 3 Vrms (+9. 20 mm. P48 (activates cable driver. When connected to 48 V phantom power (“P48 ON“). low capacitance.M222. 90 – 260 V The MK capsule must be ordered separately. For example.5 dBV) Max. 5 m long powering unit NT 222 DC or NT 222 AC popscreen B 5 microphone clamp SG 20 only with NT 222 DC: miniature mains adapter. cable runs up to 200 m can be used./ UNBAL. However. “HARMONICS“ (see below) is adjustable in five steps.

56 VST 62 IUg stereo amplifier STR 350g support rod. X/Y: see page 65 ff. STR vertical support rod) Mounting accessories for M/S. pg. the VST 62 IUg can be connected directly to transformerless. universal stereo microphone for A/B (spacing up to 50 cm). independent of the powering voltage Maximum output voltage at 0. X/Y or M/S.1m. ORTF. ORTF. Unlike the CMC microphone amplifiers. with KCY 250/5Ig: 5 m Technical Specifications: Sensitivity of the microphone. MK 8 microphone capsule. unbalanced inputs without loss of level or alteration of the noise figure – though a power supply with DC blocking is required.Stereo Microphone Amplifier Phantom-powered Stereo Amplifier VST 62 IUg COLETTE modular – for stereo recordings with the Active Stereo Cable (page 98) or the Active M/S stereo Tube RCY (page 65) – for 12 / 48 V phantom powering – suitable for microphone cables of up to several hundred meters (far longer than the maximum for KC Active Cables) Together with the KCY Active Cable and accessories. microphone capsule RCY 1200/2 Ig M/S stereo tube. 27 MK. 106 BF 250 floor stand. 230 g Pin assignment (XLR-5M): see page 126 * KS 5 I extension. maximum sound pressure level: as stated for the MK capsules with the CMC 6 microphone amplifier (page 120). for attaching the VST 62 IUg to any 12 mm rod (e.5% THD: 950 mV (at 1 kHz and 1 kOhm load impedance) Impedance: 60 Ohms Minimum recommended load impedance: 600 Ohms Low-cut frequency (-3 dB): 20 Hz Length: 170 mm Diameter: 30 mm Weight: ca. 108 MK microphone capsules 2× 250mm KCY 250/0Ig Active Y-Cable page 98 0. the VST 62 IUg can form a compact. signal-to-noise ratio. pg. equivalent noise level..g.. pg. 5 m VST 62 IUg * 5-pin Binder miniature connector 40 . Phantom powering: 12 and 48 Volts (automatic changeover) Current consumption per channel: 4 mA. pg. This data is independent of the powering voltage. Surface finish: matte gray (g) Accessories (to be ordered separately): K 30 STR stand support clamp for microphone amplifiers.

pg.CCM COMPACT MICROPHONES CCM-L COMPACT MICROPHONES CCM-L. 300 meters. This enables a very high degree of miniaturization and reliability to be attained. Length U-version: 46 mm – 58 mm. nothing can rattle CCM-U: special version which is lighter and 7 mm shorter. depending on the cable materials) In the CCM (Compact Condenser Microphone) series. 106 Technical Specifications for all CCM Types: Current consumption (automatically switched): P12: 8 mA. 106 ST 20-3/8 adapter. pg. polished wood carrying case CCM L: adapter cable K 5 LU (Lemo/ XLR-3M). see also page 61 XLR-5M 41 . It terminates in an XLR-3 plug and features a miniature Lemo connector with a threaded collar. COMPACT MICROPHONE SGC swivel stand coupler. can be inserted into the microphone cable. pg. so that when it is connected to the microphone. The two general types: CCM-L: The thin.. 5 m long optional: stereo cable KLY. P48: 4 mA Source impedance: 90 Ohms Minimum recommended load impedance: 600 Ohms Low-cut frequency (-3 dB): 20 Hz For all other specifications see page 120. 106 AF 1 flanged mounting adapter with internal shock mount. For further details see pages 6.. see page 100 Further accessories: starting on page 44. all compact accessories marked with this symbol: CCM-U compact CCM SGC CCM CCM. CCM-U – compact – balanced output (Lemo/ XLR-3M) as in the COLETTE MODULAR SERIES microphones (CMC) – for 12 / 48 V phantom powering – suitable for use with very long cables (up to ca. the acoustic transducer (capsule) and the microphone amplifier form an inseparable unit. 7 and 13 plus the descriptions of the specific models on pages 14 – 34. see at the bottom right LC 60 and LC 120 Active Low-cut Filter (60 and 120 Hz respectively). type-dependent Length L-version: 46 mm – 58 mm without connector Diameter: 20 mm Weight without cable: U-version: 33 g. but the carrying case has room only for cables up to 10 m. the XLR cable is heavier-duty and permanently connected to the microphone Accessories: included: SGC. KLY 250/5 I stereo cable 250 mm KLY 250/5 SU stereo cable miniature Binder connector 5 m. 44 STR-TC support rod. L-version: 43 g Surface finish: matte gray (g) or nickel (ni) Standard length of the cable (K 5 LU): 5 m Other lengths are available on special order. miniature swivel stand coupler (see on the right). removable connecting cable is sturdy and reliable. page 103. pg.

. omni/ cardioid Siemens tube microphone amplifier CMV 51-9 with CM 51-N9 capsule (cardioid). both made for Siemens. 1954 Photos: Siemens .the SCHOEPS version: 42 ..CM 51-7 capsule (omni) CM 51-U capsule.

Accessories arranged by Application Microphones on Stands Microphone Stand Tubes Table Mounting Table Stands. Boundary-Layer Cable Hangers Mounting on a Boom Instrument Adapters 44 46 47 49 53 55 56 57 page 43 .

radially-addressed Colette directional capsules (the MK 4V. Color: gray/ black 44 . or at any angle in between. Color: gray Stand Clamp SG 22 COLETTE modular The angle between the microphones can be varied as well as the angle of inclination for the pair. With a pair of CMC amplifiers placed upright side by side. Stand Clamp SG 22 MOD COLETTE modular Holds two microphones in parallel alignment. The other directional capsules (the MK 4. CMC or CMBI) The base of the SG 20 has a 5/8"-27 NS internal thread.Microphones on Stands Stand Clamp SG 20 COLETTE modular – for a microphone with 20 mm in diameter (e. However. Certain "near-coincident" microphone arrangements for stereo recording can be created in this way. esthetic standard version COLETTE modular The internal thread of the SGC or SGCM screws onto any 3/8" rod (e. compact CCM Miniature Swivel Stand Couplers SGC. SGCM – for CCM COMPACT MICROPHONES or Active Cable with MK microphone capsule – adjustable from 0° through 100° in either direction SGCM all-metal clamp with black chrome finish – stable construction with knurled screw for especially secure grip SGC Clamp made of gray plastic material – the unobtrusive. The angle can be varied continuously in the vertical plane.g. The SGC is an integral part of the HC cable hanger (page 55) and the TCg table stand (page 54). The angle of inclination is +90° to -90° from the mid position. MK 41 and MK 5) can be used with GVC angle adapters (see page 97). even some coincident microphone setups are then possible. It is primarily intended for holding a main microphone and a backup when extreme operational security is required. vertical support rods STR. the SG 22 is not suitable for stereo pickups because of the very limited range of angles and spacings possible between the microphones. MK 41V. perpendicular to the stand. A threaded adapter is supplied for 3/8" and 1/2" mounting. In the mid-position (shown at left) the microphones are oriented perpendicular to the microphone stand. while they can be oriented parallel to the stand. Their distance can be varied from 4 mm to 52 mm. MK 6 and MK 8) can be used with any desired angle set between their main axes.g. page 106) or stand adapter.

Not intended for use with larger. A special clamp secures the microphone cable. Diameter: 61 mm. When accessories such as the CUT filters. CMC or CMBI) The A 20 is recommended when only the CMC microphone amplifier and an MK capsule are used. for example. A 20 – for a microphone with 20 mm diameter (e. However. on a boom. heavier windscreens. A 22 The angle between the microphones can be varied as well as the angle of inclination for the pair. The microphone can be tilted to any angle. This type of clamp is primarily intended for holding a main microphone and a backup when extreme operational security is required.g. it is not suitable for stereo pickups because of the very limited range of angles and spacings possible between the microphones. This is necessary with the A 20 and advantageous with the A 20 S. and maximum protection from vibration is desired. the stiffer elastics of the A 20 S standard version are required. Threads: 5/8"-27 NS with adapter for 3/8" and 1/2" Color: gray COLETTE modular Elastic Double Suspension A 22 S. Color: gray COLETTE modular Elastic Miniature Suspension with Swivel AC – for CCM COMPACT MICROPHONES or Active Cable with MK microphone capsule – variable angle Matching pop filter: B 1 or B 5. thread: 3/8". GVC or SKC 200g are added to the microphone. The A 22 has softer elastics.Microphones on Stands Elastic Suspensions with Swivel A 20 S. color: gray compact CCM COLETTE modular 45 . The A 22 S is the standard version.

13 STV 900/1400 L3Ug floor stand BF 250. SCHOEPS floor stand BF 250) – minimum cable length (at maximum height of the STV): 3 m.L... 108 46 .Microphone Stand Adjustable-height Microphone Stand with Swivel STV 900/1400 L3Ug – microphone stand for CCM-L COMPACT CONDENSER MICROPHONES – adjustable to any angle at any time without unlocking – height: 900 mm to 1400 mm – angle range: 0° (vertical) to 120° – angle of rotation: 360° – tube diameters: 8 mm and 12 mm – mounting: on 3/8" threaded studs or 12 mm chucks (e. pg.g. other cable lengths are available on request. – output connector: XLR-3M Surface finish: matte gray (g) Recommended windscreen: B 5 D (page 114) 120° minimum height: 900 mm maximum height: 1400 mm compact CCM COMPACT MICROPHONE CCM. pg.

The RG 8 swivel joint is included. Included accessory: swivel joint RG 8 Recommended windscreen: B 5 D (page 114) Note: Though not specifically designed for such use. The K 5 LU adapter cable is included with the CCM-L. pg. 36. when fully tightened they will rarely be aimed where you intend. allowing adjustment of the tube's height and angle. 39 STR 350g vertical support rod. please inquire about delivery times. 106 BF 250 floor stand. pg. or M 222.L COMPACT MICROPHONE RL 700g tube (STR 350g vertical support rod. pg. at the output: Lemo plug for the existing adapter cable of the CCM-L – the swivel at the front end can be set from 0° (fully extended) to 120° Standard lengths: RL 350g: 350 mm RL 700g: 700 mm RL 1200g: 1200 mm Tube diameter: 8 mm Surface finish: matte gray (g) Other lengths can be ordered. MK 8 and MK 6 can also be used on the Active Tube RC or the variable angle joint GVC. 106) (BF 250 floor stand. pg. RC 350g: length: 350 mm recommended stand base (if the vertical support rod is fairly short): T 5 RC 700g: length: 350 mm recommended stand base: BF 250 RC 1200g: length: 1200 mm recommended stand base: BF 250 Special lengths – up to 1200 mm – can be ordered. On request we will supply an elastic ring which can be slipped over the threads of the RC or GVC so that the final turn of the capsule will place it at the desired angle of rotation. microphone capsule RC 1200g Active Tube CMC 6 Ug microphone amplifier.. This gives the Colette tube a very wide range of applications. 108 COLETTE modular Microphone Tube RL – extension tube for CCM-L COMPACT CONDENSER MICROPHONES – at the front end: Lemo socket. MK 41V. 108) CCM 47 .. The angle of the capsule relative to the tube is adjustable independently from 0° (fully extended) to 120°. the laterally addressed capsules MK 4V.. compact CCM..Tubes Active Tube RC The RG 8 swivel clamps the Colette tube onto a vertical support rod. MK. pg. pg.

108) Included accessory: swivel joint RG 8 Special Version: Double Tube R2C KC COLETTE modular Twin version of the RC KC Colette tubes of the COLETTE MODULAR SYSTEM. 106 K 20 STR clamp for CMC: pg. pg. which may then be mounted on the vertical support rod with a clamp or inserted in the cable path at a hidden position. This connector is screwed onto the microphone amplifier.. pg. in order to avoid possible interference. The possible drawbacks are: The inconvenience of wrapping and securing the cable attached to the tube especially if it is long.5-meter Colette cable.5 m cable length Special lengths are available on request. Each tube terminates in a connector mounted on a flexible. Surface finish: matte gray (g) MK. where inadvertent movement at the rear of the microphone stand might disturb the alignment.Tubes Special Version of the RC Active Tube: RC KC COLETTE modular This special type of Colette Active Tube terminates in a connector mounted on a flexible. pg. This arrangement is most useful when working in close quarters. see page 114) 48 . 0.g. Both of these problems can be avoided by choosing a similar arrangement with the COMPACT MICROPHONE CCM-L instead – see next page. R2C 350 KC 0..5 m cable length Surface finish: matte gray (g) Matching windscreen: B 55 D (twin B 5 D. 36 or M 222. The second channel serves as a fail-safe backup. The length should not exceed what is necessary. RC 350 KC: 0. 39 STR 600g vertical support rod.5g Active Tube CMC 6 Ug microphone amplifier. microphone capsule RC 350 KC 0.g. These connectors are screwed onto the microphone amplifiers. 0. 0.5 g: 350 mm tube length.5-meter Colette cable. or where the microphone amplifier body and cable connector might be objectionable and when the arrangement is not changed frequently. which may then be mounted on the vertical support rod with clamps or inserted in the cable path at a hidden position.5g = RC 350g with 0. Type designation: e. pg. 107 (BF 250 floor stand. Type designation: e.

To run the Colette cable through the AF 1. unsoldered and removed. pg. The photo at right shows a 350 mm tube and a 100 mm STR support rod. 106 + ST 20-3/8 adapter..5g Active Tube (CMC 6 Ug microphone amplifier. Even if monitor loudspeakers are nearby.. 106 1× AF 1 flanged mounting adapter. solving the problem in elegant fashion. In addition. pg. cardioids) when recording roundtable discussions. STR 100g vertical support rod. 106 1× AF 1 flanged mounting adapter. 106 or 2× AF 1 + ST 20 M adapter (see description above) COLETTE RC 350 KC 0.Table Mounting Setting up microphones on a table top A good speaker's desk. pg.. pg.. concealed perhaps beneath a thin covering cloth. pg.5g Active Tube mounted in a table top with elastic suspension modular See remarks above regarding the tube and support rod lengths. etc. 36) STR 100g vertical support rod. pg. Surface finish: matte gray (g) MK.. the risk of phase cancellation is greatly reduced.L COMPACT MICROPHONE RL 350g microphone tube K 5 LU. pg. a perforated surface on the other hand will radiate and reflect less sound energy than one which is flat and solid. or a table on which microphones are to be set up. calls either for a rather heavyweight construction or for a perforated metal surface to be used. It is not always necessary to use several directional microphones (e. Surface finish: matte gray (g) CCM. pg. two AF 1 adapters should be mounted one above the other with the threaded adapter ST 20 M. A heavy tabletop will not flex much. then resoldered on the other side. That approach would also be recommended if the support rod must be tilted at a 45° angle or greater.. If greater extension is required for either part of the setup. by using one boundary-layer microphone instead of several conventional microphones. microphone capsule RC 350 KC 0. A single boundary-layer microphone such as the BLM 03 Cg. 106 ST 20-3/8 threaded adapter. pg. This type of microphone is also significantly less sensitive to solid-borne noise than an ordinary directional type such as a cardioid. adapter cable of the CCM. for this type of setup. the risk of feedback is less than might be expected since the boundary-layer effect discriminates in favor of direct sound. 106 or 2× AF 1 + ST 20 M adapter (see description above) RL 350g microphone tube mounted in a table top with elastic suspension compact CCM 49 . 106 + ST 20-3/8 adapter. 106 ST 20-3/8 threaded adapter.. can be placed at the center of the table.g. its output connector (which is larger than 20 mm) must be disassembled.

. etc. pg. from the center of the gooseneck on through the AF 1 (unit is delivered with cable exiting from the side).. with permanently attached output cable) are available on request.. compact CCM. 106 CCM Surface finish: matte gray (g) Output connector: XLR-3M Gooseneck with Cable S 250 L5Ug – – – – length: 250 mm permanently attached cable. 106 AF 1 flanged mounting adapter. Surface finish: matte gray (g) Gooseneck with XLR-3M S 250 LUg Like S 250 L5Ug.. for this type of setup..L COMPACT MICROPHONE RLG 350Ug microphone tube 1 or 2× AF 1 flanged mounting adapter. compact CCM. pg. after resoldering the connector.. pg.g. 106 CCM The cable can be brought out from the side of the gooseneck or.Table Mounting Microphone Tube with two Swivels RLG 350 Ug – elegant table tube for CCM-L – swivel joints at both ends of the tube – tube length: 350 mm See remarks on page 49 regarding the tube and support rod lengths. but with an XLR-3M plug at the bottom end instead of the cable.L COMPACT MICROPHONE S 250 LUg gooseneck AF 1 flanged mounting adapter. 106 CCM 50 .. pg. 5 m long with 3/8" internal thread output connector: XLR-3M compact 5 m cable with XLR-3M CCM. Special versions (e.L COMPACT MICROPHONE S 250 L5Ug gooseneck ST 20-3/8 threaded adapter.

106 compact CCM Miniature Goosenecks SKC 200g. Lengths: SKC 200g: 200 mm SKC 300g: 300 mm SKC 420g: 420 mm. 106 AF 1 flanged mounting adapter. 107 51 . 106 COLETTE modular F 5g flange (fastened by a screw in the center) MK. 36 AF 1 flanged mounting adapter. pg. 45 F 5g flange.. For mounting in a table top. Cable path: as with the S 250 L5Ug (see previous page) Cable length: 5 m Surface finish: matte gray (g) S 420 L5Ug on T5g table stand CCM. microphone capsule SKC 200g/ SKC 420g gooseneck CMC 6 Ug microphone amplifier. the elastic suspension A 20 S can be used along with the SKC 200g. in order to give sufficient stability despite the narrow diameter. pg.. SKC 420g These goosenecks are used directly between capsules and amplifiers of the CMC series. In an arrangement as shown at right. pg. so it would have to “ride“ above the table top. 120 mm of which is rigid Other lengths on request. while the lower part (120 mm) is constructed as a rigid tube. pg. The upper and middle regions of the gooseneck are flexible.. COLETTE modular SKC 200g SKC 420g MK....L COMPACT MICROPHONE S 420 L5Ug gooseneck ST 20-3/8 threaded adapter. SKC 300g. only the gooseneck and capsule will be visible. pg. Surface finish: matte gray (g) When there is a particularly great need to isolate the microphone from solid-borne noise. and the suspension will be relatively soft. pg. pg. Mounting is generally quite straightforward and simple. the AF 1 flange (not included) offers good isolation from solid-borne noise. A CUT 1 or CUT 2 variable low-cut filter can be used on the amplifier – though the filter does not fit into the AF 1. microphone capsule SKC 200g gooseneck CMC 6 Ug microphone amplifier.Table Mounting Gooseneck S 420 L5Ug – special long (420 mm) gooseneck – for use with any microphone of the CCM-L series – output connector: XLR-3M This gooseneck has a socket which accepts the active part of a CCM-L microphone. 36 A 20 S elastic suspension.

pg. pg. pg. 36 A 20 S elastic suspension. microphone capsule + KC cable SGC miniature swivel stand coupler. pg. microphone capsule. pg. the stiffer version of the A 20 elastic suspension should be used. 107 COLETTE modular Variant 4: 4. 45 F 5g table mounting flange. pg. 106 AF 1 flanged mounting adapter.. 44 STR-TC vertical support rod. Output connector: XLR-5M Surface finish: matte gray (g) 52 . pg.. pg. pg. pg. pg. MK. 97 CMC 6 Ug microphone amplifier. 106 COLETTE modular AF 1 compact CCM Variant 2: 2. 106 AF 1 above the table surface AF 1 beneath the table surface Twin Table Microphone C2 CCM 4 Ug compact C2 CCM 4 Ug in AF 1 flanged mounting adapter with internal shock mount XLR-5M CCM PACT This table microphone consists of two CCM 4 COMMICROPHONES (cardioids) rigidly attached to one another and facing in the same direction.Table Mounting CCM Variant 1: SGC STR-TC notch hole ST 20-3/8 compact Further ways of mounting microphones on a table with elastic suspension 1. microphone capsule + KC cable SGC miniature swivel stand coupler.. Simple mounting and a relatively restrictive grip. For technical specifications see pages 25 and 43. CCM-L or CCM-U Compact Microphone or MK. microphone capsule. 36 AF 1 flanged mounting adapter. pg. Like variant 2. Very good isolation from solid-borne noise. 45 F 5g table mounting flange.. They can be tilted forward or backward together. and elegant appearance due to the smaller opening required in the table top. Simple mounting and more restrictive grip than with variant 3. pg. 106 ST 20-3/8 threaded adapter.. 106 A 20 S elastic suspension. 12 GVC capsule swivel. 12 GVC capsule swivel. 106 ST 20-3/8 threaded adapter. 97 CMC 6 Ug microphone amplifier. but because of the weight increase caused by the GVC.. pg. pg. 107 COLETTE modular F 5g A 20 S COLETTE modular Variant 3: 3. pg. pg. The second channel serves as a fail-safe backup.. 44 STR-TC vertical support rod. MK. CCM-L or CCM-U Compact Microphone or MK.. pg.

