Schoeps

Plug&Play Set the standard on concert stages the set includes the cardioid MK 4, the stand tube RC 1200 with swivel, the support rod STR 350, the floor stand BF 250, the microphone amplifier CMC 6 as well as the foam pop screen B 5 D The RC Set "Singer" is customized for the application as a spot or soloist microphone for a singer or speaker. This set is worldwide generally referred to as the "Pavarotti stand" and is a general standard in concert halls. The pure elegance of the setup offers highest sound quality and at the same time a look that is appreciated by the public and the producers. A variation of the length of RC and/or STR enables other applications. MK 4 MICROPHONE CAPSULE Cardioid pattern The best-selling Schoeps capsule Directivity is highly independent of frequency Universally applicable; preferred use as spot microphone, for acoustic instruments, and in conference recording Often used in the main microphone pair for XY, ORTF and MS stereo recordings CMC 6 MICROPHONE AMPLIFIER The CMC 6 is our most popular and modern amplifier. Its electrical properties have set new standards in terms of low distortion levels and common mode rejection (i.e. suppression of interference induced in the microphone cable). RC ACTIVE EXTENSION TUBE Hardly any other product stands for the name SCHOEPS like the active tube RC. The RC has been a true "original" in pro audio history since its introduction in the late 1970s. Its timeless elegance belongs to the standard on the concert stage more than ever. STR VERTICAL SUPPORT ROD Support rod for mounting of RC or RL microphone tubes is comfortably clamped in the collet of the base BF 250 available in lengths of 250, 350, 600, 1000 mm as well as special sizes Material: brass with Nextel gray coating, diameter: 12 mm BF 250 HEAVY FLOOR STAND heavy bottom base for holding of STR support rods or stands STV, STA comfortable collet with quick release holds reliable and stable, but is still easy to lock and release Weight: 5.5 kg B 5 D HOLLOW FOAM POPSCREEN FOR 20 MM classic hollow foam windscreen standard for many applications recommended for conference, against wind and against the moving noise on the boom

Consisting of 2 paired SCHOEPS CMC 6 microphone amplifiers and 2 MK 4 cardioid capsules Includes 2x SG20 microphone clamps and 2x B5D windscreen in elegant wooden case The MK 4 has been a reference microphone for years in a wide variety of recording situations. Due to its transparent sound character and excellent attenuation of rear-incident sound, it reproduces sound sources very naturally. This has given the MK 4 a reputation as a universal "problem solver" even in difficult recording situations. Its flat frequency response, and the constancy of its directional pattern for all frequencies, are the basis of the MK4’s sound quality. Even in the diffuse sound field its frequency response is flat, with a slight increase at 10 kHz compensating for high-frequency losses in the room. Thus the sound image is transparent for direct-arriving sound, for sound arriving from the side, and for diffuse sound in the room (reverberation). The MK 4 is a classic small-diaphragm microphone with all the advantages of this microphone type. Its frequency response and the consistency of its polar diagram from low to high frequencies are exemplary. Like all SCHOEPS capsules, the MK 4 achieves its flat frequency response solely by its mechanical architecture, without any electronic filtering. As a pressure gradient transducer, the MK 4 has a single diaphragm that is exposed to the sound from both the front and rear. The side sound inlets must therefore never be covered. The “reach” (distance factor) of a classic cardioid such as the MK 4 is about 1.7 times that of an omnidirectional microphone. Thus even at greater distances from the sound source, direct sound can be obtained. The advantages of the MK 4 are shown especially when mixing several microphone signals - pickup of sound from the side is reduced in level but not subject to coloration. At 90° the attenuation of the MK 4 is 6 dB, and at 180°, some 20 to 30 dB. Diffuse-incident sound is picked up 4.8 dB lower in level than front-arriving sound. flat frequency response very low harmonic distortion and noise works with 12V and 48V phantom power balanced, low-impedance output high suppression of interference on the microphone cable excellent protection against high-frequency radio interference with "RFI Shield" frequency-independent impedance signal transmission possible over very long cables reliable operation even with weak phantom power symmetrical, transformer- and capacitor-free output stage with a class-A amplifier above 20 kHz, the signal is attenuated for protection against interference in the ultrasonic range, e.g. through the ultrasonic autofocus of a film camera The capsules of condenser microphones can't be connected directly to microphone cables or inputs; a microphone amplifier is required in between. Thus a complete microphone of the Colette series comprises any of the twenty available types of capsules combined with an amplifier. The CMC 6 U is designed for standard 48- and 12-Volt phantom powering. Its circuitry recognizes the supply voltage and adjusts itself automatically. Its performance characteristics remain essentially the same either way; mainly, the difference is that the current drawn at 12 Volts is greater than at 48 Volts. However, the 12-Volt mode consumes less power and might be preferred for battery-powered recording. The microphone amplifier is responsible for providing the necessary electric charge to the capsule, without which it would be unable to generate a signal. Since the capsule's output signal is very weak (Hi-Z), it must be amplified. In order for the microphone's output to cleanly reach the next stage in the signal chain, it must undergo balancing and impedance matching before transmission. The CMC 6 incorporates a balanced, direct-coupled class-A amplifier, yielding a low output impedance, high RF shielding, and minimal distortion.