Table Stands Table Stand T 20g – tripod for a standard microphone of the COLETTE MODULAR SYSTEM (CMC. which are often twisted into awkward shapes. 20 mm diameter) – the microphone can be tilted to any desired angle Surface finish: matte gray (g) COLETTE modular Table Stand TA 20g As T 20g. The cable brought out at the base of the TR 200 KC 2g can be connected to any microphone amplifier of the COLETTE MODULAR SYSTEM (pg. 5) (except for CMBI). either at the rear or the bottom of the base. thus offering an esthetically pleasing alternative to goosenecks. other lengths can be ordered. The TR 200 Lg is also available with permanently attached cable. but for CCM-L COMPACT MICROPHONES – tube length: 200 mm The required K 5 LU adapter cable (Lemo to XLR-3M) is included with the CCM-L. COLETTE modular Table Stand TR 200 Lg – as TR 200 KC 2g (see above). Base diameter: 80 mm Height when extended. without capsule: 230 mm Surface finish: matte gray (g) The capsule is not included. Cable length is 2 m. Surface finish: matte gray (g) The CCM microphone is not included. Surface finish: matte gray (g) COLETTE modular Active Table Stand TR 200 KC 2g – elegant design – fully adjustable swivel joints at both ends of the tube This elegant microphone table stand is easily adjusted in height and angle. compact CCM 53 . but with integral shock mount.

PACT Cable: 5 m Surface finish: matte gray (g) compact CCM Miniature Table Stand TCg. pg. 36 SG 20 stand clamp. allowing the microphone to be mounted on the base close to the mounting surface. for STR support rods Dimensions: diameter: 129 mm. The permanently attached output cable terminates in an XLR-5M connector. 12 KC (pg.5 kg Surface finish: matte gray CMC 6 Ug microphone amplifier.g. TC 2g – adjustable angle These elegant table stands. COLETTE modular MK microphone capsule(s). They can be tilted forward or backward together. pg. 13/41 TC table stand TC COLETTE modular Heavy Table Stand T 5g – solid metal – with 3/8" threaded stud. 98) CMC 6 Ug microphone amplifier (not shown). The second channel serves as a fail-safe backup. pg. For technical specifications see pages 25 and 43. A neat cable run is obtained when the cable is put into the wire loop between the bolt and the socket. e. pg. 44 T 5g heavy table stand 54 . Dimensions: base diameter: 57 mm height: 80 mm Surface: matte gray (g) The microphone(s) and cable(s) are are not included. The vertical rod is removable. with vibration-isolating base. 97) or KCY Active Cable (pg. height: 52 mm Weight: 1. can be placed unobtrusively. pg. 36 or CCM-L/ U COMPACT MICROPHONES.Table Stands Twin Table Microphones T2 CCM 4g compact CCM This table microphone consists of two CCM 4 COMMICROPHONES (cardioids) rigidly attached to one another and facing in the same direction.

as shown here with a supercardioid. For sources at greater distances. 102) particularly minimizes the risk that the cable will twist after being set up. Incorporated in its design is the SGC swivel which allows orientation to any angle laterally. and vertically to any angle from 0° to 100°.Boundary-Layer Plate. as a result of rising temperature) after it has been suspended. surface finish: matte gray (g) sensitivity -1dB -2dB -4dB hemi-supercardioid h hemi-sphere compact CCM COLETTE Example of a directional boundary-layer microphone using a supercardioid: modular in a free sound field supercardioid sensitivity: 0 dB on a boundary layer. Cable Hanger H 20g This cable hanger suspends a microphone of the COLETTE MODULAR SYSTEM from its cable. the mounting should be secured additionally with adhesive tape. This is especially useful when recording moving singers/ actors on a stage. There is very little danger of an Active KC Cable or the cable of a CCM twisting (e. A tie line can be attached to a loop in the cable to keep the microphone absolutely steady. Color: gray/ matte gray COLETTE modular Miniature Cable Hanger HC This accessory is used when hanging an MK capsule on a KC Active Cable or a CCM COMPACT MICROPHONE. The HC is suitable only for use with the CCM-U or the Active Cable KC because of the cable diameter. the sensitivity of the microphone increases in a compensating manner due to the angle of sound incidence.g.g. floor or wall hemi-supercardioid +6 dB distance: 2h h h/2 A directional boundary-layer microphone tends to "even" the balance of speakers and singers at various distances. cardioid or supercardioid) CCM COMPACT MICROPHONE or MK capsule with Active Cable into a boundary-layer (PZM) microphone. If used with the CCM-L (which has a thinner cable). Placement on a boundary layer increases the random energy efficiency of a directional microphone by a further 3 dB. Color: gray compact CCM COLETTE modular 55 . e. in response to an increase in temperature. or when a microphone on a stand would be obtrusive. This provides a noticeable improvement in clarity due to the greater suppression of diffuse sound energy. Diameter: 100 mm.g.g. A rubber ring built into the bottom of the plate prevents inadvertent rotation of the plate or marring of the surface on which it is placed. and allows it to be set both vertically and horizontally to nearly any angle. e. The use of SCHOEPS microphone cable (see pg. Cable Hangers Mounting Plate for Directional BoundaryLayer Technique BLCg Turns any directional (e.

additionally available for enhancing the efficiency of wind noise reduction Basket diameter: 100 mm Length of the output cable: 16 cm Output connector: XLR-3M 56 . but the cable from the CCM itself is attached by means of a miniature connector. W 5 D) This elastic suspension holds either a CCM COMPACT MICROPHONE or the capsule end of a KC Active Cable (page 98) plus an MK capsule of the COLETTE MODULAR SYSTEM onto the end of a boom. lightweight windscreens (W 20 R1. The low weight – 190g including a windscreen – leads to an extraordinarily light weight at the end of the boom.” The output cable is permanently connected to this box. and thus to easy handling. The 3/8" internal thread fits any readily available microphone boom. Windjammer. The microphone is held securely by a metal clamp with thumb wheel. COLETTE modular recommended windscreen: W 5 D (page 114) Windscreen for a single CCM-L WSR 100 LU compact CCM – especially for outdoor use – small and lightweight – good isolation against solid-borne noise (handling noise) – cable: internal: extraordinarily flexible. This allows the rapid exchange of the cable when necessary.Operation on Booms (Mono) Elastic Suspension ACA 53 compact CCM – especially for indoor use – small and lightweight – can be used with small. Color: black The windscreen is not included. a fur-like “overcoat” which enhances the efficiency The cable from the CCM and the output cable join together at the small “ConnBox. external: robust – with 3/8" internal thread for booms – optional: Windjammer.

This can be stand-mounted. SA 2 clamp for the cable CCM 4V Lg COMPACT MICROPHONE 57 . On stage. but with range of span: ca. However.Instrument Adapters Picking Up the Sound of Musical Instruments . dark gray foam cover (B 1) is included. the risk of acoustic feedback may necessitate very close miking – perhaps by means of an adapter that attaches directly to the instrument.. it is always a compromise. That approach may also be necessary in order to get consistent sound despite a player's physical motions. 26 mm to 50 mm VA 2 compact CCM Adapter for Flute FA 1 – for CCM 8 COMPACT MICROPHONE or MK 8 microphone capsule with KC Active Cable COLETTE modular Adapter for Saxophone SA 2 – for CCM 4/ CCM 4V COMPACT MICROPHONE or MK 4/ MK 4V microphone capsule (cardioids) with KC Active Cable The SA 2 has a miniature elastic suspension which significantly reduces the transmission of handling noise from the instrument to the microphone. 25 to 40 mm B1 VA 1 leather strips (at points of contact) Adapter for Violin/ Viola VA 2 As VA 1. however. As far as the sound quality is concerned. SCHOEPS microphones do as much as possible to allow good sound quality to be obtained with this type of technique. Range of span: ca. Adapter for Violin VA 1 – for CCM 4V COMPACT MICROPHONE or MK 4V microphone capsule (both cardioids) with KC Active Cable To protect the microphone against rosin deposits. or an Active Colette Tube can be used. is best accomplished with a normal microphone such as a CMC amplifier with MK 4 capsule.. a thin.

manufactured for Telefunken in 1954.SCHOEPS CMV51-9 tube microphone amplifier with CM51-U capsule. Polar pattern: omni / cardioid. pen shown for size comparison 58 .

Stereo Miniature Stereo A/B Blumlein Sphere Stereo M/S ORTF X/Y 60 62 62 63 65 70 72 page 59 .

.1 m. LC 120 U (optional) Active Low-cut Filter page 100 LC 60 U.. 0. page 92 * 5-pin Binder miniature connector 60 .Colette MINIATURE STEREO MK. LC 120 U (optional) Active Low-cut Filter page 100 * VMS 5 U stereo microphone preamplifier with M/S matrix. microphone capsules ORTF Stereo page 70 COLETTE modular RCY for M/S page 65 2× 250 mm KCY 250/0Ig Active Y-Cable page 98 M/S Stereo page 65 ff. 5 meters page 103 * * * AK I/2C adapter cable page 98 OCT / OCT Surround page 122 VST 62 IUg stereo microphone amplifier page 40 CUT (optional) low-cut filter page 99 CMC microphone amplifier page 36 AK SU/2U adapter cable XLR-5F / 2× XLR-3M page 102 LC 60 U. with KCY 250/5Ig: 5 m permanently attached cable * KS 5 I extension.

5 m page 103 * XLR-5M OCT / OCT Surround page 122 Double-M/S Surround page 79 ff.CCM-L MINIATURE STEREO Features of these systems: – allow for small and lightweight stereo recording setups without compromise in sound quality – powered from battery or via AC supply (optional) – suited for all two-microphone stereo recording techniques with 50 cm distance or less between microphones – especially suited for M/S and ORTF CCM. compact CCM 0. AK SU/2U adapter cable XLR-5F / 2× XLR-3M page 102 LC 60 U. LC 120 U (optional) Active Low-cut Filter page 100 * 5-pin Binder miniature connector VMS 5 U stereo microphone preamplifier with M/S matrix..1 m.. with KLY 250/5I: 5 m CM min XY 4 iatu V Ig re s w CMXY 4V Ug ock ith et for X/Y * page 72 * * KS 5 IU adapter cable to XLR-5M and extension. page 92 61 .L COMPACT MICROPHONES ORTF Stereo page 70 2× 250 mm KLY 250/0I Y-cable page 103 M/S Stereo page 66 ff.

A/B and Blumlein Stereo

new

A/B Stereo
A/B and OCT Mounting Bar MAB 1000
– for two microphones in an A/B arrangement (can be used for ORTF, but see the relevant section on pages 70 and 71) – with mounting arm for a third, central microphone offset slightly in front of the other two (see page 78); this is especially useful for OCT pickup (pages 122 ff.) – can be expanded for five-channel OCT surround (see page 78, 123 ff.) This 1-meter-long mounting bar has 3/8" threaded attachments for three stand adapters or shock mounts. The microphone positions are continuously adjustable. Each side of the bar is engraved with markings every 2.5 cm so that distances of 5 cm, 10 cm, 15 cm, etc. can easily be set between the two outer microphones. Thread: 3/8"; length: 1000 mm; weight: 500 g Accessories: included: KMAB 1000, robust, foam-lined carrying case for two MAB 1000 mounting bars and a CB-MAB supporting beam to be ordered separately: – stand adapters and shock mounts: SG 20 (page 44) or A 20 (page 45) for CMC-series microphones; SGC (page 44) or AC (page 45) for CCM-series microphones. – MC-MAB microphone carriage for additional microphones – CB-MAB supporting beam for OCT surround; holds two MAB 1000 bars at variable distance (13 – 47 cm)

compact

CCM

COLETTE
modular

3/8" threaded stud

MAB 1000 – as delivered

KMAB 1000 carrying case, included

Blumlein Stereo COLETTE
modular

Universal Stereo-Microphone Bar UMS 20
– for two microphones of the COLETTE MODULAR SYSTEM (CMC, 20 mm diameter) – for Blumlein, M/S, ORTF, X/Y The mounting adapter for this device has 5/8 - 27 NS threads and can be directly attached to a microphone stand. However, because it has a 20 mm diameter, it can also fit into an optional SG 20 stand clamp (pg. 44) or A 20 S elastic suspension (page 45). Thread of the mounting adapter: 5/8"- 27 NS, with adapter to 3/8" and 1/2" Surface finish: metal: matte black plastic microphone holders: gray For windscreens see page 111.

with WB windscreen

62

Sphere Stereo
Stereo Sphere Microphone KFM 6
smaller version: KFM 360 (page 76)
– head-related stereo microphone for loudspeaker reproduction – very good imaging and sense of depth; good localization, very natural sound – with qualities of a dummy head when headphones are used for listening – natural sound with superior low-frequency performance – for phantom powering (12 V or 48 V) Stereo microphones such as the KFM 6 are distinguished by the simplicity of the recording technique and of the setup. Only two microphones and recording tracks are required, and with the KFM 6 only one microphone cable is needed. The KFM 6 sphere microphone is the embodiment of a stereo microphone design using an acoustic baffle. It bears some resemblance to a “dummy head“ and follows some of the same principles – but while dummy head recordings can provide excellent results, they are suitable only for headphone listening. The “Sphere“ microphone was developed so that similarly convincing results could be achieved for loudspeaker playback. To fulfill this objective the microphone must provide not only interaural arrival-time cues, but also spectral-vsangular incidence information. A further requirement was that the frequency response on the main axis of the microphone in the free sound field and also the frequency response in the diffuse sound field remain flat. (See G. Theile: “On the naturalness of two-channel stereo sound,” AES/SMPTE Joint Television Conference, Jan. 1991, Detroit) In constructing the KFM 6, two special pressure transducers are mounted flush on the surface of a sphere 20 cm in diameter, an acoustic baffle having especially favorable properties. Normally two pressure transducers placed so close to each other would not provide a convincing stereo image. However, the sphere between the capsules creates a frequency-dependent emphasis of level differences comparable to that which occurs naturally between the human ears. The frequency response on the stereo main axis of the KFM 6 is flat when measured at the output of either channel. If a sound source moves around the sphere, the level in the one channel will increase by the same amount as it decreases in the other. This is brought about by the unique construction of the microphone capsules, the effect of the sphere as an acoustic baffle, and some special electronic circuitry built into the amplifier. As a result, the energy sum of the two channels is largely independent of the angle of sound incidence and shows essentially flat frequency response in both the direct and the diffuse sound field. Furthermore, the directionality of the microphone is essentially constant throughout the audio frequency range. These features, combined with an exceptionally flat

WKFM windscreen

KG ball-and-socket joint

63

Sphere Stereo
response that extends down to the very lowest frequencies, are responsible for the remarkably natural impression of space, depth and image typical of the KFM 6. Some practical information about the KFM 6: – The recording room should have a good sound. – In practice, the recording angle* of the KFM 6 has a fixed value of 90°. – A LED pinpoints the stereo main axis. This is especially useful when the KFM 6 is positioned at some distance. – The sensitivity of the KFM 6 is about 15 – 20 dB higher than that of a standard Colette Series microphone. – The KFM 6 can operate into unbalanced inputs without any loss of level and without transformers. This requires a powering device with DC decoupling. – Any standardized 12 V or 48 V phantom powering is suitable. Please note: When a 12 V phantom powering is used, the maximum SPL is reduced by 7 dB. – In order to assure proper operation, make sure that both channels are powered simultaneously at all times. Accessories: included: – HKFM, a universal device for suspending the KFM 6 on lines – KG, ball-and-socket joint for mounting the KFM 6 on a stand – AK SU/2U, adapter cable (XLR-5F to 2× XLR-3M) available separately: – KKFM, wooden shipping case for the KFM 6 and accessories such as the mounting and suspension devices, other hardware, cables, etc. – WKFM (see previous page), a foam windscreen for outdoor use in moderate wind. It has minimal effect on the sound pickup (diam. 200/ 240 mm x 40 mm) – XLR-5 stereo cables (page 102)

+10 0dB -10 -20

20

50

100

200

500

1k

2k

5k

10k

20kHz

Frequency response curve on the stereo main axis

Technical Specifications: The following data were measured on the axis of the capsules. A standard 48 V phantom power supply was used and the load impedance was 1 kOhm. Classification of the special capsules: pressure transducer Recording angle* for full stereo reproduction: ca. 90° Frequency range: 18 Hz – 16 kHz Sensitivity: 100 mV/Pa (10 mV/µbar) Equivalent noise level, CCIR: 25 dB Equivalent noise level, A-weighted: 17 dB-A Signal-to-noise ratio, A-weighted: 77 dB-A Maximum sound pressure level for 0.5% THD: 123 dB-SPL Output voltage at maximum SPL: 2.8 V Source impedance: 60 Ohms Minimum recommended load impedance: 600 Ohms Powering: 12 – 48 V phantom Current consumption per channel: 4.4 mA, independent of the supply voltage; at high sound pressure levels slightly more Measuring conditions: see page 120 Weight: ca. 1.1 kg Diameter of the sphere: 200 mm Total weight of the suspension device: ca. 0.5 kg Surface finish: matte gray Pin assignment (XLR-5M): see page 126
* the range within which the sound sources should be placed, as “seen“ by the microphone

64

27 MK microphone capsule RCY 1200Ig stereo tube VST 62 IUg stereo microphone amplifier. pg. 40 or microphone preamplifier VMS 5 U. 106 BF 250 floor stand. particularly unobtrusive stereo arrangement – a swivel at the upper end allows angles from 0° to 120° to be set – also suitable for use as part of a “Straus-Paket“ in which the signals from a cardioid and an omnidirectional microphone are blended together. 92 STR 350g vertical support rod. compact CCM COLETTE modular MK 8g microphone capsule (figure-8)..M/S Stereo Laboratory model of a sphere microphone using vacuum-tube circuitry.. A rubber ring keeps the capsule in its intended orientation.108 65 . pg. Type designation: for example RCY 1200/2Ig (1200 mm tube and 2 m cable. 1955 M/S Stereo Active Stereo Tube RCY – small. The RG 8 swivel joint and a rubber ring (see on the right) are included. pg.) are available on request. 700 mm. 1200 mm Standard cable length: 2 m Special lengths of tube and cable are available. SCHOEPS. to obtain a “wide cardioid“ pattern Tube lengths: 350 mm.g. e. pg. matte gray) Extension: KS 5 I: 5 m long or KS 10 I: 10 m long Matching windscreen: WMS (see page 115) Corresponding tubes for CCM COMPACT MICROPHONES (RLY. pg.

M/S Stereo CCM Mounting Stud with Swivel for M/S SGMSC Thread: 5/8"-27 NS internal thread. and tilted. especially flexible material. Matching windscreen: WMS (page 115) compact COLETTE modular compact CCM Cable Hanger for M/S HSGMSC cable KLY 115/0. CMC 641 Ug (supercardioid) Elastic Suspension for M/S with Swivel AMS – especially for indoor use Holds both capsule connectors of the Active KCY Stereo Cable. An adapter is included for 3/8" and 1/2" mounting. Thread: 5/8"-27 NS internal thread. the fur-like “overcoat” (Windjammer) the AMS becomes the WSR MS windscreen with elastic suspension that is best suited for outdoor recordings (see following pages and page 114).g. by the use of a CCM 8 (figure-8) No further parts are needed beyond the clamp and microphone. e. 66 . The small CCM 8 adds hardly any weight to that of the setup as a whole.g. With its swivel adapter it can be mounted e. The forward ends of the cables are all 115 mm long and are made of a thin. COLETTE modular directional microphone. on support rods (STR). or two Active KC Cables equipped with capsules or two CCM COMPACT MICROPHONES one above the other. Existing windscreens can still be used. An adapter is included for 3/8" and 1/2" mounting.25 SU COLETTE modular The microphones can be adjusted in their orientation by inclining the double clamp or turning it to either side. With a windscreen and. Matching windscreen: WMS (page 115) compact CCM CCM 8 Lg or CCM 8 Ug (both figure-8) Double Clamp for Ugrading from Mono to M/S Stereo KMSC – for adapting a microphone of any directionality (including shotgun microphones) to M/S stereo. if necessary. The output cable is 250 mm long.

25I: Lemo to miniature output connector Corresponding version with windscreen: WSR MS LI COLETTE modular Binder miniature connector (I).. output connector: miniature plug for VMS 5 U microphone preamplifier and VST 62 IUg stereo microphone amplifier Corresponding version with windscreen: WSR MS CI Binder miniature plug (I) for CCM.25Ig. small and lightweight.... with Y-cable KLY 115/0. with Y-cable KLY 115/0.. -LI. -LU) 67 . adapter cable to XLR-5M: KS 5 IU Windjammer (fur-like “overcoat” for WSR MS CI. microphone capsules with Y-cable KCY 115/0..L COMPACT MICROPHONES.L COMPACT MICROPHONES.M/S Stereo The following versions of the AMS are available: AMS: without cable (not shown) AMS CI “C” plug AMS LU for MK.25 SU: Lemo to XLR-5M connector Lemo miniature plug (L) Corresponding version with windscreen: WSR MS LU XLR-5M (U) AMS LI + windscreen = WSR MS LI diameter of the basket: 150 mm compact AMS LI CCM for CCM.

KS 5 I (5 m) MK MK 8g VMS 5 U stereo microphone preamplifier with M/S matrix. page 92 KCY 115/0. 98) with 25 cm single end piece. Note: The KCY is also available with 5 meter output cable (KCY 115/5Ig).25Ig WSR MS CI 150 mm dia.. MK 4g (cardioid) AMS CI elastic suspension with Active Y-Cable KCY 115/0.25Ig). without capsules. which can be used with the more common KC Active Cables). e. with MODULAR COLETTE SYSTEM This approach to M/S recording takes advantage of the modular nature of the COLETTE SYSTEM. for higher directivity) capsule with bidirectional characteristic for the S channel extension e. MK 8g capsule (figure-8) MK.g. 68 . but handling and storage are easier with the shorter cable. The two branches (115 mm long) which connect to the capsules are made from a special material that is designed to remain flexible even at sub-freezing temperatures (-20° C). to increase resistance to wind noise microphone capsule for the M channel. necessary for the KCY 115/0.M/S Outdoors Characteristics common to both solutions: – same acoustical specs as for full-size Colette mics – for M/S recordings with a boom – a small and very lightweight unit Windjammer for WSR MS CI (fur-like “overcoat”) COLETTE modular . M/S matrix and headphone output (see page 92) Instead of the VMS 5 U. MK 4g (cardioid) or MK 41g (supercardioid.g. e.25Ig Active Y-Cable (see pg.g. fur-like “overcoat” for the WSR MS CI. and might be preferred by those who already own one or more of the COLETTE capsules involved. The latter combination allows the variable low-cut filter CUT 1 or CUT 2 to be used as well (see page 99). (Version without pre-mounted cable: WSR MS. WSR MS CI Windjammer windscreen for M/S with AMS CI elastic suspension (including pre-mounted Active Y-Cable KCY 115/0. the double microphone amplifier VST 62 IUg or two CMC microphone amplifiers – via adapter cable AK I/2C – can be used. KS 5 I extension cable (5 m long). contains microphone preamplifier.25Ig VMS 5 U special powering unit for capsules with Active Cable.. the extension cable (KS 5 I) can be simply attached or removed.

25U is included). 1× CCM 8 Lg (figure-8). the single end piece is 25 cm long. CCM 8Lg CCM 4Lg AMS LI elastic suspension with Y-cable KLY 115/0. a CCM 41Lg supercardioid can be used when greater directivity is needed COMPACT MICROPHONE with bidirectional characteristic for the S channel Y-cable.25I VMS 5 U stereo microphone preamplifier with M/S matrix. to increase its resistance to wind noise cardioid COMPACT MICROPHONE for the M channel.M/S Outdoors – good resistance to wind noise – signals can be dematrixed during recording or in post-production – can be battery. WSR MS LI windscreen for M/S with AMS LI elastic suspension (pre-mounted Y-cable KLY 115/0. but handling and storage are easier with the shorter cable.25 I Windjammer extension and adapter KS 5 IU (5 m) CCM 4 Lg CCM 8 Lg AK SU/2U adapter cable XLR-5F/ 2× XLR-3M page 102 KLY 115/0. 1× Windjammer. The parts shown here as being needed for M/S stereo recording are also available as a complete “M/S Set. The two branches (115 mm long) which connect to the capsules are made from a special material that is designed to remain flexible even at sub-freezing temperatures (-20° C). stereo adapter and extension cable to XLR-5M adapter cable XLR-5F to 2× XLR-3M microphone preamplifier with phantom powering. with CCM-L COMPACT MICROPHONES This version is the one which we recommend particularly to our newer customers since the Y-cable is the only component specially required for this application. including K 5 LU adapter cable (Lemo/ XLR-3M). included accessories: as with CCM 8 Lg The supercardioid microphone CCM 41 L can be substituted for the cardioid CCM 4 L at a slight increase in cost. Note: The KCY is also available with 5 meter output cable (KCY 115/5Ig). M/S matrix and headphone output (page 92) WSR MS LI 150 mm dia. (Version without pre-mounted cable: WSR MS) fur-like “overcoat” for WSR MS.or AC-powered (accessory) Windjammer for WSR MS LI (fur-like “overcoat”) compact CCM . page 92 KS 5 IU AK SU/2U VMS 5 U The windscreen is also available in the WSR MS LU version (page 67. 1× CCM 4 Lg (cardioid). 1× AK SU/2U. Optional: low-cut filter LC 60 (page 100) 69 . without microphones.. the extension cable (KS 5 IU) can be simply attached or removed.“ It comprises: 1× WSR MS LI. SGC stand clamp and polished wood case. 114) with an XLR-5M plug instead of the miniature Binder connector.. 1× KS 5 IU. The microphones themselves are in no way limited to use only for M/S recording.

M 100 C. on ORTF: page 120 70 . A threaded adapter is supplied for 3/8" and 1/2" mounting. X/Y More on the UMS 20: page 104. 20mm diameter) – for ORTF. 20 mm diameter) – for M/S. Thread: 5/8"-27 NS. Color: gray/ matte gray Matching windscreen: WMS (page 115) ORTF Stereo CCM Stereo Bar for ORTF Recordings STCg SG 20 STCg compact COLETTE modular For information on the ORTF technique please see following page as well as page 120 in the technical appendix. with adapter for 3/8" and 1/2" The SG 20 stand clamp is included. Blumlein. ORTF. Note: The two MK 4 cardioid capsules or CCM 4 cardioid COMPACT MICROPHONES normally used with the STCg are available as a matched pair. see page 105 COLETTE modular Universal Stereo Bar UMS 20 – for two standard microphones of the COLETTE MODULAR SYSTEM (CMC. M/S. 20mm diameter) Its base has a 5/8"-27 NS internal thread. X/Y Matching windscreen for M/S: WMS (page 115) COLETTE modular Elastic Suspension for M/S AMS 22 – for two standard microphones of the COLETTE MODULAR SYSTEM (CMC.M/S / ORTF Stereo Adapter for M/S using Boundary-Layer Technique MS-BLM For the BLM 3g boundary-layer capsule (pg. Blumlein. 18) and a) MK 8 microphone capsule with Active KC Cable or b) CCM 8U COMPACT MICROPHONE COLETTE modular COLETTE modular Universal Stereo Bar UMS 20 – for two microphones of the COLETTE MODULAR SYSTEM (CMC.

as “seen“ by the microphone with Windjammers Surface finish: matte gray (g) or nickel (ni) Accessories (included): SG 20 stand clamp In many situations the use of an elastic suspension is advisable. with the maximum sound pressure level being slightly reduced (ca. A-weighted: 16 dB-A Signal-to-noise ratio. 114 A 20 S elastic suspension. Placement is relatively uncritical and the technique produces good results even in the hands of an inexperienced or hasty user. 71 .5% THD: 132 dB-SPL Output voltage at maximum SPL: 1 V Source impedance: 35 Ohms Minimum recommended load: 600 Ohms Phantom powering: 12 / 48 V (auto-switching) Current consumption per channel. Like the KFM 6 this is a “head-related” arrangement. and a matched pair of MK 4 cardioid capsules of the COLETTE MODULAR SYSTEM which are mounted 170 mm apart with an included angle of 110° (ORTF system).ORTF Stereo ORTF Stereo Microphone MSTC 64 – – – – – for recordings with ORTF technique placement relatively uncritical good stereo imaging universally applicable for 12 / 48 V phantom powering COLETTE modular This microphone consists of a T-shaped body with two built-in microphone amplifiers. 4 dB) when powered by 12 V. A-weighted: 78 dB-A Maximum SPL for 0. with only a single stand and microphone cable required. Surface finish here: matte gray (g) ORTF microphone MSTC 64 Ug B 5 D windscreens. CCIR: 26 dB Equivalent noise level. Due to the weight of the MSTC. In almost any situation it produces an evenly-spread stereo image with good localization. The MSTC 64 accepts any 12 V or 48 V standardized phantom powering. The stereophonic recording angle* is 95°. This is probably the simplest stereo technique in general use. The two MK 4g capsules included with the MSTC 64g are a specially selected. pg. 45 MSTC 64 Ug with BBG windscreens without Windjammers Technical Specifications of the MSTC 64. 230 g Pin assignment (XLR-5M): see page 126 * the range within which the sound sources should be placed. the A 20 S (see page 45) with its stiffer elastics should be used. independent of the supply voltage: 4 mA Weight: ca. matched pair. pg. The designation MSTC 64g refers to a dual microphone amplifier MSTC 6g equipped with two MK 4g cardioid capsules. Setup is particularly quick and simple since the capsule spacing and angles are fixed. measured on the axis of the MK 4 capsules: Recording angle*: 95° Frequency range: 40 Hz – 20 kHz Sensitivity: 13 mV/Pa Equivalent noise level. often without the need for spot or ambient miking. Popscreens and windscreens for the MSTC 64 are described in the section beginning on page 111.

g. output voltage: ca. But there can never be perfect threedimensional coincidence between any two microphones. The CMXY 4V has balanced outputs at an impedance of only 90 Ohms. e. While this distance is in the horizontal plane. The capsules always rotate equally and in opposite directions by means of an ingenious gear arrangement in the base of the microphone. Technical Specifications: Polar pattern: 2× cardioid with lateral pickup (CCM 4V) Frequency range: 40 Hz – 20 kHz Maximum SPL: 132 dB-SPL at 0. TV and broadcast use. It thus lends itself ideally to music recordings. This allows cable lengths of up to several hundred meters to be used without loss of sound quality. Its mild high-frequency boost increases the intelligibility of speech and compensates for high-frequency losses typical of moderate recording distances. it is considerably less than the vertical distance between capsules in most other stereo microphones of professional quality. for presenters. the KS 5 IU adapter cable to XLR-5M is included. Unlike conventional microphones which have one fixed and one rotatable capsule. This is possible by using the smallest non-electret condenser microphones with balanced outputs. boom operations or as a stereo spot microphone on a stand. Two versions are available (see on top of the next page): CMXY 4V Ig: miniature output connector. CMXY 4V Ug: XLR-5M output plug The adapter cable AK SU/2U (XLR-5F to 2× XLR-3M) is included. while the risk of electromagnetic interference is greatly reduced. elegant and lightweight universally applicable with XLR-5M or miniature output connector The CMXY 4V is a compact and versatile X/Y stereo microphone which is both elegant and very unobtrusive. This greatly simplifies setting up the microphone. the angle between the capsules of the CMXY 4V (and hence the recording angle*) can be adjusted without affecting the main stereo axis. the CCM Compact Condenser Microphones. on a table for discussions. and the distance between center points of the capsules in a CMXY is only 21 mm. 1 Volt Weight: 190 g 72 .X/Y Stereo X/Y Stereo Microphone CMXY 4V – – – – 2× cardioid with lateral pickup compact. The overall width of the two microphones combined is similar to (often less than) the diameter of a conventional stereo microphone’s capsule assembly. Thus the precision of stereo imaging and mono compatibility are fully in keeping with established professional requirements. The side-by-side arrangement of capsules is somewhat unusual.5%THD Equivalent noise level: 24 dB (CCIR) 14 dB-A Phantom powering: 12 V (8 mA) or 48 V (4 mA) (automatically switched) Impedance: 90 Ohms Max. as “seen“ by the microphone CMXY 4V Ug actual size 180° 90° 0° The angle between the microphone’s axes can be adjusted continuously in the range from 0° to 180°. Surface finish: matte gray (g) Accessory part (included): polished wood case * the range within which the sound sources should be placed.

the table top) consists of a perforated material. If the version with XLR-5M connector (“U”) must be used with this windscreen.X/Y Stereo CMXY 4V Ig CMXY 4V Ug WMS windscreen KS 5 IU adapter cable A 20 S elastic suspension A 20 S elastic suspension WSR CMXY basket-type windscreen with A 20 CMXY elastic suspension (modified A 20 S) Windjammer fur-like “overcoat” for WSR CMXY Notes: If the “basket”-type windscreen WSR CMXY is to be used. These can be reduced if the surface (e.g. the version of the microphone with miniature output connector (“I”) would be preferable. a short (right-angle) XLR connector is required on the cable to avoid its scraping against the inside of the “basket. comb-filter effects will occur. 73 .” When any microphone is placed near (but not directly onto) a flat surface.

Alternatively. it can be suspended from a cable by means of the H 20g hanging adapter (see page 55). Mounting adapter: 5/8".X/Y Stereo Universal Stereo Bar UMS 20 COLETTE modular – for two STANDARD Microphones of the COLETTE MODULAR SYSTEM (CMC. ORTF.27 NS. X/Y For further information: see page 104. The entire bar is hinged so that it can be tilted forward or backward. Blumlein. Laterally addressed microphones: MK 4V microphone capsule or CCM 4V U/ L COMPACT MICROPHONE For critical applications the M 100 C can be suspended in an A 20 S shock mount (see page 45) with the aid of the ST 20-3/8 adapter (see page 105). with adapter to 3/8" and 1/2" COLETTE modular 74 . 20 mm diameter) – for M/S. compact CCM Miniature Positioning Device M 100 C – for X/Y and ORTF Axially addressed microphones: MK 4 microphone capsule or CCM 4 U/ L COMPACT MICROPHONE.

Surround Sphere Surround OCT/ OCT Surround “Double M/S“ “IRT Cross“ 76 78 79 80 page 75 .

detachable clamp system with bayonet-style connectors (SGC-KFM). highly effective arrangement – extensive capability for post-processing in digital domain (many important parameters can be adjusted after the recording has been made) – digital and analog inputs and outputs – analog-style controls – user preference settings can be stored and recalled The complete surround microphone system consists of: – KFM 360 sphere microphone with SGC-KFM suspension for two figure-8s – two figure-8 microphones (CCM 8L) and – the DSP-4 KFM 360 processor. An additional output channel is provided which carries only the frequencies below 70 Hz. The necessary high-frequency compensation for the pressure transducers is built into the processor unit. RS) from the microphone signals. In addition to providing gain. as “seen“ by the microphone KFM 360 plus 2 CCM 8Lg COMPACT MICROPHONES (figure-8) + DSP-4 KFM 360 processor unit with built-in A/D and D/A converters KFM 360 KS 5 U 5m KLY 250/5 SU 5m 3× AK SU/2U adapter cable 6× XLR-3M XLR-5 XLR-5 I II inputs XLR-5 XLR-5 XLR-5 I II III outputs DSP-4 KFM 360 processor 76 . matrixing can be performed during post-production. and the directional patterns of the front-facing and rear-facing pairs of “virtual microphones” (see “Operating principle” below) can be chosen independently of one another. The processor unit offers both analog and digital inputs for the microphone signals. Surround capability is achieved through the use of two figure-8 microphones. it offers high-frequency compensation for the pressure transducers as well as low-frequency compensation for the figure-8s. The front stereo image width is adjustable. thus permitting closer miking than the pure stereo microphone KFM 6 (90°). These components are also available separately. A center channel signal is obtained from the two front signals. 120°. LS. To avoid perceiving the presence of the rear loudspeakers one can lower the level of their signals. delay them and/or set an upper limit on their frequency response. R. The DSP-4 KFM 360 processor derives the four “corner” channels (L. The central unit in this system is the KFM 360 sphere microphone. The main axes of these two microphones should be aimed precisely forward. Operating principle: The front and rear channels result from the sum (front) and difference (rear) of the omnidirectional and figure-8 microphones on each side respectively (see illustration on the next page).Sphere Surround Surround Microphone System by Bruck with KFM 360 and DSP-4 KFM 360 – compact. The four resulting “virtual microphones” which this process creates will seem to be * the range within which the sound sources should be placed. As with M/S recording. which can be attached next to the pressure transducers by an adjustable. All matrixing in the DSP-4 is performed in the digital domain. Its recording angle* is ca. It uses two pressure transducers and can also be used for stereophonic recording.

10 m. SR front channels: sum (omni + figure-8) R + – – + + – figure-8 CCM 8 omni KFM 360 omni + – figure-8 CCM 8 rear channels: difference (omni – figure-8) RS Operating principle: derivation of right (R) and right surround (RS) signals (rough diagram). so these additional facilities are provided by the digital signal processor. balanced.1/ 48/ 96 kHz with external synchronization (through master inputs): 25 – 100 kHz Elevation of the digital level: max 33 dB Dynamic range: A/D converter: 98dB (peak) CCIR 110dB (rms) unweighted D/A converter: 100dB (peak) CCIR 113dB (rms) unweighted Characteristic impedance of the cable connected to the digital outputs: 110 Ohms Mains voltage: switchable 110 – 120 V / 220 – 240 V Power consumption: 15 VA Fuse: 230 V: 100 mA slow blow. 20 m) for the KFM 360: KKFM wood case and HKFM suspension device When a KFM 360 is ordered separately. the pattern of the two rear-facing virtual microphones can be different from that of the two forward-facing ones. output II: C. included: K 5 LU adapter cable (Lemo/ XLR-3M). 48 V/ 4 mA phantom powering – 2 pressure transducers. II: unprocessed input signals. At higher frequencies. see block diagram on page 125 for details Frequency response curves showing the effect of the processor’s built-in corrective equalization (before/ after) for two channels) 1× KLY 250/5 SU. LFE. max. 120° – weight: 800 g CCM 8L figure-8. Altering the directional patterns alters the sound as well. in ways that are not possible with ordinary equalizers.7" Weight: 2. advantage: only one cable is necessary Technical specifications: KFM 360 – for 12 V/ 8 mA. 1× AK SU/2U (XLR-5F / 2× XLR-3M) Maximum analog output level: +6 dBU Digital inputs/ outputs: channel assignment just as with the analog outputs. The complete KFM surround set consists of: KFM 360 sphere microphone 1× KG ball-and-socket joint for mounting on a stand 2× CCM 8 L COMPACT MICROPHONE (as a matched pair). SGC stand clamp with swivel and a polished wood case 2× SGC-KFM mounting clamp for CCM 8 DSP-4 KFM processor with mains cable and wood case 3× AK SU/2U adapter cable (XLR-5F to 2× XLR-3M) for connecting the processor’s analog outputs 1× KS 5U stereo cable for connecting the KFM 360 (5 m long. Their directional pattern can be varied anywhere from omnidirectional to cardioid to figure-8. output III: Monitor. KS 10 U.7" × 3. it comes with 1× KG. This permits a flexible means of adapting to a recording situation – to the acoustic conditions in the recording space – and this can even be done during post-production if the unprocessed microphone signals are recorded. as the figure-8s are. KS 20 U. built into the sphere – diameter: 18 cm – recording angle: ca. they will seem to be aimed further outward. for connecting the two CCM 8 to the processor Available separately: for the KS 5 U and KLY 250/5 SU cables: extension cables (e. data format: 24 bit AES/EBU Digital inputs: 2× 2. 5 m long. however. XLR-3F Digital outputs: 3× 2. balanced.) Analog outputs: 3× 2. output III: SL. R.5" × 9. 20 kOhm): “Analogue Mic Gain”: +10 dB +20 dB Maximum input level: -4 dBU -14 dBU Maximum SPL KFM 360: 130 dB-SPL 120 dB-SPL (The digital output level can be adjusted.6 cm about 8. mode: output I: L.1 approach. 48 V phantom powering. transformerless. XLR-3M synchronization/ sample rate: with internal synchronization: 44. 6 dBV (2Vrms): REC mode: outputs I. 110 V: 200 mA slow blow Dimensions (W x H x D) 22 x 9 x 24. SURR.7 kg (about 6 lbs) 77 .g. XLR-5F. 100 Ohms. Y-cable.Sphere Surround aimed forward and backward. XLR-5M. for technical specifications: see page 27 DSP-4 KFM 360 Analog inputs (2× 2. 2× SGC-KFM. transformerless. The signals from the four “virtual microphones“ comprise a type of surround reproduction which is valid in its own terms but lacks the center channel and lowfrequency channel of the standard 5.

length: 1000 mm. foamlined carrying case for the two MAB 1000 mounting bars and the CB-MAB supporting beam * the range within which the sound sources should be placed. can easily be set between the two outer microphones. Please note: Stand adapters or shock mounts must be ordered separately.5 cm so that distances of 5 cm. Germany) – for recording five-channel surround – the simplest and most compact arrangement for surround recording with OCT OCT surround setup: A complete OCT surround setup is obtained by adding a connecting rod (CB-MAB) along with a second MAB 1000 mounting bar for the rear-channel microphones. and www. The microphones can be positioned anywhere along the bar.de COLETTE modular 40 cm CB-MAB up to 100 cm on the reco . 100 cm OCT Surround Setup (by Dr. as “seen“ by the microphone 78 . dependent rding ang le* front OCT surround setup: 2× AB/ OCT mounting bar MAB 1000 1× connecting bar CB-MAB microphones: front: center: cardioid MK 4 or CCM 4 sides: 2× supercardioid MK 41V or CCM 41V rear: 2× cardioid MK 4 or CCM 4 KMAB 1000 Accessories (included): KMAB 1000. Germany) new MAB 1000 4 – 100 cm compact CCM COLETTE modular front 8 cm – – – – – – for recording the three front channels for surround can also be used for A/B stereo recording angle*: 90 – 160° good separation between the L/C and R/C sectors distance between microphones: 4 – 100 cm can be expanded for five-channel OCT surround OCT bar MAB 1000 center: cardioid MK 4 or CCM 4 sides: 2× supercardioid MK 41V or CCM 41V 3/8" threaded stud The OCT (Optimized Cardioid Triangle) is a welldesigned method for obtaining the front channels for a convincing surround recording of music. IRT. Recommended stand adapters or shock mounts: SG 20 (page 44) or A 20 (page 45) for CMC-series microphones.OCT / OCT Surround OCT Mounting Bar for the Front Channels (by Dr. robust. IRT. Each side of the bar is engraved with markings every 2. weight: 500 g MAB 1000 as shipped new compact CCM 20 cm wider than at the front.hauptmikrofon. Thread: 3/8". This 1-meter-long mounting bar has 3/8" threaded attachments for three stand adapters or shock mounts (not included). 10 cm. max. SGC (page 44) or AC (page 45) for CCM-series microphones. Theile. 15 cm. Further information: see page 122 ff. etc. A detailed description of the OCT technique can be found on page 122 in the technical appendix. Theile.

One M/S system then provides the three front channels (the center channel signal being provided directly by the mid microphone of the front system).g. In addition to a front-facing cardioid or supercardioid “mid“ microphone and a figure-8 “side“ microphone. The Double-MS Set consists of a special shock mount with three CCM-L miniature microphones in a double M/S configuration. 50 cm long) can be used. with two of the microphones serving dual functions). miscellaneous “Double M/S“ Surround with Double-MS Set – requires only three microphones and channels for 5. back-to-back M/S systems.Surround.) A cable adapter from three Lemo sockets to an XLR-7M output connector is included as well as an XLR-7 extension cable (5 m long) and a DMS-Splitter. just as with twochannel M/S recording. 5 m long C = M channel “FRONT” M S M/S matrix I “FRONT“ er Splitt DMS- M S M/S matrix II “REAR“ L R In place of the DMS Splitter. an AK DMS 3U adapter cable (XLR-7F to three XMR-3M.) new t fron compact CCM CCM 4VLg (cardioid) shock mount and cable adapter of WSR DMS LU front CCM 8Lg (figure-8) rear CCM 4VLg (cardioid) KDMS 5 U XLR-7 extension cable. The latter is a passive device that simplifies connecting a double M/S array to phantom-powered preamplifiers with matrix circuitry (e. a windscreen and a Windjammer. a rear-facing directional microphone is set up. while preventing any overlap in the phantom powering of the microphones from the inputs to which it is connected. lightweight array – can be well protected against wind (with “fur” Windjammer) – allows post-production processing (if matrixing takes place after the recording) “Double M/S“ is an improved version of the wellknown M/S stereo recording technique. fur cover for enhancing the protection against wind noise left + – Double M/S viewed from top. The front. a CCM 41VL supercardioid can be ordered for an additional charge. A double M/S arrangement of this kind allows flexible processing of the stereo surround image width and post-production adjustment.0 surround – very small. while the other system provides the two surround channels. not drawn one above the other (coincident) REAR 79 . 2× SCHOEPS VMS 5 U) or to the inputs of a mixer.and rearfacing microphones share the signals of the figure-8 microphone so as to form two complete. LS RS L LS C R RS left + – right FRONT + right Surround playback arrangement: see ITU 775-1 left + – right = Windjammer. It divides the signals from the three microphones to five outputs (the center channel plus the two M/S pairs. (Instead of the CCM 4VL. for reasons of clarity. M/S stereo pair I (FRONT) M/S stereo pair II (REAR) WSR DMS LU = shock mount with cable adapter and windscreen (150 mm dia.

80 .g. 360° cinema sound recording or for other playback arrangements in which the speakers are placed in the four corners of a square). see page 124) and can also be used for full surround (e. It is useful as a four-channel arrangement for room tone (for example in combination with the OCT surround system. the cross itself is distinctly smaller. L FRONT R compact CCM COLETTE modular LS CB 250: 25 cm CB 200: 20 cm RS CB 140 (version for supercardioids): 14 cm IRT crosses CB 250 and CB 200: 4× cardioid CCM 4 / CCM 4V or MK 4 / MK 4V with Active KC Cable Cross CB 140: 4x supercardioid CCM 41 / CCM 41V or MK 41 / MK 41V with Active KC Cable CB 140 A modified form of IRT Cross exists for supercardioids as well. miscellaneous Ambient/ Surround Recording Array: Mounting Bars for “IRT Cross“ CB 250. CB 200 The IRT microphone cross is an arrangement for ambient recording. somewhat smaller version.Surround. The CB 250 is the version which more closely approximates the theoretical ideal. while the CB 200 is the original. Its primary characteristic is a transparent and spacious rendering of the acoustic environment. Since the distance between microphones is only 140 mm.

PolarFlexTM Microphone Processor 81 .

e..g. the behavior of large-diaphragm microphones can readily be synthesized). however. The DSP-4P can model well-known microphones (e. but realistically such defects can be used to advantage when adapting to the acoustics of a particular recording environment.e. a “cardioid“ which becomes omnidirectional below the midrange so that it has better response at the very lowest frequencies. separately within specific frequency ranges. and that they do so differently in different types of microphone. Until now.e.PolarFlexTM PolarFlexTM – System for Modeling any Microphone DSP-4P Processor Make the recording first and then choose the microphones..g. The lack of constancy in polar response is technically a defect. Equalization can be used to control the effective frequency response of a microphone. The features: – two output channels – emulates the sound of any microphone – offers many new creative possibilities for shaping the sound of a recording – frequency response and polar pattern can be tailored – the characteristics of the recording microphones can be chosen after the recording (post-processing in the digital domain) – digital and analog inputs and outputs – analog-style controls – user preference settings can be stored and recalled Condenser microphones of the same nominal directional pattern often sound quite different from one another. there has been no direct way to alter polar patterns in a corresponding manner. equally important is the fact that polar patterns vary throughout a microphone's frequency range. frequency-independent) directional characteristics can be selected – or nearly any frequencydependent directional characteristic can be chosen. Differing on-axis frequency response explains only part of the sonic impression. nearlyideal (i. but its most interesting application may be to optimize a recording by defining + 2× omni & figure-8: L R CCM 8 Lg KA-DTM hemisphere CCM 2S Lg front B-DTM bar Y-cable KLY-DTM 25 cm length “female” 5-pin Binder miniature connector or 2× double cardioid: CMXY 4V L front R rear panel 82 . i. With the DSP-4P processor.

If another kind of microphone is used. the result could be uncontrolled polar response at various frequencies. The settings are indicated by a circle of LEDs Analog inputs (2× omni + 2× figure-8. the direction in which it is aimed will determine the orientation of the resulting adjustable “virtual” microphone. balanced. XLR-3F. 110 V: 200 mA slow blow Dimensions (W×H×D in cm): 22 × 9 × 24. since only those would have a sufficiently uniform directional characteristic throughout the frequency range.7" × 3. however. in third-octave steps.) Analog outputs (3× 2. In an excessively reverberant space one could obtain a “drier” sound (cardioid or supercardioid setting) or in spaces that are dry. The upper arrangement (omni + figure-8) consists of: 1.6 about 8. The knobs in the lower row are set between those in the upper row. 6 dBV (2Vrms)): 2× 2 for passed-through input signals. 20 kOhm): “Analogue Mic Gain”: “+10 dB” “+20 dB” Maximum input level: -4 dBU -14 dBU Maximum SPL with CCM 2S (omni): 130 dB-SPL 120 dB-SPL (The digital output signal can controlled.7 kg (about 6 lbs) around each of the knobs. while the omni should have a slight diffuse-field equalization (a highfrequency emphasis as measured on axis). Eleven intermediate pattern settings are available. one could accept more room reflections (wide cardioid or omni setting) – either across the bandwidth or in a particular frequency range. The ratio of direct to reflected sound would thus be altered rather than the on-axis frequency response.1/ 48/ 96 kHz with external synchronization (through master inputs): 25 – 100 kHz Elevation of the digital level: max 33 dB Dynamic range: A/D converter: 98 dB (peak) CCIR 110 dB (rms) unweighted D/A converter: 100 dB (peak) CCIR 113 dB (rms) unweighted Characteristic impedance of the cable connected to the digital outputs: 110 Ohms Mains voltage: switchable 110 × 120 V / 220 – 240 V Power consumption: 15 VA Fuse: 230 V: 100 mA slow blow. The high-frequency emphasis compensates for the high-frequency losses due to lateral sound incidence. 1× 2 for processed signals Digital inputs: 2× 2. format: AES/EBU. Other small-diaphragm condenser microphones can also be used. the SCHOEPS CMXY 4V. At the lower left of each knob is the omnidirectional setting. the figure-8 microphone should have flat frequency response.5" × 9. The three buttons at the lower right are for storing 83 . max. and are aimed forward and backward. two suitable double microphone arrangements are shown. 100 Ohms. the capsule has ideal directional response in the horizontal plane. If the first arrangement (shown on top) is being followed. Processor The following settings can be made independently of one another in three adjustable frequency ranges. XLR-5F. The hemispherical device attached to the top of the figure-8 flattens the response of the omnidirectional microphone at the highest frequencies. They are used for setting the boundaries between the frequency ranges: 100 Hz – 1 kHz and 1 kHz – 10 kHz respectively. The PolarFlexTM microphone system consists of: – a pressure transducer (omni) and a figure-8 per channel (also two cardioids per channel can be used) – the DSP-4P stereo processor Technical Specifications: On the opposite page. 24 bit Digital outputs (3× 2. XLR-5M. They both are made up of SCHOEPS microphones and accessories. 1× 2 for processed signals Data format: AES/EBU (24 bit) Synchronization/ sample rate: with internal synchronizsation: 44. Because of its angle of orientation. balanced. or 4× cardioid. The two cardioids have been rotated to an included angle of 180°. An omnidirectional microphone with a mild highfrequency emphasis in the direct sound field (shown here: CCM 2S).PolarFlexTM characteristics that do not exist in any real-world microphone of today. these adjustments can be made after the recording during post-processing. That cannot be done with an equalizer – nor can a reverb unit reduce the degree of reflected sound in a recording after it has been made. transformerless. 48 V phantom powering. They must be small-diaphragm microphones.7" Weight: 2. the directional patterns in each of the three frequency bands can be set. A figure-8 microphone set directly above the omni. at the lower right is the figure-8 setting. The second arrangement consists of an X/Y stereo microphone. 2. If the unprocessed microphone signals have been recorded. transformerless. With the three knobs in the upper row. XLR-3M): 2× 2 for passed-through input signals.

When a digital device is connected to the input. 48 or 96 kHz sampling rate (switchable). KS 20 U. The processor operates at 24-bit resolution with either a 44. Binder miniature plug to XLR-5M 1× AK SU/2U adapter cable (XLR-5F to 2× XLR-3M) for the analog outputs of the processor Optional accessories: XLR-5 extension cables for the microphone pairs (two would be needed for the four microphones): KS 10 U.PolarFlexTM and recalling presets. KS 30 U (10. extension cable for the Y-cable KLY-DTM. 5 m long. stand adapters SGC and a polished wood case.1. including: DSP-4P processor including mains cable and a polished wood case 2× CCM 2S Lg (omni) 2× CCM 8 Lg (figure-8) The two pairs of CCM are selected and matched. the PolarFlexTM processor adapts to its clock signal. The PolarFlexTM is offered as a complete set. 2× KA DTM hemispherical cap for CCM 8 2× B-DTM microphone bars 1× traverse bar for mounting two “PolarFlex” microphones with B-DTM bar on a common microphone stand in various simple stereo setups 2× KLY-DTM Y-cable for connecting each microphone pair via KS 5 IU adapter cable 2× KS 5 IU. They are delivered with adapter cables K 5 LU (Lemo/ XLR-3M). 20 and 30 m long) 84 .

Vocalist Microphones

85

Vocalist Microphones
Handheld Speech and Vocalist Microphones CMH 6
– two directional patterns available – built-in protection from plosive sounds (“popping”) and handling noises Protection from plosive sounds (vocal “popping”) ...can be achieved with conventional windscreens; but the more effective these are, the greater the risk to the other parameters of the microphones’ performance. SCHOEPS handheld microphones, however, use a very effective windscreen as a basic element of their design, into which a special capsule is integrated. Protection from solid-borne noise ...is achieved by means of a progressively elastic mounting for all the functional elements.
4U CMH 6

As with the CMC 6, each version of the CMH can operate with any 12 V or 48 V standard phantom powering.

41 U CMH 6

CMH 64 U with Cardioid Pattern
When there is simultaneous loudspeaker transmission, the risk of acoustic feedback is reduced by the low-frequency rolloff and the directional characteristic, provided that the performer stays on axis and away from the loudspeakers.
50 100 200 500 1k 2k 5k 10k 20kHz

+10 0dB -10 -20

20

frequency response CMH 64 U

Proximity effect compensates for the loss of bass when used at close distances.

+10 0dB -10 -20

CMH 641 U with Supercardioid Pattern
50 100 200 500 1k 2k 5k 10k 20kHz

20

frequency response CMH 641 U

The increased directionality and the reduced lowfrequency response of this model help to reduce the chance of acoustic feedback when used with monitor loudspeakers or a public address system – provided that the microphone is aimed at the soloist and not at the loudspeaker system. Proximity effect may be used to boost the voice of the speaker or singer.

86

Vocalist Microphones
Accessories: included: SGH: stand clamp with tapered holder. The operating angle is adjustable. For 5/8"-27 NS threads; adapter provided for 3/8" and 1/2" threads Color: gray optional: For hygienic reasons and ease of identification, a set of interchangeable thin foam guards is available in red, blue, green, yellow and gray: Hygiene Guard PS 4
PS 4 SGH

Technical Specifications: Type of microphone: Directivity pattern: Frequency range: Sensitivity: Equivalent noise level, CCIR: Equivalent noise level, A-weighted: Signal-to-noise-level, A-weighted: Maximum SPL at 0.5% THD: Powering: Current consumption: Output voltage at maximum SPL: Output impedance: Minimum recommended load impedance: Measuring conditions: Connector: Dimensions in mm: Weight: CMH 64 U CMH 641 U

cardioid supercardioid 40 Hz – 20 kHz 40 Hz – 20 kHz 13 mV/Pa 12 mV/Pa 26 dB 27 dB 16 dB-A 17 dB-A 78 dB-A 77 dB-A 132 dB-SPL 132 dB-SPL 12 / 48 V (autoswitching) 12 V: 8 mA, 48 V: 4 mA automatically switched 1V 12 V: 25 Ohms, 48 V: 35 Ohms 600 Ohms see page 120 XLR-3M (pin assignment see page 126) diam. 37/26 x 210 diam. 37/26 x 210 190 g 190 g

87

Headsets 88 .

The microphone of the HS 4VXS offers a strong bass rolloff and a mild high-frequency boost. Proximity effect compensates for its low-frequency rolloff such that the microphone has an even frequency response for the person speaking.Headsets Headsets HS 4VXS. A closed type of headphone was chosen to shield the wearer from surrounding noise. In place of the cardioid microphone. the result (model HS 2S) would have lower sensitivity to popping and handling noise. For standard cable lengths and connectors. It is designed for lateral sound pickup at the shortest possible distance. CCM 2S: 46 mm Diameter: 20 mm Weight (without cable): ca. simple foam windscreen such as the B 5. HS 2S – with cardioid (HS 4VXS) or omnidirectional (HS 2S) microphone attached – highest-quality pickup of speech – HS 4VXS: effective suppression of noise from surroundings – excellent protection from vocal “popping” sounds – The earpiece on the opposite side can be folded out of the way of the ear.e. it can easily be exchanged if necessary. it was also chosen so that its size would accommodate the microphone. this is also recommended for hygienic reasons. directly in front of the speaker’s mouth. 48 V: 4 mA (automatically switched) Source impedance: 90 Ohms All other data are identical with CMC 6 + MK 4VXS (page 33) or MK 2S (page 16). Other connectors (supplied by the customer) can be installed at no extra charge if requested when ordering. while background noise encounters the full response rolloff and is greatly reduced. see illustration. Length of the microphone: CCM 4VXS: 58mm . i.5 m splitter box standard version 0. The microphone should be protected from vocal “popping” noises by the use of a small. 110 g 89 .5 m each XLR-3M stereo 1/4" phone plug Technical Specifications: Phantom powering: current consumption: 12 V: 8 mA. both have a matte gray surface finish – the HBL. an omnidirectional microphone such as the CCM 2S Lg can be used. Since the cable between the microphone and the headset (KHS LI) is subjected to increased stress. new cable KHS LI tube HBL 1. The headset is delivered as a complete set consisting of: – the CCM 4VXS Lg COMPACT MICROPHONE (a cardioid designed for extremely close pickup of speech) or the CCM 2S Lg (omni). a connecting rod for the microphone with a fixed-angle suspension – a foam pop screen B 5 – a pair of closed stereo headphones The HCCM 4VXS Lg was developed in cooperation with the sound engineers of a TV station who sought the highest possible quality of sound even under the extreme conditions of Formula 1 motor races.

CV 61 with CM 61 U S capsule (omni/ cardioid). SCHOEPS 1956 90 . photo at left: with mesh guard CB 61 S for close pickup of speech. in cardioid setting (discernable here by the “collar“ around the capsule).

Headline Microphone Preamplifier 91 .

One of the characteristics of high-quality equipment is durability. so that it is unnecessary to turn the unit around in order to read the labeling. A further quality feature is the all-metal housing. The unit shuts itself off if the battery voltage falls beneath a certain threshold value. automatic switchover to internal batteries in the event of AC power loss – battery level meter and low-voltage warning LED – protection from accidental overdischarge of internal NiCads – automatic shutoff if voltage gets too low – headphone monitor output – gold-plated sockets and switch contacts for long service life – black all-metal housing (aluminum) Battery-operated microphone preamplifiers sometimes have high noise figures because current consumption is kept limited in the interests of longer battery life. In the design of this product. as seen from above underside 92 . choosing all its components (such as switches and sockets with gold-plated contacts) accordingly. For increased ease of use.Microphone Preamplifier Very High Quality Stereo Microphone Preamplifier with Phantom Powering and M/S Matrix VMS 5 U – frequency response: 20 Hz – 80 kHz (-3 dB) – two low-cut filters: 20 Hz (permanent) and 150 Hz (switchable) – switchable M/S matrix – switch for “swapping” channels with M/S recording – switchable 48-Volt phantom power. But the VMS 5 U places hardly any such limitation on the performance of the microphones. In addition. the ability to disable phantom powering is important for M/S post-production – inputs: XLR-3F (balanced) and special socket for Active Y-Cable of the COLETTE MODULAR SYSTEM – outputs: XLR-3M (balanced). in order to prevent completely draining the batteries and possibly damaging circuit components. easy connection to unbalanced inputs without loss of signal level – can run from six internal batteries (primary or rechargeable) or from externally supplied DC – glitch-free. It may be several years before you find out whether the potentiometers and switches on a unit will become noisy when used. The VMS 5 U with its universal power supply capability and compact dimensions is equally well suited for portable or fixed operation. compact CCM COLETTE modular rear panel. the lettering on the back panel is printed upside down relative to the front panel. which is unbreakable and protects against radiated electromagnetic interference. its frequency response leaves nothing to be desired. SCHOEPS placed the primary emphasis on reliability and durability.

Block diagram of the VMS 5 U microphone preamplifier Frequency response curves with (below) and without (above) the switchable low-cut filter 93 . a high-quality off-line switching power supply for 90 – 264 Volt AC. This version is not recommended for audio applications because of the possibility of infrasonic noise problems.Microphone Preamplifier A set of batteries is included with the unit. A special version (VMS 5 U lin.) without the fixed 20 Hz low-cut filter is available for measurement applications. Available separately: AC power adapter VMS 5 DC-W.

5 hours (1100 mAh NiMH) ca. 30 or 40 dB Overall performance specifications of VMS 5 U with SCHOEPS CMC 6 microphone amplifier and MK 4 capsule (cardioid): Maximum sound pressure level at 0. The unit resumes operation only after the on/off switch is used. as when changing between an upright stereo microphone and one that is hanging downwards. External powering An appropriate AC power adapter is available (model VMS 5 DC-W). The upper frequency limit is 80 kHz. the 48 Volt phantom powering is switchable (for subsequent M/S dematrixing). or mid/side for M/S) or the decoded M/S stereo signals can be monitored.) is permanently active. 7 hours (1600 mAh NiMH) ca.5 hours Battery life with rechargeable batteries: ca. otherwise a fuse inside the VMS 5 U will blow.5/ 2. because of the internal voltage regulation. Input impedance: 20 kOhms Frequency range: 20 Hz – 80 kHz (-3 dB) Recommended minimum sensitivity of microphones at XLR inputs: 8 mV/Pa Maximum input level for <0.000 Ohms Headphone socket: 1/4" stereo phone jack Filters An infrasonic filter (20 Hz.5 V). Robust.Microphone Preamplifier Technical Specifications: Inputs Switchable between two XLR-3F sockets and a special input for the SCHOEPS KCY Active Cable. -3 dB The BALANCE potentiometer permits compensation for differences in microphone sensitivity up to 20 dB.) can be switched on.5% THD: at 4 dB gain setting: 14 dBV (5Vrms) at 20 dB gain setting: -2. a low-cut filter (150 Hz.”).5 hours (1300 mAh NiMH) ca.5 Lnoise/dB CCIR: 27. 20. Under no circumstances should an open-circuit voltage of 16 V be exceeded. Outputs The outputs are impedance-balanced and transformerless. black aluminum case. If external powering is present. External powering with outboard rechargeable battery: nominal 6 – 12 V. 5. we recommend gelled lead-acid batteries (6 V. Battery life with alkaline cells: ca.5% THD and equivalent noise level according to CCIR as a function of gain: gain: 4 dB 10 dB 20 dB 30 dB 40 dB max SPL/dB: 132 132 130 120 109 26. 7 oz.5 Level indicators: -20 dB.1 mm diameter Reverse polarity will not damage the unit. Headphone impedance: 32 – 2. any internal batteries are automatically disconnected (indicated by yellow LED “EXT.5 15.) 94 .1 kg (approximately 2 lb.5% THD: 18 dBV (8 Vrms) Recommended load impedance: 2 kOhms or greater Headphone output Switchable. Output impedance: 100 Ohms Maximum output level for <0.5 Lnoise/dB-A: 16. 6 dB/oct. 10. Overall measurements: (W × H × D): 162 mm × 60 mm × 172 mm (approximately 6-2/3" × 2-1/3" × 6-3/4") Weight (with batteries): 1.5 V to 15. 18 dB/oct. This protects the batteries from being discharged unintentionally. Powering An internal filter/ regulator circuit which generates and stabilizes the supply voltages permits a wide range of input voltages (5. XLR inputs are balanced and transformerless.5 26 26 25. 3 hours (700 mAh NiCd) ca. The battery voltage indicator displays the level of any external powering. The unit will shut itself off automatically to help prevent damage from draining the batteries completely. The polarity inversion switch permits rapid change of input channel assignments in M/S recording. 8.5 15. Operation with internal batteries (possibly rechargeable) Number and type of cells: 6 × AA (also called LR6) Recommended primary cell type: Alkaline Recommended rechargeable cell type: NiMH A user-replaceable fuse protects against reversing the polarity of the batteries. In addition.2 dBV (780 mVrms) Preamplifier gain settings: 4. 5. A warning LED will begin to blink if the voltage falls beneath a critical value (time remaining at that point with 1300 mAh rechargeable batteries: at least 10 minutes). Coaxial socket. 12 hours (3400 mAh gelled lead-acid battery (external)) A voltage indicator displays the battery voltage within the unit. and are switchable between the amplified microphone signals and the decoded M/S stereo signals.5 16 15. either the amplified microphone signals (=left/ right for A/B recordings. though it will not operate. Parallel operation of a VMS 5 U along with one or more other pieces of equipment from a single power supply is generally possible. Other adapters offering a regulated or unregulated output voltage of 6 Volts DC (at 500 mA) to 15 Volts DC (at 250 mA) can also be used. 3400 mAh type = 12 hours of operation).

Accessories arranged by Category Accessories for COLETTE MODULAR SYSTEM Electronic Accessories Cables/ Adapter Cables Mechanical Accessories Windscreens and Popscreens 96 100 102 104 109 page 95 .

Overload of the input of the device to which the microphone is connected If the microphone is not being overloaded but its output level must be reduced. diameter: 20 mm Weight: 14 g Surface finish: matte gray (g) or nickel (ni) 96 .) The MDZ can also prevent the input impedance of a preamp from loading down a microphone. DZC 10g. 5 dB lower with the “+5 dB“ version). If the level must be attenuated by a full 20 dB. which may develop high frequency response errors when driven by much lower impedances. 10 or 20 dB constant attenuation – raises maximum sound pressure level by ca. when the microphone circuitry itself is in danger of overload (i. and increase the rate of signal loss in longer cables due to the higher source impedance. In these situations the signal level at the amplifier input may be attenuated by inserting a DZC between the capsule and the microphone amplifier or the Active Accessories. DZC 20g Dimensions: length: 18 mm. 2. even a SCHOEPS Colette Series microphone can be overdriven by very high sound pressure levels. 10 dB/ 20 dB – attenuates signal ahead of CMC microphone amplifiers of the COLETTE MODULAR SYSTEM The use of two DZC 10 on one microphone will result in an attenuation of only ca. above 130 dB SPL). the minimum load impedance for a CMC-series amplifier is reduced from 600 to 200 Ohms. The MDZ should be placed at the end of the cable farthest from the microphone. It can also be useful when driving transformer-equipped inputs designed for 200 Ohm sources. This type of attenuator should normally be used only at extremely high sound pressure levels.e.g. Doing so would increase the relative strength of any induced interference. The overload point ranges from 128 – 135 dB-SPL. (Never place an in-line attenuator at the microphone end of a cable. DZC 20 – ca. Overload of the microphone Under extreme conditions. a DZC 20 should be used. with it in place. where it will not only help to prevent preamp overload but also to reduce any interference picked up in the microphone cable and the noise of the microphone itself. particularly if the input transformer has a high turns ratio. depending on the capsule and the amplifier type (e.Accessories – COLETTE MODULAR SYSTEM Attenuators Signal distortions at high sound pressure levels have two main causes: 1. 15 dB due to the capacitive principle of operation. Here the limiting factor is not the capsule but the microphone amplifier. it would be far better to use an MDZ in-line attenuator than a DZC. COLETTE modular MDZ 10 U page 101 Attenuators DZC 10.

We recommend that the length not be excessive for the anticipated use. e. but we do not recommend runs in excess of 20 m since the circuit up to the microphone amplifier is unbalanced. 54) 97 . when the microphone is hung from the ceiling. This is especially useful with capsules intended for frontal sound pickup such as the MK 4 (cardioid). 36) TCg table stand (pg. WKC Active Colette Cables may be inserted between any capsule of the COLETTE MODULAR SYSTEM and any microphone amplifier except the CMBI (see overview on page 5). Type designation: KC 5g: 5 m long KC 10g: 10 m long Special lengths can be ordered.Accessories – COLETTE MODULAR SYSTEM Capsule Swivel GVC – allows the angle of a capsule to be adjusted on all microphone amplifiers of the COLETTE MODULAR SYSTEM – adjustable from 0° through 120° in either direction The electrically passive GVC capsule swivel may be inserted between any capsule and microphone amplifier of the COLETTE MODULAR SYSTEM. 12) KC 5g Active Cable CMC microphone amplifier (pg. 36) Active Tube RC See page 47 Active Colette Cables KC. or the CUT 1.g. bending and abrasion. to avoid radio-frequency interference from sources such as SCR-equipped lighting boards. even with temperature changes. Active Tube. 12) GVCg capsule swivel CMC microphone amplifier (pg. Type designation: WKC 5g (5 m cable) WKC 5g= KC 5g with right-angle connector COLETTE modular KC 5g MK microphone capsule (pg. Maximum length: 64 mm Diameter: 20/ 21 mm Weight: 75 g Surface: matte gray (g) or nickel (ni) COLETTE modular MK microphone capsule (pg. The Active Cable is also available with lateral cable connection at the capsule end. or before an Active Cable. Greater than the standard cable length of 5 m may be required when hanging a microphone from a ceiling. This is of importance. Moreover it does not tend to twist after being suspended. The cable itself is highly resistant to stretching.

. When the AK I/2C is used. If longer cables (up to several hundred meters) are required. Due to its unbalanced signal arrangement. microphone capsule. pg. The KCY provides signal and power leads for two microphone capsules in a single cable terminated with a Binder plug. Various lengths for the output end of the cable are available. the output cable should be no longer than necessary. resulting in a particularly compact unit. 12 KCY 250/5Ig cable hanger for M/S. the KCY 250/0I shown at left has a 10 cm output segment. the VST 62 has balanced. The microphone amplifier can stay out of sight. MK 8 microphone capsule. the output level of the connected CMC microphone amplifiers is always the same as the “+5 dB“ amplifier version. 66 COLETTE modular Adapter Cable AK I/2C This adapter cable is a counterpart to the KCY cable shown above. a complete stereo recording setup can be arranged with only two small capsules and a small. KS 5I. pg. Standard lengths: KCY 250/0 Ig: 10 cm cable only.. conversely.Accessories – Colette Modular System Active Stereo Cable KCY for MK Capsules for stereo microphone amplifier VST 62 IUg or stereo microphone preamplifier VMS 5 U COLETTE modular KCY 250/0 Ig 5-pin Binder miniature plug (I) By using the Active Stereo Cable KCY. This allows a stereo capsule arrangement to be suspended from a “fishpole” with only a single cable for most of the run. with use of the low-cut filters CUT 1 or CUT 2 and certain other accessories being possible as well. and need not contribute to the weight of the arrangement. with 20 meters as a maximum. 5 m long) KCY 250/5 Ig: 5 m cable length for direct connection without an extension cable Other lengths for both types of cable are available on request. for use with an extension cable (e. The cables at the capsule ends of the versions shown here are 25 cm long. 5-pin “female” Binder miniature connector (I) 98 . pg. The AK I/2C can also be combined with the RCY Active Tube (page 65). accepts a Binder plug and connects to a pair of CMC amplifiers. low-impedance outputs and can drive very long cables without interference. the VST 62 should be connected to a relatively short KCY arrangement.g. elegant supporting device being visible. 27 MK. HSGMSC. The AK I/2C.

30 Hz).e. and has no audible effect on speech pickup whatsoever. pressure-gradient transducers (directional microphones) produce very high infrasonic signal levels when exposed to wind. Since the weight of a microphone increases with the addition of a CUT. which is the principal field of application for the CUT 1 (cutoff frequency = 60 Hz). It has only a negligible effect on speech. The CUTs raise the sensitivity of standard microphone amplifiers by 5 dB. see system overview on page 5. while those marked with “+ 5 dB” will retain their increased sensitivity. the stiffer elastic suspension A 20 S is required. Dimensions: length: 64 mm. The CUT filter performs two tasks: First. As an aid to properly seating the windscreens W 20 and W 20 R1. But in many cases the CUTs (in combination with the appropriate windscreen) are the only means by which an acceptable recording can be made at all. the diameter of the CUTs have a slight step near their front ends. diameter: 20/ 21 mm Weight: 50 g Surface finish: matte gray (g) or nickel (ni) COLETTE modular Frequency response of the CUT 1 at various settings of the control Frequency response of the CUT 2 at various settings of the control CUT 2g 99 . The second task is to offset proximity effect and/or to improve speech intelligibility in reverberant rooms by means of an additional 6 dB/oct rolloff.Accessories – COLETTE MODULAR SYSTEM Variable Low-Cut Filters CUT 1. Of course it is to be expected that filters such as the CUTs will affect the naturalness of the sound picked up by the microphone. The CUT 2's infrasonic filter is an octave lower (i. Its turnover frequency can be continuously varied between 30 Hz (CUT 2) or 70 Hz (CUT 1) and 600 Hz (see response curves. it prevents the effect of infrasonic disturbances from being passed on to any succeeding device. By turning a recessed thumbwheel the user can vary the frequency at which this begins to have an effect. CUT 2 – can be screwed onto the CMC or M 222 microphone amplifiers – very effective suppression of low-frequency and infrasonic effects of wind and vibration: 24 dB/oct below 60 Hz (CUT 1) or below 30 Hz (CUT 2) – user-adjustable variable rolloff – offsets proximity effect The CUT 1 or CUT 2 is inserted between the capsule and the microphone amplifier. In particular. a very sharp (24 dB/oct) infrasonic filter is permanently engaged. These can saturate an input transformer or an amplifier stage even before the audible portion of the disturbance becomes noticeable. To avoid this. and thus tailor the low-frequency response as required. above right).

When using directional microphones. though it may have an audible effect on the sound of a voice. wind noise. source impedance) remain nearly unchanged with the LC. With a rolloff of 18 dB/ octave. compact CCM COLETTE modular Technical Specifications: Filter: in-line high-pass. in particular CCM COMPACT CONDENSER MICROPHONES and CMC microphones of the COLETTE MODULAR SYSTEM – for standard phantom power. noise. one can extend the low-frequency response by adding in signals from omnidirectional microphones that have been low-pass filtered with a device such as the LP 40. Butterworth. 122 ff. Output impedance: 40 Ohms at 1 kHz with SCHOEPS CCM COMPACT MICROPHONES or CMC microphones of the COLETTE MODULAR SYSTEM Gain: 0 dB Maximum output voltage: ca. which would then result in a 36 dB/octave slope. LC 120 U: 120 Hz A maximum of two filters may be used in series. The cutoff frequency would be raised.). it can also be used to extend the response of directional microphones with other patterns.g. provided that they have a current consumption of at least 2 mA. and the maximum output level with 12 Volt operation would be lowered. Otherwise the maximum sound pressure level would be reduced. but is not recommended. 18 dB/octave Cut-off frequency (-3 dB): LC 60 U: 60 Hz. This makes it ideal for use with the OCT front surround system (pg. especially if the microphones have less than 4 mA current consumption.Electronic Accessories Low-cut Filters LC 60 U (60 Hz). The specifications of the SCHOEPS microphones (sensitivity. particularly with SCHOEPS microphones. or solid-borne infrasonic noise such as handling noise during boom operation) without detracting from the sound quality of voice recordings. compact CCM COLETTE modular 100 . The LP 40 filter is designed to extend the frequency response of the SCHOEPS supercardioid (MK 41(V) or CCM 41(V)) with the lowest possible ripple. Both filters can help prevent overloading the input circuit to which a microphone is connected – a problem which occurs more often than many people realize. Please note: The use of two LC in series is possible. 1 V when 4 mA current is being drawn Diameter: 20 mm Length : 94 mm Surface finish: Nickel Active Low-Pass Filter LP 40 U new – for adapting the signal from a pressure (omnidirectional) microphone to fill in the bass region of directional microphones (especially with the OCT system) – for phantom-powered microphones The low-frequency response of any directional microphone is inherently inferior to that of omnidirectional (pressure) microphones. LC 120 U (120 Hz) – Active High-pass Filters for phantom-powered microphones. These low-cut filters are suitable not only for SCHOEPS microphones but also for phantom-powered microphones of other manufacturers. the LC 60 U suppresses low-frequency acoustic interference (e. Under extreme conditions the LC 120 U can be used. 12 V or 48 V These electronic filters can be inserted anywhere in the microphone cable path. In no case should three LC be cascaded.

Electronic Accessories

Technical Specifications:
Filter: in-line low-pass, critical damping, 12 dB/octave Cut-off frequency (-3 dB): 40 Hz Output impedance: 40 Ohms @ 1 kHz with SCHOEPS CCM COMPACT MICROPHONES and CMC standard Colette microphone amplifiers Gain: 0 dB Maximum output voltage (depends on current drawn by microphone): ca. 1 V for 4 mA Connectors: XLR-3 Dimensions: length: 94 mm, diameter: 20 mm Suface finish: Nickel

Attenuator MDZ 10, MDZ 20
– – – – for phantom- or parallel-powered microphones ca. 10 dB/ 20 dB constant attenuation avoids overloading sensitive inputs to be inserted between the microphone cable and the phantom-power supply – does not reduce the microphone's signal-to-noise ratio Connectors: XLR-3F/ XLR-3M Dimensions: length: 75 mm; max. diameter: 19 mm Color: black Please note: With parallel-powered microphones, the MDZ must be inserted between the powering unit and the output cable. See also the notes on page 96.

compact

CCM

COLETTE
modular

Test Plug PHS 48
– quick test of 48 V phantom powering (current) – indication by a green LED The PHS 48 can be plugged into a microphone input or cable that carries 48 Volt phantom power, to verify that sufficient current is available to power a SCHOEPS microphone. According to the standards, a 48 V phantom powered microphone may draw a current of up to 10 mA per channel. SCHOEPS CMC 5, CMC 6 and CCM microphones actually need only 4 mA (ca. 5 mA if Active Accessories are used), so the PHS 48 tests for approximately this amount of available current at the required voltage level. Any trim, gain, or volume controls should first be set to their minimum position, to avoid noise and potential damage. Then, while all other microphones are already connected the test plug is attached to the socket which is intended to power the SCHOEPS microphone. The green LED in the PHS 48 will light and remain lit if the test result is positive. Connector: XLR-3M Dimensions: length: 53 mm, diameter: 19 mm Surface finish: nickel

101

Cables/ Adapter Cables
SCHOEPS Microphone Cables are...
– – – – particularly thin, extremely robust cable (Kevlar fiber) flexible in the cold non-twisting when used for hanging a microphone also available in bulk (no connectors) with two, three or four conductors

The above remarks apply to all our cables except: – those used in the AMS CI, AMS LI and AMS LU elastic suspensions; – those used in the WSR 100, WSR MS and WSR DMS windscreens; and – the XLR-7 extension cable for the WSR DMS. These use either cable from Rycote or other special thin, flexible cabling.

Technical specifications of our cables: see page 126 Microphone Cables
Mono: K 10 U: 2× 2 conductors, crosswise connected in parallel, screened, 10 m, XLR-3, black, pins gold-plated K 20 U: as above, but 20 meters long Stereo: KS 10 U: 2× 2 conductors, screened, 10 m, XLR-5, black, pins gold-plated KS 20 U: as above, but 20 meters long For Double M/S surround: KDMS 10 U: 3× 2 conductors, screened, 10 m, XLR-7, black, pins gold-plated KDMS 20 U: as above, but 20 meters long

AK SU/2U
Stereo XLR-5F jack to two XLR-3M plugs. Color coding: channel I: yellow, channel II: red Length: 0.5 m

AK 2U/SU
Two mono XLR-3F jacks to XLR-5M plug. Color coding: channel I: yellow, channel II: red Length: 0.5 m

102

Cables/ Adapter Cables
K 5 LU
This is the adapter cable from the Lemo output connector of the CCM-L COMPACT CONDENSER MICROPHONES to XLR-3M. It is supplied with the CCM-L. Length: 5 m; other lengths are available on request

compact

CCM

Stereo Cable KLY
for CCM-L COMPACT MICROPHONES The forward ends of the KLY are 250 mm long (except the WSR MS and the KLY-DTM used with the PolarFlex™ system). The output cable can be any reasonable length desired. The 100 mm version KLY 250/0 I results in a particularly compact unit. The following standard cable lengths are available: KLY 250/0 SUI: 10 cm cable only; extension cable: e.g. KS 5 U, 5 m long KLY 250/5 SU: 5 m cable length for direct connection without an extension cable This cable is also available with miniature Binder connectors in case the XLR should be too large or heavy for certain applications; it is then known as the KLY 250/0 I or KLY 250/5 I. (See below for extension cables and adapter cables for XLR output.) Other lengths are available on request.
5-pin “male” Binder miniature connector (I) KLY 250/0 SU KLY 250/0 I

compact

CCM

5-pin “female” Binder miniature connector (I) XLR-5M

KS 5 IU
Stereo adapter cable from Binder miniature connector to XLR-5M plug of the miniature stereo recording system with CCM-L COMPACT MICROPHONES (see page 61) and miniature stereo microphone CMXY 4VI (page 72) Length: 5 m; other lengths are available on request

compact
XLR-5M

CCM

KS 5 I
Stereo extension cable with Binder miniature connectors; for miniature stereo recording system with Active Cable (see page 60) Length: 5 m; other lengths are available on request

COLETTE
modular

103

1.g. M/S.html 104 . 0 – 90° Surface finish: matte gray e. with adapter to 3/8" and 1/2" ORTF M/S Blumlein Surface finish: matte black. Its microphone clamps slide and rotate on a bar marked with angles and spacings. 20 mm diameter) With this device and two corresponding microphones.nucleus. the spacings are e. but rather to the elevated response plateau which is achieved without a lessening of bass response. shown on MK 2H capsule CENTER ideally suited for the “Decca Tree”: 3× CCM 2S (omni) with KA 50. e.Mechanical Accessories Sphere Attachments KA 40.g. plastic holders: gray Windscreens: page 111 see also “Engineer turns accessories into art”. Blumlein (crossed figure-8s). in orchestras and choruses. so that greater miking distances can be used while maintaining good “focus” in the sound. SG 20 and A 20 S are not included. 2 meters RIGHT CMC 62U with KA 40 CMC 62U without KA CMC 62U with KA 50 CMC 62U with KA 50 COLETTE modular Universal Stereo-Microphone Bar UMS 20 X/Y – for microphones of the COLETTE MODULAR SYSTEM (CMC.com/~lockwood/deccatre. with detents in the four familiar positions.g. It is also lockable at any desired point in-between. This is not due so much to the relatively modest change in directionality. http://www. Mounting adapter: 5/8". nearly any of the familiar stereo techniques (X/Y. The mounting adapter has a diameter of 20 mm and fits into the SG 20 stand clamp (page 44) or the A 20 S elastic suspension (page 45) for horizontal and vertical mounting angles.27 NS.5 meters dependent on the room and a matter of taste LEFT These sphere accessories (40 and 50 mm diameter respectively) are for use with omnidirectional microphones as shown in the photo at left. They create the illusion of closer placement. small A/B) can easily be set up. This in turn reduces the disparity among the distances between individual sound sources and the microphones. ORTF. Thus it can improve overall balance in terms of both level and clarity. KA 50 COLETTE modular KA 50. ProSoundNews 07/ 98.

45) and ST 20 3/8 adapter (pg. CB-MAB FRONT OCT surround setup (pg.) Any distance from 4 to 100 cm can be set between the microphones. When shockmounting is critical.Mechanical Accessories Miniature Positioning Device for Stereo Recording M 100 C – for ORTF with two axially addressed capsules or microphones: MK 4 capsules + KC Active Cables or CCM 4 COMPACT MICROPHONES – for X/Y as above or with radially addressed capsules or microphones such as the MK 4V or CCM 4V U/ L The M 100 C is the solution for SCHOEPS compact stereo recording rigs. holds two MAB 1000 bars at variable distance (13 – 47 cm) – MC-MAB microphone carriage for additional microphones A/B setup with 2× SG 20 stand clamp 2× CMC 62S Ug (omni) microphone carriage MC-MAB 3/8" threaded stud COLETTE modular The MAB 1000 as shipped KMAB 1000 transport case (included) 13 – 47 cm max. Each side of the bar is engraved with markings every 2. 123) 2× MAB 1000 1× CB-MAB connection bar 105 . The device can be tilted forward or backward as needed. the addition of the A 20 S (pg. length: 1000 mm. the M 100 C with an H 20g (pg. 106) is all that is needed. 15 cm. – CB-MAB supporting beam for OCT surround. SGC (page 44) or AC (page 45) for CCM-series microphones.) – can be expanded for five-channel OCT surround (see at the bottom right and pg. Thread: 3/8". central microphone placed slightly forward (e. can easily be set between the two outer microphones. robust.5 cm so that distances of 5 cm. see page 122 ff. etc. This “T-Bar“ style mount is unobtrusive with a bar length of only six inches and a black anodized finish. 55) upgrade is perfect. weight: 500 g Accessories: included: KMAB 1000. 123 ff. for OCT.g. foam-lined carrying case for the two MAB 1000 mounting bars and a CB-MAB supporting beam to be ordered separately: – stand adapters or shock mounts: SG 20 (page 44) or A 20 (page 45) for CMC-series microphones. For installations requiring a small stereo SCHOEPS setup that must be hung. Threads: 5/8"-27 NS with adapter for 3/8" and 1/2" ORTF neu compact CCM COLETTE modular X/Y new A/B Stereo Mounting Bar/ OCT Mounting Bar MAB 1000 – for two (or more) microphones – for A/B and ORTF – with mounting arm for a third. 10 cm.

350 mm. A gray plastic cap is provided to allow covering the upper threads of an STR if desired. They can also be attached to the floor stand BF 250 (page 108). 29 mm depth below the flange The adapter ST 20-3/8 must be ordered separately. 1000 mm Diameter: 12 mm Wrench size for tightening the rods (via flat spots at the lower end): 10 mm Surface finish: matte gray Stand Connector RG 12 The RG 12 connects two STR vertical support rods or any other rods with 12 mm in diameter. an adapter (ST 20-3/8) is available with 20 mm outer diameter and 3/8" threading. 350g. For use with our miniature accessories. 600g. Color (cylinder and adapter): black compact CCM SGC COLETTE modular notch STR-TC hole ST 20-3/8 pin with slot – for clamping mechanism AF 1 Vertical Support Rods STR 250g. Dimensions: flange: 69 mm diameter cylinder: 54 mm diameter. Maximum length of the angled rod when a CMC is fixed at the end and when no counterweight is used: appr. two notches are also provided on the sides of the adapter so that this soldering work is generally not required (with one exception: the connector used at the amplifier end of Colette Active Tubes RC KC won't fit through the 20 mm opening). but this would require unsoldering and resoldering the cable connector. 600 mm. It has a hole drilled in the center of its top which could be used to pass a miniature cable through. 50 cm Surface finish: matte gray 106 . and holds it in place with a clamp. Lengths: 250 mm. 1000g These support rods have complementary 3/8" threads on each end and can thus be screwed together in any combination to extend one another. The angle may be adjusted over a wide range.Mechanical Accessories Flanged Mounting Adapter with Internal Shock Mount AF 1 & Threaded Adapter ST 20-3/8 & STR-TC This convenient elastic suspension device accepts any 20 mm diameter microphone or accessory (such as a gooseneck).

Dimensions: height (without threaded stud): 6 mm diameter: 36 mm Color matte gray Universal Clamp Z 10 The Z 10 allows microphones or accessory parts to be mounted onto the edge of a table or the like. Two interchangeable pieces can be locked into its hollow handle: a rigid stud with 3/8" threads.: 65 mm Surface finish: black crackle finish 107 . Maximum thickness of table edge. This is especially useful for RC KC tubes of the COLETTE MODULAR SYSTEM whose flexible cable attaches to a CMC amplifier. for use with additional extensions or accessories.Mechanical Accessories Stand Support Clamp for a Microphone Amplifier K 20 STR With this clamp a CMC microphone amplifier can be mounted onto an STR vertical support rod or any other rod 12 mm in diameter. Color: gray Table Mounting Flange F 5g The F 5g is mounted on a table top with a screw. etc. It can also be used with a thread adapter to support any stand adapter or shock mount with 5/8"-27 threads. Color: gray COLETTE modular Clamp for VST 62 IUg K 30 STR This clamp for the VST 62 IUg stereo microphone amplifier module (30 mm diameter) can be mounted onto an STR vertical support rod or any other rod 12 mm in diameter. and a two-piece extendable rod with a ball-and-socket head with 3/8" thread. It allows the attachment of accessories with 3/8" internal threads.

e.Mechanical Accessories Heavy Table Stand T 5g STR vertical support rod – with 3/8" threaded stud. an isolation mat which is simply placed beneath the BF 250.” Sometimes the existing acoustic isolation of the heavy floor stand BF 250 does not suffice to keep the microphone free of these disturbances. It can be screwed on with a open-ended wrench. It is made of a specially-treated foam material that is very well able to hold its shape. Dimensions: diameter: 270 mm. type SPV 12-3/8. thickness: 12 mm Color: blue-green SM 270 under BF 250 floor stand 108 . Diameter: 250 mm.5 kg Surface finish: matte gray T5 Heavy Floor Stand BF 250 The BF 250 is supplied with a special chuck.g. For that reason we offer the SM 270. and – especially when an RC Active Tube is used – even some mechanical “ringing. The chuck SPV 12-3/8 is also available separately for the purpose of updating older equipment. height (without the SPV): 38 mm Weight: approximately 5 kg Surface finish: black textured varnish Special Foam Mat SM 270 STR vertical support rod – additional isolation against vibration for BF 250 Occasionally a microphone must be placed on a very “noisy” wooden floor. to create a quick connect and disconnect system for an STR vertical support rod. which can lead to pickup of footstep noise. This can simply be plugged into the chuck and tightened by hand with a half turn of the milled cap nut. height: 52 mm Weight: 1. for STR support rods Dimensions: diameter: 129 mm.

One widely useful choice of capsule would be the switchable-pattern MK 5 (omnidirectional/ cardioid). and Active Low-cut Filter CUT 1 or in-line filters LC 60 or LC 120. the smaller one will always have a greater adverse effect on sound quality. since the pressure difference between the front and rear sound inlets of the capsule is made smaller by the basket structure. fine open-pore foam. There are two types: hollow foam windscreens and basket-type windscreens.g. MK 3.e. Furthermore. Establishing some terms: Pop screens are only for indoor use. WSR MS) with a fur-like outer covering. In extreme cases a supercardioid may take on a cardioid pattern at low frequencies. Further protection would require a basket-type windscreen with fur-like covering. omnidirectional setting of MK 5 and MK 6) The most suitable wind screens generally are those made of homogeneous. Perhaps an optimal balance of size and effectiveness can be achieved by using the W 20 R 1 windscreen and either the Active Low-cut Filter CUT 1 or the inline filters LC 60 or LC 120. one should always consider whether an omnidirectional microphone could perhaps be used. omnidirectional microphones vs. making it possible to record outdoors. Screens for pressure gradient transducers such as the cardioid MK 4 or supercardioid MK 41 For this case we recommend wind screens that have an enclosed volume of air. foam wind screen W 5 or W 5 D. and limited to the high frequencies. one should first consider the choice of microphone type. The following combinations have worked particularly well in practice: Capsule MK 2S or MK 3. But the difference in wind noise pickup between pressure transducers and pressure gradient transducers generally (i. the position of the microphone within the basket and the possible use of a fur-like “overcoat”. the position of the microphone within the basket and the possible use of a fur-like “overcoat. This will depend on the capsule type. This will depend on the capsule type. Effect on sound quality: Again the effect is restricted to the high frequencies. If two windscreens are the same size. the diameter of the basket. W 20 R 1) are especially effective because no wind turbulence will arise at their surface while any existing turbulence will be reduced. the largest practical basket-type windscreen should be used (e. to reduce the air currents produced when singers or speakers pronounce consonants such as “p” or “t”.Windscreens and Popscreens Which pop screen or wind screen is right for my microphone? Before taking up this question. They are also the simplest and least expensive choice. and/or as heavier-duty pop screens. In strong wind. but in addition to the rolloff. Since wind noise can cause extremely high output levels at low frequencies. when comparing two windscreens which are equally efficient. Practical suggestions: Adequate protection should be available from a light foam windscreen (B 5) for mild wind or a thicker windscreen (W 5) for stronger wind. MK 2S. directional microphones as a class) can be as much as 20 dB. Close speech guards are for use in moderate air currents and with microphones on moving boom arms. The latter type is often augmented by an optional furlike covering which increases its effectiveness. The degree of wind noise suppression will depend on the thickness of the foam and the "overcoat. Effect on sound quality: There is some reduction of low-frequency response. Wind screens suppress even more strongly the disturbances due to air motion. the diameter of the basket. the level of noise in mild to moderate wind will be some 2 to 5 dB higher than with a SCHOEPS cardioid under similar conditions. and perhaps to use a larger windscreen rather than a smaller one that has the required degree of efficiency. which may create the false impression that the microphone itself is being overloaded. is connected can become overloaded. a certain unevenness of response is introduced.g. the one which is more efficient will have the greater adverse influence on sound quality – altering the microphone’s frequency response and (with directional microphones) the polar pattern as well. Thus when wind noise is a factor. the input of the equipment to which the microphone 109 . MK 2H. in addition to a slight rolloff. Thus it is advisable to select a windscreen that is only as efficient as is really necessary. Effect on sound quality: Limited to a high-frequency rolloff which can be corrected with equalization or by choosing a brighter sounding capsule. With a SCHOEPS supercardioid. Effect on polar response: None. a slight unevenness of response is introduced. Hollow foam windscreens and basket-type windscreens can also be used." Effect on polar response: Slight. Thus one might also consider using a low-cut filter (CUT 1 or LC 60). Practical suggestions: The hollow windscreens B 5 D and W 5 D are suitable for mild to moderate wind conditions. it should be considered that a windscreen will affect the low-frequency polar pattern of a directional microphone (see below).” Wind screens with this type of covering (e. Effect on polar response: At low frequencies the decreasing pressure gradient component will cause the directional pattern to become more nearly omnidirectional. In general. while a cardioid capsule’s pattern may resemble that of a wide cardioid or an omnidirectional capsule. Screens for pressure transducers (MK 2. At high frequencies.

. any cardioid has an inherent low-frequency response rolloff. 110 . we recommend using an omnidirectional microphone where possible. and that rolloff is only accentuated by the use of a windscreen. . in mm 0 dB-A 130 dB-A no windscreen – 20 dB-A 110 dB-A B5 45 26 dB-A 104 dB-A B 20 50 28 dB-A 102 dB-A W5 90 32 dB-A 98 dB-A B5D 50 34 dB-A 96 dB-A B 20 S 50 38 dB-A 92 dB-A W 20 80 44 dB-A 86 dB-A BBG 100 44 dB-A 86 dB-A WSR 100 100 46 dB-A 84 dB-A W5D 90 51 dB-A 79 dB-A W 20 R1 90 52 dB-A 78 dB-A WSR MS 150 57 dB-A 73 dB-A BBG with Windjammer 100+ 57 dB-A 73 dB-A WSR 100 with Windjammer 100+ 62 dB-A 68 dB-A WSR MS with Windjammer 150+ . 41V. the noise level produced in a pressure transducer will always be distinctly less than that produced in a pressure gradient transducer.. with pressure gradient transducer (CMC 641 / CCM 41*) Attenuation Wind noise Type of windscreen diam. 4VXS.Windscreens and Popscreens Attenuation of the A-weighted wind-noise level compared to the unprotected transducer at a wind speed of 18 km/h (ca. a low-cut filter (CUT 1 or LC 60) should be used to suppress the wind noise even further. Compatibility chart CMC +capsule B 1* B5 W5 B 20 B 20 S W 20 W 20 R1 BBG WSR 100 WSR MS WSR CMXY B 5 D** W5D*** WMS WB * * * * * * * * CCM-L CCM-U capsule on KC RC RCY MSTC CMXY * Primary function: protection against dust deposits Not recommended ** Cannot be used with MK 6 or 8 or corresponding CCM COMPACT MICROPHONES. rather than (for example) a cardioid. 11 mph) and absolute wind noise level. 4VXS. With MK / CCM 4V. in mm 0 dB-A 110 dB-A no windscreen – 25 dB-A 85 dB-A B 20 50 27 dB-A 83 dB-A B 20 S 50 28 dB-A 82 dB-A B5 45 29 dB-A 81 dB-A W 20 80 35 dB-A 75 dB-A B5D 50 37 dB-A 73 dB-A WSR MS 150 38 dB-A 72 dB-A W5 90 40 dB-A 70 dB-A W5D 90 41 dB-A 69 dB-A BBG 100 41 dB-A 69 dB-A WSR 100 100 43 dB-A 67 dB-A W 20 R1 90 47 dB-A 63 dB-A WSR MS with Windjammer 150+ 53 dB-A 57 dB-A BBG with Windjammer 100+ 53 dB-A 57 dB-A WSR 100 with Windjammer 100+ CMC 641 / CCM 41 * Attenuation WB – WMS 32 dB-A CMC 68 / CCM 8 Attenuation 21 dB-A 27 / 36 dB-A (side / end face) WKFM: attenuation of 12/ 22 dB-A on the capsule’s axis / stereo main axis For a given strength of wind. Thus when wind might be a problem.. 6 or 8 or corresponding CCM COMPACT MICROPHONES. An omnidirectional microphone with this type of low-frequency cut can still have better low-frequency response than a cardioid.. for the wide cardioid (CMC 621 or CCM 21) the difference is 5 to 7 dB. * The corresponding values for the cardioid (CMC 64 or CCM 4) are consistently 2 to 5 dB better. with pressure transducer (CMC 62 / CCM 2) Attenuation Wind noise Type of windscreen diam.. In addition.. 41V: see page 114 *** Cannot be used with MK 4V.

Windscreens and Popscreens Popscreens for: PR 120 S PR 120 SV for microphones with axial pickup. page 115 WKFM WB Special Foam-type Windscreens WMS for M/S stereo. page 113 windscreen for strong wind. page 112 windscreen for strong wind. page 113 windscreen for medium wind. for mono and M/S stereo. page 115 111 . page 115 for sphere microphone KFM 6. protection against rosin deposit (see violin adapter). page 112 Foam-Type Windscreens for: B1 B5 W5 light close-speech guard. page 63 for Blumlein stereo. page 112 close-speech guard for mild wind. for mild wind. page 113 WSR 100 LU WSR MS BBG with Windjammer for strong wind. page 113 for strong wind. page 114 Windjammer for WSR MS for CCM-L. for mild wind. page 112 for microphones with lateral pickup. page 114 windscreen for stronger wind. page 113 BBG close-speech guard. for mild wind. page 56 Hollow Foam-type Windscreens for: B5D W5D close-speech guard. page 112 Basket-type Windscreens for: B 20 B 20 S W 20 W 20 R1 close-speech guard.

but it offers the advantage that its influence on sound and polar pattern is minimal. Dimensions: sphere with 90 mm diameter Color: gray 112 . The popping noise is caused by an airstream which accompanies these consonants. Dimensions: 70 mm × diameter 45 mm (max. provides sufficient protection at normal speaking distances for cardioids and other directional capsules. especially at low frequencies. Dimensions: diameter 28 mm × 41 mm Color: dark-gray Close-speech Guard B 5 Acoustic foam close-speech popscreen. When picking up violins with the VA 1 violin adapter. The PR 120 S damps this stream with two layers of a lightweight fabric attached to a rugged aluminum frame. it serves as a protection of the microphone against rosin deposit. Minimal effect on sound quality. Usable as a lowcost alternative to popscreens when greater efficiency is needed. PR 120 S SG 20 A 20 S PR 120 SV Close-speech Guard B 1 Very thin foam cover for CCM COMPACT MICROPHONES. With pressure-gradient transducers it can be used in light wind only.Windscreens and Popscreens Pop Screens PR 120 S and PR 120 SV These popscreens are a patented product of Tonstudio Pauly. the PR 120 S has no audible effect on the sound image. especially when speech capsules are used. height: 11 mm The surface is gray/ matte gray.) Available colors: gray. Mounting is accomplished simply by clipping this unit onto the microphone body. With omnidirectional capsules it may even be used outdoors in light wind. They guard against the popping noise generated by plosives such as “P” and “T” during closemiking. especially for use with omnidirectional microphones in wind. Dimensions: diameter: 120 mm. Despite its high efficiency. black Windscreen W 5 Acoustic foam windscreen.

90 mm. Due to its high efficiency. some audible effect on sound quality may occur. It is ca. MK 6. 10 cm with Windjammer 113 . Diameter: 50 mm. MK 4VXS. which will help suppress wind noise by a further 13 dB-A. color: light gray Windscreen W 20 Basket windscreen with nylon fabric.Windscreens and Popscreens Close-speech Guard B 20 Small close-speech guard with plastic basket and washable nylon fabric. It is rain-resistant and less unusuallooking than a fur-like windscreen. MK 8 microphone capsules or corresponding CCM COMPACT MICROPHONES. color: tinged with gray Windscreen BBG This sturdy. made of two separable halves. MK 41V. MK 41V. color: light gray Windscreen W 20 R1 Comprises a basket (W 20 R) and a fur-like overcoat (R1). Diameter: 50 mm. It is used like the W 20 with the capsule front positioned in the center. color: gray/ light gray Close-speech Guard B 20 S Similar to the B 20 but with a double layer of nylon fabric. MK 6 or MK 8 microphone capsules or corresponding COMPACT MICROPHONES. For maximum effectiveness this windscreen can be used with the “Windjammer” overcoat. More effective than the B 20 but causes greater sound coloration. The capsule front must be positioned approximately at its center. with no greater impairment of the sound quality. highly effective “basket-type” windscreen has two separable halves. 13 dB more effective than the W 20. The front sound inlet of each capsule should be positioned in the center of its respective basket. It is intended for use with microphones of the Colette MODULAR SYSTEM. Cannot be used with MK 4V. Cannot be used with MK 4V. Diameter: ca. MK 4VXS. Diameter (without Windjammer): ca. particularly the ORTF microphone MSTC 64. Diameter: 80 mm.

with KCY 115/0. Although it has not been designed for that purpose.Windscreens and Popscreens Windscreen WSR MS WSR MS CI. or CCM-L or CCM-U COMPACT MICROPHONES. it is possible to use it on the MK 4V. The microphone’s slight inherent high-frequency emphasis is then compensated for.) Color: gray.25I Y-cable input connector: Lemo output connector: female miniature Binder extension: KS 5 I (5 m long) WSR MS LU: with KLY 115/0. porous velvet-like surface treatment 114 . It can be used with one or a pair of miniature microphones – either MK capsules on KC Active Cables. It contains an AMS double elastic suspension (see page 67) for M/S stereo recording.25Ig Y-cable. special miniature output plug for VMS 5 U microphone preamplifier or VST 62 IUg stereo microphone amplifier WSR MS LI: for CCM-L microphones. the output side is 250 mm. or the corresponding CCM COMPACT MICROPHONES. Dimensions: 70 mm x diameter 50 mm (max. with KLY 115/0. with additional gray. cable in WSR MS LI Windjammer cable in WSR MS LU Close-speech Guard B 5 D – for use especially on pressure-gradient transducers in light wind and as a close-speech guard – good efficiency. The microphone must be inserted up to the stop. MK 41V or MK 4VXS microphone capsules and the corresponding CCM COMPACT CONDENSER MICROPHONES. The B 5 D cannot be used with MK 6 or MK 8 capsules. WSR MS LI. WSR MS LU (see miniature stereo on pages 60 and 68) This is the most effective windscreen that we offer. yet has only a slight influence on the sound The foam encloses an air chamber around the microphone capsule.25I Y-cable input connector: Lemo output connector: XLR-5M The microphone side of the above Y-cables is 115 mm long. The following versions are available: WSR MS: without cable 2× 115mm 250mm cable in WSR MS CI WSR MS CI: for MK microphone capsules. similar to a basket windscreen.

For its small dimensions. or the corresponding CCM COMPACT MICROPHONES.Windscreens and Popscreens Windscreen W 5 D – for use on pressure-gradient and pressure transducers in wind. It is designed so that conventional M/S setups (AMS 22. CCM-U COMPACT MICROPHONES and microphone capsules for lateral pickup (MK 6. MK 4V. The W 5 D cannot be used with the KC Active Cable. please be careful to place the W 5 D all the way onto it. with additional gray. Dimensions: diameter 50 mm × 95 mm Color: gray 115 . yet it has only a slight influence on the sound. the WMS offers remarkable effectiveness with relatively little adverse effect on the sound quality. Dimensions: sphere with diameter 90 mm Color: black. HSGMSC) and also the X/Y microphone CMXY can be protected from mild wind. The foam encloses an air chamber around the capsule. with additional black. or MK 8). similar to a basket windscreen. porous velvet-like surface treatment Windscreen WMS – close-speech guard and windscreen for M/S stereo This windscreen has a gray porous velvet-like surface treatment. MK 4VXS. It is highly efficient. MK 41V. as well as miniature microphones. in a Blumlein arrangement (two crossed figure-8 microphones) and M/S arrangements using an MK 8 (figure-8) and an MK 4V (cardioid) or MK 41V (supercardioid). UMS 20) as well as most miniature microphone arrangements for M/S (RCY. When using CCM-L COMPACT MICROPHONE. Dimensions: sphere with 68 mm diameter Color: gray. velvet-like surface treatment Windscreen for Blumlein Setups WB The WB is suitable for CMC microphones with UMS 20. SGMSC.

116 .

Technical Appendix Principal Microphone Characteristics Overview of Capsule Specifications Stereo Techniques Surround Techniques CMBI. KFM 360 Cable Specifications. XLR 118 120 121 122 125 126 page 117 .

the omnidirectional pattern can be maintained in its ideal form only up through the midrange frequencies. with their high-frequency content attenuated by surface absorption. including the multi-pattern ones. predominate. This. This allows them to maintain the same balance of direct to diffuse (reverberant) sound when placed at a greater distance from the sound source than an equally sensitive omnidirectional microphone. For reasons of physics (capsule dimensions). a high-frequency response that is distinctly more extended. These reflections. A pressure transducer with ideal response in all situations does not exist. One advantage of small pressure-gradient transducers such as SCHOEPS microphones is that their directional pattern can be kept constant across a wider frequency range than with a pressure transducer. but such small capsules are quite noisy. each having specific features and a range of typical applications.Principal Microphone Characteristics Principal Characteristics of the Different Microphone Types Pressure Transducers . permitting full. Here (in the diffuse sound field. they pick up sound from all directions to an (ideally) equal degree. the result is a pressure transducer type such as the MK 2 or CCM 2. whose characteristics are somewhat closer to those of the free-field models MK 2 and CCM 2. It is the reason for their differing frequency response in the direct versus the diffuse sound field. This is also true for the MK 2H and CCM 2H. This results in polar patterns that are less frequencydependent than any dual-diaphragm design can offer.g. A very small capsule could allow the high-frequency response to be flat regardless of direct. we have adopted this nearly universal practice. This effect can be seen clearly in the capsules’ polar diagrams. it doesn't have to move large volumes of air at low frequencies as a loudspeaker must do. adds brilliance to sounds picked up at close range and on axis – an effect which may be desired in some circumstances. there will be a loss of overall brilliance. Unlike a loudspeaker. MK 3 or the corresponding CCM COMPACT MICROPHONES) is required so that at high frequencies there will be balanced sound rather than a rolloff. Particularly for two. they “favor” sound that arrives from particular directions. since a true pressure gradient transducer always has a bidirectional (figure-8) pattern. is that their sensitivity to any sound depends on the angle of incidence of that sound.are characterized by an omnidirectional polar pattern. any directional microphone is referred to as a “pressure-gradient transducer” even when it has only a limited pressure-gradient component (e. Placement in the near field can compensate for this bass rolloff via proximity effect. Our other directional microphones use combinations of the pressure and pressure-gradient principles. are single-diaphragm – a feature unique to SCHOEPS. beyond the reverberation radius*) a microphone with some high-frequency emphasis (MK 2H. impressive low frequency sound reproduction. which are usually made near the reverberation radius (where the direct and reverberant sound fields are of equal level). reach the microphone at oblique angles of incidence and suffer additional losses as compared with sounds picked up directly. Proximity effect may also be used to suppress environmental noise by choosing a microphone type having a large bass rolloff and/or by the use of a cor- 118 . sounds arriving on axis are progressively emphasized by the interaction of the capsule housing with the shorter wavelengths. as you can see from their polar response diagrams. The bidirectional MK 8 and CCM 8 (see pages 27 and 126) are pure pressure-gradient transducers.and three-microphone stereo pickups.. On the other hand. of course. Nevertheless. a microphone's membrane size has no effect on its low-frequency capabilities since it operates purely as a sensor. When the high-frequency emphasis is corrected so that the response measures flat on axis. Microphones of this type do not have “proximity effect“ (low-frequency emphasis with close placement to a sound source).or diffuse-field placement. their low-frequency response in a free sound field is not as extended as that of a pressure transducer. SCHOEPS makes many different types of directional capsules and microphones. but there is also a risk of overcompensation. the MK 2S and CCM 2S have become favorites of many sound engineers. floor. i. MK 2S. This usage is technically not quite correct. where reflections from walls. At higher frequencies. etc.e. Pressure-Gradient Transducers Note: Usually. a cardioid). But condenser microphones operating on this principle can have flat frequency response down to the lowest audible frequencies. ceiling. their various directional characteristics result from differing proportions of these ingredients. Please note that the design of of the MK 2S or CCM 2S achieves a technically sophisticated compromise between the requirements of working in the direct and the reverberant sound fields (in the region of the reverberation radius). But if a microphone of this type is placed in the reverberant sound field.. like an eardrum. What they all have in common. All our microphones. the greater the difference in high-frequency response between on-axis and off-axis sound. The user must therefore consider the nature of the pickup and make an appropriate choice. and low-frequency response (with our singlepattern omnidirectional microphones or in the omnidirectional setting of our multi-pattern microphones) that is essentially perfect. The larger the diameter of the housing. These microphones are ideally suited to picking up acoustic sources in the near field.

By choosing a microphone of high directivity it is also possible to avoid acoustic feedback. Shotgun Microphones Certain types of recording are frequently made with shotgun microphones. and we are often asked why not. for obvious reasons. will be picked up with varying coloration. their greater sensitivity to wind and vibration should be kept in mind. A shotgun microphone must therefore be well aimed at the intended sound source. outdoor recording) and limited off-axis sound in general are thus best for shotgun microphones. can often be placed closer to a sound source than a shotgun microphone and still stay outside the frame for film or video production. or motion of the direct sound source (or of the microphone itself. but we suggest that their peculiarities be well understood. However. The exact degree of this cancellation depends greatly on the wavelength of the sound. the less danger there will be of acoustic feedback.) Thus throughout much of the audio range. The greater this is.Technical Appendix responding electronic filter. At higher frequencies the pickup pattern becomes narrower. off-axis sound sources. the pickup quality can be substantially improved in many cases. for example. A small directional microphone with smooth off-axis response. Thus we propose that in any given situation. a supercardioid capsule) and an “interference tube. Stereophonic recording with shotgun microphones can be awkward (how does one set up an X/Y pair of shotguns?) and fraught with compromise because of their irregular polar patterns. (The transducer is located behind the tube – not at the front end of the microphone. resulting in a clear and full sound. however. as well as popscreens and windscreens wherever appropriate. comb-filter-like effects will result from any reflected sound. will pick up a speaking voice quite clearly.g. This is true only in the direct sound field. The microphone will pick this up less strongly than the direct sound from the source on the main axis. to distance the capsule further from the sound source than it would otherwise be. For wavelengths longer than the tube – at low and midrange frequencies – the tube has little effect except. while environmental noise will be suppressed due to the directivity of the cardioid pattern and its bass rolloff.g. and they tend toward a harsher sound quality.” The tube causes any sound energy arriving from the sides to undergo partial cancellation before it can reach the capsule. it should. The result is a much more complex directional characteristic than ordinary polar diagrams (drawn only at certain “spot” frequencies) can indicate directly. if it is used in a reverberant space). When dealing with pressure-gradient transducers. shotguns may not be the optimal choice as often as people suppose. In a diffuse sound field (i. Off-axis attenuation increases with greater microphone directivity. such as the SCHOEPS CCM 41 supercardioid. its radiated sound will reach the microphone after being reflected by the walls. If the loudspeaker is beyond the reverberation radius. a shotgun microphone has no greater rejection of off-axis sound than the capsule on which it is based. SCHOEPS has never offered this type of microphone. arriving as reverberant sound from many directions. and any sound reflections within the room. but with great variations in response for different * reverberation radius: the distance from the sound source at which the levels of direct and diffuse sound are equal. At the same time. A trial comparison between a good small supercardioid and a shotgun can be surprising and enlightening. page 66) for sound sources that are not too wide. the lower frequencies in a person’s voice will be restored to normal by virtue of proximity effect. A shotgun microphone contains a directional transducer (e. unfortunately. Conditions in which there is little reflected sound energy (e. If an actor moves across a room while speaking or singing. at significant distances indoors) they are less effective than one might wish. M/S recording is possible with a shotgun “M” microphone (see the Colette accessory KMSC. a directional microphone will offer no help for this problem. floor and ceiling of the room. users should consider carefully whether using a supercardioid rather than a shotgun might yield equal or better results. A cardioid microphone at a distance of less than 40 cm. his or her motions can no doubt be followed – but sound from any other actors nearby. be positioned where the microphone has its minimum sensitivity. and that source must fit within the microphone’s front pickup angle. We agree that good shotgun microphones have their uses. If a loudspeaker is set up within the reverberation radius*. It is also simpler to provide any needed shock mounting or wind screens for small microphones. Room as seen from above Distance at which the direct sound and the reflected sound are of equal level (reverberation radius sound source Decreasing energy of direct sound 119 . Suspensions that damp solid-borne noise (elastic suspensions and/or sound-isolated stands) are highly recommended. Otherwise. in a diffuse sound field (beyond the reverberation radius*).e. angles and frequencies.

for example. But the CCIR weighted noise level may well be a more accurate indicator of a microphone's perceived noise level in practice. the values are measured with reference to a standard sound pressure level of 1 Pascal (1 Pa = 94 dB SPL) even though the actual maximum SPL capability of any usable microphone must exceed that reference level substantially. The data for boundary-layer capsules (BLM 3g. "A" weighting yields a distinctly lower noise specification – often by 10 dB or thereabouts – and this figure. 120 . SPL): SPL at which the total harmonic distortion (THD) at the output of the microphone is 0. microphone type polar (MK/ CCM) pattern MK/ CCM 2* MK/ CCM 2H* MK/ CCM 2S* MK/ CCM 3* BLM 3g BLM 03 Cg MK/ CCM 21* MK/ CCM 21H* MK/ CCM 4* MK/ CCM 4V MK/ CCM 41* MK/ CCM 41V MK/ CCM 8 MK/ CCM 5* MK 6 omni omni omni omni hemisphere hemisphere frequency range sensitivity equivalent noise level CCIR A-weighted 23 dB 23 dB 24 dB 26 dB 23 dB 23 dB 25 dB 26 dB 24 dB 24 dB 24 dB 24 dB 26 dB 26 dB 25 dB 26 dB 27 dB 28 dB 24 dB 22 dB 29 dB 24 dB 24 dB 11 dB-A 12 dB-A 12 dB-A 14 dB-A 12 dB-A 12 dB-A 15 dB-A 16 dB-A 15 dB-A 14 dB-A 16 dB-A 15 dB-A 18 dB-A 14 dB-A 16 dB-A 15 dB-A 17 dB-A 19 dB-A 15 dB-A 13 dB-A 18 dB-A 14 dB-A 15 dB-A signal-to-noise ratio A-weighted 83 dB-A 82 dB-A 82 dB-A 80 dB-A 82 dB-A 82 dB-A 79 dB-A 78 dB-A 79 dB-A 80 dB-A 78 dB-A 79 dB-A 76 dB-A 80 dB-A 78 dB-A 79 dB-A 77 dB-A 75 dB-A 79 dB-A 81 dB-A 76 dB-A 80 dB-A 79 dB-A max. Unlike signal-to-noise specifications for other types of audio equipment (which give the ratio of a component's clipping point to its noise floor). Instead. BLM 03 Cg) assume an adequately large sound-reflecting area. Signal-to-noise specifications that follow these standards are intended to allow comparison of noise floor levels for different microphones. the frequency range extends beyond 20 kHz. SPL (0. The use of "A" weighting when specifying the equivalent noise level of microphones is another often-misunderstood aspect of the standards.) As a result of this approach. when used with the CMC 6 xt amplifier. of course. Maximum sound pressure level (max. becomes the one most often cited in advertising.5%.Overview of Capsule Specifications Specifications for MK capsules with CMC 6 microphone amplifier. professional microphones can seem to have rather modest signal-to-noise values even when they have extremely low noise and very high SPL capability in fact. and CCM (When the CMC 6 xt microphone amplifier is used with axially addressed capsules (*) the frequency response extends beyond 40 kHz). (SCHOEPS microphones when properly powered can typically handle levels some 40 dB above 1 Pa. range.5%THD) 130 dB-SPL 130 dB-SPL 132 dB-SPL 134 dB-SPL 128 dB-SPL 128 dB-SPL 132 dB-SPL 134 dB-SPL 132 dB-SPL 132 dB-SPL 132 dB-SPL 132 dB-SPL 134 dB-SPL 133 dB-SPL 132 dB-SPL 135 dB-SPL 134 dB-SPL 134 dB-SPL 132 dB-SPL 129 dB-SPL 144 dB-SPL 134 dB-SPL 132 dB-SPL 20 Hz – 20 kHz* 15 mV/Pa 20 Hz – 20 kHz* 15 mV/Pa 20 Hz – 20 kHz* 12 mV/Pa 20 Hz – 20 kHz* 10 mV/Pa 20 Hz – 20 kHz 20 Hz – 20 kHz 19 mV/Pa 19 mV/Pa wide cardioid 30 Hz – 20 kHz* 13 mV/Pa wide cardioid 30 Hz – 20 kHz* 10 mV/Pa cardioid cardioid 40 Hz – 20 kHz* 13 mV/Pa 40 Hz – 20 kHz 13 mV/Pa 13 mV/Pa 13 mV/Pa 10 mV/Pa supercardioid 40 Hz – 20 kHz supercardioid 40 Hz – 20 kHz figure-8 omni cardioid omni cardioid figure-8 cardioid cardioid cardioid cardioid 40 Hz – 16 kHz 20 Hz – 20 kHz* 11 mV/Pa 40 Hz – 20 kHz* 13 mV/Pa 20 Hz – 16 kHz 40 Hz – 16 kHz 40 Hz – 16 kHz 80 Hz – 20 kHz 80 Hz – 20 kHz close pickup close pickup 9 mV/Pa 10 mV/Pa 10 mV/Pa 13 mV/Pa 18 mV/Pa 3 mV/Pa 10 mV/Pa 13 mV/Pa MK/ CCM 4S MK/ CCM 40 MK/ CCM 4A MK/ CCM 4VXS MK/ CCM 41S supercardioid 80 Hz – 20 kHz Conditions of measurement: Sensitivity: measured on-axis in the free sound field with a CMC 6 microphone amplifier at 1 kHz and with a load resistance of 1 kOhm with standardized powering Equivalent noise level and signal-to-noise ratio are measured according to CCIR 468 (qps) and also DIN 45405 or A-weighted. Ultimately the two other values mentioned (equivalent noise and maximum SPL) both affect a microphone's suitability for a given application. these values do not indicate a microphone's entire available dynamic * Axially-addressed capsule.

though this is not often done.) major arrivaltime differences Name X/Y M/S A/B Geometry Distance (d) between microphones Angle between the main axes of the microphones Acoustic operating principle of the microphone Sonic impression 0 cm usually vertically aligned 5 cm – 30 cm distance and angle are interdependent depends on the object between them 40 cm – 80 cm or greater (up to several meters) 70° – 180° 90° 0° – 180° typically 20° 0° – 90° pressure-gradient transducer (e.g. **The appropriate angle between microphones depends on their directional pattern and the recording angle (the range within which the sound sources should be placed. clear. spacious.Stereo Techniques Overview of Stereophonic Recording Techniques Overview of surround recording techniques: see page 122 ff. SCHOEPS MK 2S or CCM 2S) clean. except that the center of the stereo image can be over-emphasized (not a problem with figure 8s) good adequate indistinct (potentially unstable) * These recording methods can also employ pressure gradient microphones.) 121 .g. Stereo recording principle coincident microphone placement level differences + minor arrival-time differences ORTF (for example) microphones separated by an acoustically opaque object Jecklin disk (for ex. as “seen“ by the microphone. often bright depending on the microphones used big. SCHOEPS cardioid MK 4 or CCM 4) usually pressure transducers* (e. especially good low-frequency reproduction when omnidirectional condenser microphones are used Spaciousness often rather limited satisfactory good very good Localization potentially very good.

1.g. with a delay caused by the increased distance. For the front L and R channels two supercardioid microphones are placed at opposite ends of an imaginary line running about 8 cm behind the center microphone. The polar pattern attenuation for this will be 10 dB and the polarity will be inverted. These factors prevent the formation of annoying “phantom images“ of sound sources in the wrong sector during playback. It can be combined with any of several possible methods for obtaining the rear channels (and thus OCT surround).hauptmikrofon. The preferred setup for OCT uses a forward-facing cardioid for the center channel. Sound from the extreme right will be picked up directly on-axis by the right-facing supercardioid (0 dB) and by the forward-facing cardioid (attenuated by 6 dB due to its directional pattern).R 40 Hz The low-frequency signal from the omni is sent to both the left and right channels. and must face squarely outward. CCM 2SL. so that one can be sure to avoid center-heavy images. 2SL. 100 L. depending on the distance between the supercardioids: 40 cm: 160° 50 cm: 140° 60 cm: 120° 70 cm: 110° 80 cm: 100° 90 cm: 90° It is better to err in the direction of greater spacing. the response curve below 100 Hz becomes substantially flat. since front-incident sound is picked up mainly by the cardioid in the center. 1. the left and right microphones pick up front-incident sound only at a much lower level. dependent on the intended recording angle* R * the range within which the sound sources should be placed. on the rear lobe of the left-facing supercardioid. 3L CCM 4L FRONT low-pass filter. e.3) omnis to L and R. Because of their high directivity. Theile see AES 19th International Conference. as will be shown on the following pages.2 OCT Front System plus omni for optimized bass pickup CCM 41VL or CCM 41L CCM 2L or 2HL.Surround Techniques 1. pages 210 – 229 and also www. Using an LP 40 low-pass filter (page 100. OCT Front System OCT=Optimized Cardioid Triangle by Dr. dependent on the intended recording angle* R It is possible to improve the extreme bass response of the supercardioids by adding signals from one (see 1. cutoff frequency 40 Hz) and SCHOEPS omnis. the following recording angles* will result. If the cardioid is placed 8 cm forward.1 OCT Front System basic version CCM 41VL or CCM 41L FRONT CCM 4L (an omni. LP 40 U. The fact that the supercardioids receive so much of their sound from off axis necessitates the use of smalldiaphragm condenser microphones. Good separation between the center-to-left sector and the center-to-right sector is obtained with this method. sound originating from half right is picked up only very weakly by the left microphone. These two microphones should be 40 – 90 cm apart.g. away from center (see diagrams below and on the following pages). as only this type of microphone has the requisite independence of frequency response from the angle of sound incidence. The CCM 41V and the MK 41V are particularly well suited for this application but the CCM 41 or MK 41 can also be used.2) or two (see 1. e. can be substituted) C 8 cm CCM 41VL or CCM 41L L 40 – 90 cm. depending on the required recording angle*. A clean center channel is conveyed by this system.de OCT is a method for picking up the three front channels of a surround recording. For example. as “seen“ by the microphone 122 . Finally it will be picked up. C 8 cm CCM 41VL or CCM 41L L 40 – 90 cm. see pg.

2SL. 3L) or boundary-layer microphone BLM 3g R if separated. dependent on the intended recording angle* 40 cm R CCM 4L 20 cm wider than at the front. see pg. as “seen“ by the microphone 123 . At low frequencies these not only increase the low-frequency pickup but also accentuate the difference between R and L.g. LP 40 U. 100 David Griesinger (Lexicon) has proposed that L and R bass signals be decorrelated by using additional widelyspaced pressure transducers. e. 100 cm CCM 4L LS RS The surround cardioids face rearward to avoid picking up direct sound. 100 low-pass filter. distance is not critical omni or boundarylayer microphone several meters 40 Hz R 40 Hz low-pass filter. dependent on the intended recording angle* omni (CCM 2L or 2HL. see pg. This produces a convincing spatial perspective.g. This results in an increased sense of spaciousness. Just as there are many possible arrangements for front channels in surround recording.3 OCT Front System plus 2 omnis for optimized bass pickup FRONT CCM 41VL or CCM 41L CCM 4L 8 cm C CCM 41VL or CCM 41L L L 40 – 90 cm. Imaging will therefore remain correct for listeners who turn towards the L/LS or R /RS sectors. LP 40 U. e. 2. OCT Surround the simplest array for surround sound using OCT (viewed from top) FRONT CCM 4L CCM 41VL or CCM 41L C 8 cm CCM 41VL or CCM 41L L 40 – 90 cm. max. so there are several ways to record the rear channels. * the range within which the sound sources should be placed. Time-of-arrival and level differences between each side's cardioid and hypercardioid pair produce a stereophonic representation of lateral sounds to match the forward image.Surround Techniques 1.

1 OCT Front System + IRT cross FRONT CCM 4L CCM 41VL or CCM 41L C 8 cm CCM 41VL or CCM 41L L 40 – 90 cm. for direct and for ambient pickup respectively. dependent on the intended recording angle* several meters CCM 41VL or CCM 41L L R L Hamasaki Square 4× CCM 8L + – – + R length of side: 2m–3m The figure-8s have their nulls turned to the front so that this array is relatively insensitive to direct sound.Surround Techniques 3. LS + – – + RS * the range within which the sound sources should be placed. In each case.2 OCT Front System + Hamasaki Square FRONT CCM 4L CCM 41VL or CCM 41L C 8 cm 40 – 90 cm. This helps to prevent dissociation between the front and rear images. 3. signals from the front two microphones of the additional group are blended into the main L and R front signals without further processing. dependent on the intended recording angle* several meters R L IRT cross CB 250 (see page 80) microphones: e.g. a group of four additional directional microphones is placed several meters behind the front OCT system. OCT Front System plus 4-channel ambience array In the following two microphone arrangements. while the separation between the arrays allows optimal placement of each. 4× COMPACT MICROPHONE CCM 4L R length of side: 20 – 25 cm LS RS 3. as “seen“ by the microphone 124 .

MK Fig. 4) or with the extension cable KS 5 I. or with a miniatureconnector extension cable such as SCHOEPS KS 5 I (Fig. etc.5 mm stereo jack to stereo plug cable. 2 mono 5m Fig. This cable can be extended with a standard 3. 3 250 mm Fig. 1). see also miniature stereo recording system on page 60). For normal connection of the CMBI to a DAT recorder. a 5 m cable with a 3. KFM 360 Battery-powered Microphone Amplifier CMBI Instead of a large XLR connector.13 V) not used Signal Processing with the DSP-4 KFM 360 Processor (page 76) switch up if Front Panorama = 0 125 ..CMBI.1 m K 5 ISK 5m stereo Pin layout of the 5-pin miniature plug (as seen from the soldering side): 4 3 2 5 1 1: 2&3: 4: 5: GND output external powering (7.5 mm (signal is present on both tip and ring contacts) mono K 5 ISK 5m special connector e.. For stereo recordings there is a Y-shaped cable (KIY 250/0 I) which connects two CMBI to a compact junction box by means of two pieces of cable. the CMBI has a flush-mounted 5-pin miniature connector at the output which also allows for external powering.5 mm mini stereo plug is included (Fig. 1 CMBI miniature plug K 5 ISK 5m KS 5 I mini stereo plug. for pocket transmitters Fig. 4 250 mm mono KIY 250/0I 0. each 250 mm in length. 3). 2. The short cable leading out of this box has a miniature connector and can be extended either with the K 5 ISK cable (Fig. For operation with pocket transmitters we have readymade cables with special connectors on request (Fig..g. 3.

126 . since a figure-8 does not respond to sound coming from the sides. 100% coverage Polyurethane 4.16 oz/ft) 10 mm 100 Ohm/km 100 pF/m > 50 MOhm × km 3-conductor 0. even in the cold highly tear-resistant insulation (Kevlar-reinforced) high bending strength will not turn with changing temperature. tinned copper conductors Polyurethane 3 mm 15 g/m (0.XLRs. a quantitatively similar balance of direct and reverberant sound would be picked up. from above or from beneath its main axis as does a cardioid. In practice such a comparison would be deceptive. though theoretically equal in amount.14 mm2 Hytrel 3 braided conductors crossbraided with conductive inner covering. is quite different in character from that which would be picked up by a cardioid in the same position. the reflected sound will typically be subject to far more high frequency absorption as well. The figure-8 has a rear lobe equal in sensitivity to its front lobe. thus ideal for suspending microphones 100% shield coverage in three. Thus the reverberant sound energy picked up by a figure-8.4 mm 25 g/m (0.and four-conductor versions 2-conductor 0. if microphones with these two patterns are placed at the same distance from a sound source.24 oz/(ft) 13 mm 100 Ohm/km 100 pF/m > 50 MOhm × km 4-conductor 0.14 mm2 Hytrel 4 braided conductors crossbraided with conductive inner covering. 100% coverage Polyurethane 4 mm 22 g/m (0. and this exactly makes up the quantitative difference – but in normally reverberant settings. however.27 oz/ft) 15 mm 100 Ohm/km 100 pF/m > 50 MOhm × km conductor diameter: insulating material: conductor arrangement: shielding: outer covering: outer diameter: weight: minimum bending radius: resistance: capacitance (conductor/conductor): insulation resistance: Pin Assignment with XLR-3M Plugs: Pin 1: GND Pin 2: +Phase Pin 3: –Phase bottom view (as the pins are seen) 2 Pin Assignment with XLR-5M Plugs: Pin Pin Pin Pin Pin 1: 2: 3: 4: 5: GND +phase –phase +phase –phase channel channel channel channel I I II II 3 3 1 4 5 2 1 bottom view (as the pins are seen) Figure-8 (continued from page 27) The directivity index of a figure-8 pattern is the same as that of a cardioid. the sound reaching a figure-8's rear lobe will be delayed and dispersed to a considerably greater extent than the reverberant sound energy which a cardioid picks up from its front and sides. Cable Specifications Specifications for SCHOEPS Microphone Cables – – – – – flexible.14 mm2 Hytrel 2 braided conductors crossbraided.

Index i 127 .

20 pg. 57 guitar adapter on request pg. miscellaneous vocalist microphones pg. (fixed) pg. 57 on floor or wall pg. 62 pg. 44 pg. 52 pg. 55 pg. 45 pg. 86 headset pg. 48 pg. 44 pg. 54 pg. 48 pg. 54 pg.Product Overview Recording technique: mono/ A/B Recording situation: pg. 49 pg. 86 pg. 54 pg. 52 pg. 56 pg. 46 pg. 57 pg. 12 pg. 53 pg. 20 pg. 76 on a table or lectern. 18 on a boom (outdoors) pg. 52 pg. 45 pg. 51 pg. 56 pg. 55 pg. 47 pg. 50 pg. 63 pg. 44 pg. 12 pg. 53 hanging pg. 45 pg. 44 pg. 63 double pickup baffle-derived stereo on a stand pg. 50 on a table (movable) pg. 20 pg. 67 ff. 76 on an instrument pg. 89 128 .

104 pg. 76 pg. 12 pg. 72 129 . 71 pg. 67 when perforated metal is used instead of a solid table top. 72 pg. 66 pg. 66 pg. 19 pg. 71 pg. 67 ff. 79 when perforated metal is used instead of a solid table top. 105 pg. 105 pg. 104 pg. 65 pg.Product Overview ORTF X/Y M/S Blumlein surround pg. 72 pg. 66 pg. 72 pg. 66 pg. 76 pg. 71 pg. 71 pg. 104 pg. pg. 70 pg.. 104 pg. 114 pg. pg. 72 pg. 70 pg. 80 pg.

. . .57 Shock mounts for stands . . . . . . . . . . .55 M/S stereo . . . . . . . . . . . . . . . . . . . . . . . . . .78. . . . .104. . . . .79 Double tube .102 Capsules . . . . X/Y mounting bar . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Pop filters . . . . . . . . . . .28. Swivel for capsules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Wide cardioids . . . . . . . . . . . . . . 60. . . . . . .49 for X/Y recordings .72. . . . . . . . . . . . . . . . .12 switchable pattern . . . . . . . . . . . .39 switchable pattern . . . .85 Headset . . . . . . . . . .125 Attachments . . . . . . . . . . . . . . . . . .12 switchable pattern . . . . . . . . .52. . . . . . . .66 Cables . . . . . . . . . . . . . . . . . . . .57 Interference-tube directional microphone 119 IRT cross . . . . . . . . . . . . .45 miniature for booms . . . . . . . . . . . . . . .23. . . . . . . .99. . 24 for close speech in noisy surroundings. . . . . . . . .70 Phantom powering tester .92 Microphone stand . . . . .36 stereo . . . . .65 Tube microphone amplifier . . . . . . . . . . . . .44 Close-speech microphones . . . . . . . . . . . . . . . . . . . . . . . . . .106 Surround front system (OCT) . .100 Matrix . . . . . . .5 electronic . . . . . . . . . . . .25. . . . . . . . . . . . . . . . . . . .48. . . . . . . . 105 X/Y stereo . . . . . . . . . . . . . . . . . . .41 CCM types. . . . . . 54 Table mounting . . . . . . .47 double version . . . . . . . . . . . .107 Table stands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80 Microphone specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60. . 29 Microphone clamps . . . . . . . . . 41 COMPACT MICROPHONE SYSTEM . . . . . .111 Colette MODULAR SYSTEM . . . . . . . . . . . . . . . . . . . . . . 68 Boundary-layer capsules . . . . . . . . . . .39 Violin adapter . . . . . . . . . . . . . . . . . . . .122 Surround microphone . . . . . . . . . . . . . . . . . .120 Supercardioids . . .5 Miniature stereo recording system . . . 26 Support rods . . . . . . .48. . . . . . . . . . . . overview . . . . . . . . . . . . . 122 OCT surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18. . mono .119 Special capsules/ microphones for close pickup . . . . . . . .66 Stereo microphones . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Pressure-gradient transducers . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Low-pass filter . . 66.7 CCM COMPACT MICROPHONES . . . . . 123 Omnidirectional microphones . . . . . . . . . . . . . .66 ff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 Tubes . . . . . . . . . . . . . .57 Vocalist microphones . . . . . . . . . . . . .4 M/S bar . . . . . . . .46 Microphone tubes . . . . . . . . . . . . . .108 Foam-type windscreens . . . . . . . . . . . . . . . . . . . . . . . . . 105 Microphone cables . . . . . 20 for M/S recordings . . . . . . . . . . . . . . . . . .7 Directional microphones . . . . . . . . . . . . . 54 Tester for phantom powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Adapter cables . .14 Microphones battery-powered . . .80 Low-cut filter for MODULAR SYSTEM . . . . . . . . . . . . . . .118 PZM microphones . . .57 Foam mat . . . . . . . . . . . . . . . . . . . . . . . . .53. . . . . . . . . . . . . . . . . . . . . . . . . . . .89 High-pass filter . . . . . . . . . . . . . . . . .100 mechanical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21. . . . . . .104 Sphere microphone for stereo . . . . . . . . . . . . .5. . 13. . . . .23. . . . . . . . . . . . . . . . . . . .28 for speakers/ singers . . . . 65 Elastic suspensions for stands . .86 for mounting under table . . . . . . .101 PolarFlexTM microphone system . . . . . . . . . . . . . . . 101 Bass filters for MODULAR SYSTEM . . . 119 Double M/S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Boundary-layer microphones. . .66 Figure-8 . . . . . . . . . . . . . . . .19 M/S double clamp . . . .21. . . . .74. . . . . . . . . .97 Table microphone (double) . . . . . . . . . . . . . . . .104 Attenuators . . . . . . . .96. . . . . . . .102 Microphone capsules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14. . . . . . . . overview . .47 for M/S stereo . . . . . . .120 Saxophone adapter .100 Battery-powered microphone amplifier . . . . . . . . . 30 CCM COMPACT SYSTEM . . . . . . . . . . . . . . . .111 Windscreens for M/S . . . . . . .30 Close-speech guards .99 Low-cut filter for CCM and other phantom-powered microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 Microphone cross (IRT) . . . . . . . .28. . . . . . . . . . 29 Capsule swivel . .45 miniature for booms . . . . . . .104 Active Accessories . . . . .111 Powering unit . . .115 Goosenecks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Windscreens . .112 hollow version . .97 Active Tubes mono . . . . . .12. . . . . . . . . . . .44 for M/S stereo . . . . . . . . . . . . . . overview . . . . . . . . . . . . . . . . . . . . . . . . .92 Measurement microphone .40 with tube microphone amplifier . . . . . . . . . . . . . .27. . . . . . . . . . . . . . . . . . .40 Stereo recording techniques. . . . . . . . . . . .62 Boom operation . . . . . . . .92 Pressure transducers . . . . . . . . . . . . . .56 miniature for M/S stereo . . . 103 130 . . .72 Y-cable . . . . . . .65 OCT system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7. . .38 Blumlein mounting bar . . . . . . . . . 18. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Cable hangers. . . . . . . . . . 13 Recording techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18. . . . . . . . . . . . . . . . . . . . . . . . . .60 Stereo microphone amplifier . . . .63 for surround / stereo . . . . . . . . . . . . . . . . . . . .76 Stand clamps . . . . . . . . . . . . . . . 72 for Blumlein recordings . . . . . . . . . . . directional . . . . . . . . . .47 Miniature accessories . . . . . . .97. . . . . . . . . . . . .78ff. . . . . 29 for A/B recordings . . . . . . . .120 Microphone preamplifier . . . .56 miniature for M/S stereo . . . MODULAR SYSTEM . . .56. . . . . . . . . . 118 ORTF microphone .5 Active Cables . . . . .14 – 20 for boundary-layer technique . . . . . . . . . .118 Floor stand .Index by Product Category A/B mounting bar .66 M/S stereo . . 20 directional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Flute adapter . .30 Sphere attachments . . . . . . . . . . .13 Clamps . . . . . . . . 60. . . 62 Microphone bars . . . . . . . . . . .50 Handheld microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Instrument adapters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 for close speech . . . . . . . . . . . . . .66 Shotgun microphones . . . . . 100 Hollow foam-type windscreens . . . . . . . . .62 Accessories Active. . . . . . . . 120 X/Y microphone . .38 phantom-powered . . . . . . .14. . . . . . . . 65 M/S stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 MODULAR SYSTEM . . . . .99 Bass filter for CCM and other phantompowered microphones . .6 COMPACT MICROPHONES . . .76 Surround setups . .12. . . . . . . . . . . . .49 Table mounting flange . . . . . . . . . . .28. . . . . . . . . . . . . . . . . . . . . . .71 ORTF stereo . . . .6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12. . . . . .70 M/S boundary-layer technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78. . . . 52 Cardioids for music and speech . . . . . . . . . . . .25. . .

.97 WKFM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 MK 40 / CCM 40 . . . . . . . . . . . . . . . . . . . MDZ 20U . . .44 SKC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76 SGCM . . . . . . . .57 F 5g . . . . . . . . . . . . . . . . . . . . . . . . . .72 CUT 1. . . VA 2 . . . . . . . . . . . . . . . . . . . . . . . .28 MK 6 . . . . . . . . . . . . . . . . .105 M 222 . . . . . . . . . . . 105 PHS 48 . .67 DSP-4P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 FA 1 . . . . . . . .29 MK 8 / CCM 8 . . . . . . .20 B 1 . . . . . . . . .66 H 20g . . . . . . .18 BLM 03 Cg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 T2 CCM 4g . . . . . . . . . . . .14 MK 2H / CCM 2H . . . . . . . . 52 HC . . . .processor of KFM 360 . . . . . . . . . . . . . . . . . -LI. . .86 SGMSC . . . . . . . . . . . . . . . SGCM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 ff. . . . . . . . . . . .66 KS 5 I . .97 KCY . . . . . . . . . . . . . . . . . .65 RG 8 . . . . . . . . . . . . . .73 WSR DMS LU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 MK 2S / CCM 2S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 KA 40. . . . . -LU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5. . . . . . . . . . . . . . . . . . . . . . . . . SG 22 MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106 RL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Windjammer: see WSR MS CI. . . . . . . . . . . . . . . . . . . . . PR 120 SV . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . -LI.98 KFM 360 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 M 100 C . . . . . .66 SG 20 . . . . . . . DZC 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 KKFM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107 LC 60 U. . . . . . . . . . . . . . . . . . . . . . . .55 HS 2S . . . . . . 120 CMBI . . . . . . . . . . . . . . . . . . . .44 SG 22. . . . . . . .108 SPV 12-3/8 . . . . . . . . . . . . . . . . . .27 MK 21 / CCM 21 . . .63 KIY 250/0 I . . . .115 WSR CMXY . . . . . . . . . .93 VMS 5 U . . . . . . . . . . . . . .31 MK 41 / CCM 41 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99 DMS-Splitter . . . . . . . . . . . . . . . . .39 OCT. . . . . . . . . . . . . . . . . . . . .45 A 20 CMXY .100 LP 40 U . . .45 ACA 53 . . . . . . . . . . . . . . .40 WB . . .7. . . . .57. . . 112 B 5 . . . . . . . . . . . . . .113 B 20 S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 T 20g . . . . . . . . . . . . . . . . .52 CCM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 B-DTM . . . . . . . . . PS 4 . . . . . . . .89 HS 4VXS . . . . . . . .101 MK 2 / CCM 2 . . . . . .53 TCg. . . . . . . . . . . . . . -LU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107 131 . . . 98 AK SU/2U . . . . . . . . . . . . . . . . . . . .53 TR 200 Lg . . . . . . . . . . .32 MK 4S / CCM 4S . . . . . . . .102 AMS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .processor of PolarFlexTM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TC 2g . .100 MAB 1000 .48 S 250 LUg . . . . . . .50 R2C KC . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 BF 250 . . . . . . . . . . . . . . . . . . . . . . . 68. . . . . . . .82 DZC 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 MK 3 / CCM 3 . . .82 PR 120 S. . . . . .61. . . . . . 55 BLM 3g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 W 20 R1 . . . . . . . .67 ff. . . . . . .47 RLG . . . . . . . . .64 KLY-DTM .82 BBG . . . . . . . . .30 MK 4V / CCM 4V . . . . . . . . .56 AF 1 . . . .102 K 20 STR. . . . .106 TA 20g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76 KFM 6 . . . . . . . . . . . . .114 B 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 CMH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OCT surround . . . see under MK. . . .105 CB 140. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 VA 1. A 20 S . . . . . . . . . . . . . . . . . . 106 STV 900/1400 L3Ug . . . . . . . . . . . . . . . . . .53 UMS 20 . . . . . . . . . .102 K 5 ISK . . . 103 KS 5 IU . . . . . . .97. . . 103 KMAB 1000 . . . . . . . . . . . . . . . . . . . . . . .51 SA 2 . . . . . . . AMS 22 . . . . . . . . . . . . . . . . . . . . . . . . .101 PolarFlexTM . . . . . . . . . . . . . . . . . . . . . .113 CB-MAB .41. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52. . . . . . . . . . . . . . . .45 A 22. . . . . . . . .79 AK I/2C . . . . . . . . . . . . . .34 MK 41V / CCM 41V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 RCY . . . . . . . . . . . .112 W 5 D . . . . .33 MK 5 / CCM 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Index Search by Product Name AC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 K 5 U . . . . CB 200. . . . . . . . . . . . . . . . . . . . . . 114 WSR 100 LU . . . . . . . . . . . . . . . . . . . . . . .112 PS 2. . . . . . . . .21 MK 21H / CCM 21H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 MS-BLM . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 RC KC . . . . . . . . . . . . . . . CUT 2 . . . . . . . -LI. . . . .49 ff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 AK DMS/3U . . . . . . . . . .63 WMS . . . . . . . . . . . . . . . . . .108 BLCg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 MK 4VXS / CCM 4VXS . . .54 T 5g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 MDZ 10U. . . . . . .102 AK 2U/SU . NT 222 DC . . . . . . . . . . . . . . . . . . . . . . . . . . .87 RC . . . . . . . . . . . . . . .55 KA-DTM . . . . . . . . . . . . . . . . . . . . . . . . 103 KS 5 U . . . . . . . . A 22 S . . . .38 CMC .104 KC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 ST 20-3/8 . . . . . . . . . 49 RG 12 . . . . . . .19 MSTC 64 Ug . . . . . .70 A 20. . . . . . .125 K 5 LU . . . . . . .107 GVC . . . . . . .112 B 5 D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 STCg . . . .57 SGC. . . . . . . . . . . . . 61. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 SM 270 . . . .60. . . . . . . . . .86 CMXY 4V . . . . .39 NT 222 AC. . . . . . .17 MK 4 / CCM 4 . . . . . . . . . . . . . . . . . . . . . .106 STR-TC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80 C2 CCM 4 Ug . . . . . . . . . . . . . . . . .50 S 420 L5Ug . . . . . . . . . . . . . . . . . . . . .82 KLY . . . . . . . . . . . . . . . . . . .44 SGC-KFM . . . . .105 MC-MAB . . . . . . . . . . . . . . . . . . . . . . . . . . K 30 STR . . . . . . . . . . . . .48. . . . . . . . . . CCM specifications . . . . . . . . . . . . . . . . . .23 MK 4A / CCM 4A . . . . . . . . . . . . . . . . . . . . . . .57 VMS 5 DC-W . . . . . . . . . .113 Z 10 . . . . . .115 W 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CB 250 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 VST 62 IUg . . . . . . . . . . . . . . . . . .12. . . . . . . LC 120 U . . . . . . . . . . . . . . .105 KMSC . . .50 S 250 L5Ug . . .44 SGH . . . . . . . . . . . . . . . . . . . . .54 TR 200 KC 2g . . . . .25 MK 41S / CCM 41S . . . . . . . . .79 WSR MS CI. . . . . -LU WKC . . . . . . . . . . . . . . . . -CI. . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .79 DSP-4 KFM 360 . . . . . . . . . . . . . .89 HSGMSC . . . .56 W 5 . . . . . . . . . . KA 50 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 STR . . . . . . . .

SCHOEPS Product photos: Bernhard Vollmer.de www. SCHOEPS GmbH. editorial consultant / translator / “hairsplitter”: David Satz SCHOEPS Catalog 5 . Subject to change without notice.: +49 (0)721/ 943 20-0 Fax: +49 (0)721/ 495 750 mailbox@schoeps. SCHOEPS U.Schalltechnik Dr. Printed in Germany 040106 Layout and text: Dagobert Schäfer.-Ing.schoeps.de Not responsible for errors or omissions.S. © Schalltechnik Dr. SCHOEPS GmbH Spitalstrasse 20 76227 Karlsruhe – Germany Tel.-Ing.

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