The CCM 41 is strongly directional. Sound arriving from off axis is attenuated even more than with a cardioid. The pickup is “drier” and less susceptible to acoustic feedback than any other SCHOEPS microphone type (a loudspeaker should not be located directly along the rear axis of the microphone, however). Its directivity is highly independent of frequency, so that even sounds arriving off axis and reverberant sound are registered without coloration. Consequently, even distant placement of the capsule produces a very natural sound pickup.This is a real advantage over interference-tube “shotgun” microphones, whose directivity is very frequency-dependent – exceeding that of a supercardioid only at higher frequencies. Interference-tube microphones are notoriously sensitive to their position in a room, where the shifting patterns of reflections cause corresponding shifts in sound color.Features:Supercardioid with highly consistent directionality throughout its frequency rangeFor music and speechHigh directivity, comparable to that of a short “shotgun“ microphone up through midrange frequenciesOften preferred for use in film sound recording and as a spot microphone in orchestrasSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

Like the CCM 41, the CCM 41V is useful in all situations with music or speech, either as “spot“ microphones or as overall directional microphones. How ever, this type of microphone is addressed from the side. It excels particularly in the constancy of its polar response throughout the audio spectrum. As a result, sound within 90º on either side of the main axis is picked up with virtually no alteration of frequency response or tone color. This is strongly evident with sound sources that are in motion, but is also of great benefit in obtaining stable, precise stereo imaging for normal music recordingsFeatures:Supercardioid with especially consistent directionality throughout its frequency range“Vertical” (side-addressed) supercardioid capsuleFor a very wide range of recording applicationsHigh directivity, comparable to that of a short “shotgun“ microphone up through midrange frequenciesOften preferred for use in music and speech recording, as a spot microphone and also as a main microphone, especially when using the OCT recording methodSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This type of microphone has a low-frequency rolloff to compensate for the low-frequency boost which occurs when close-miking.Features:Cardioid patternFor pickup of speech or music at close range (under 20 cm)Moderate attenuation of low frequenciesSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

The MK 4V was created in answer to requests for a cardioid with its main axis along the side. In addition to its usefulness in the concert hall, this microphone type is of particular value in speech recording, since its slight emphasis around 10 kHz helps to improve intelligibility.The directional response is especially well maintained even at higher frequencies, due to the acoustically transparent housing. There is less high-frequency emphasis of off-axis sound than occurs with most small, axial-response cardioids. The MK 4V still sounds somewhat brigher than the MK 4, however, because of its overall frequency response.Features:“Vertical” (side-addressed) cardioid capsuleFor a very wide range of recording applicationsSlight high-frequency emphasisOften preferred for singing or speaking voices and most instrumentsSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This cardioid microphone, with its main axis along its side is designed for the very closest speech pickup, i.e. directly in front of the speaker’s mouth. Its low-frequency rolloff is compensated by proximity effect. Thus it has (up to the point of its high-frequency emphasis) a flat frequency response for the speaker’s voice, while showing a rolloff at low frequencies for all sound that originates from a greater distance. As a result, background sounds are picked up less strongly than the person speaking.Features:Cardioid pattern, side-adressedFor pickup of speech or music at close range (under 20 cm)Moderate low frequency attenuationSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This cardioid microphone, with its main axis along its side, improves speech intelligibility in very loud environments. It is designed for the very closest speech pickup, i.e. directly in front of the speaker’s mouth. Its low-frequency rolloff is compensated by proximity effect.Thus it has (up to the point of its high-frequency emphasis) a flat frequency response for the speaker’s voice, while showing a rolloff at low frequencies for all sound that originates from a greater distance. As a result, background sounds are picked up less strongly than the person speaking.Features:Cardioid for lateral pickupFor pickup of speech or music at close range (under 10 cm)Considerable attenuation of low frequenciesSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This type of microphone has a low-frequency rolloff to compensate for the low-frequency boost which occurs when close-miking.Features:Cardioid for lateral pickupFor pickup of speech or music at close range (under 10 cm)Considerable attenuation of low frequenciesSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray​

The CCM 5 offers two selectable directional patterns, but uses only one membrane – a no-compromise approach. The fact that full response is maintained to the highest audible frequencies is unusual for a switchable-pattern microphone.In its omnidirectional setting the CCM 5 is a true pressure transducer with smooth, extended low-frequency response, low sensitivity to most wind and breath noise, handling noise or mechanical vibration, and no proximity effect.Unlike conventional, dual-diaphragm multi-pattern microphones, its cardioid setting retains its full directionality even at very low frequencies. The benefits of this design in purity and clarity of sound are immediately audible. The CCM 5 has a slight high-frequency emphasis as compared with the corresponding single-pattern omni (CCM 2) and cardioid (CCM 4). Features:Omni and cardioid patterns, mechanically switchableSlight emphasis of the high frequenciesBroad range of applicationsPreferred uses similar to those of the MK 2 or MK 2S and the MK 4: In the cardioid setting: for use with singing or speaking voices or most instruments, as a spot microphone, and for stereo recording with coincident, ORTF or M/S microphone arrangementSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This capsule type is a true dipole (bidirectional) transducer, operating with a single diaphragm. Its main axis is at a right angle to the capsule, and is marked at 0° and 180° with a red and a black dot respectively. Features:Pure pressure-gradient transducerFigure-8 pattern with near-ideal consistency across the frequency rangeSide-addressed (pickup perpendicular to the microphone body)Optimal for use in M/S and Blumlein stereo recordingSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

The CCM 22 has been developed for use as a spot microphone. It unites the strengths of the CCM 4 and CCM 21 microphones. Its directionality is only slightly less than that of the CCM 4 cardioid, while its sonic character is reminiscent of the CCM 21 wide cardioid. Its directivity is essentially constant throughout the frequency range. Its inherent low-frequency response is somewhat more pronounced than that of the cardioid, while proximity effect is somewhat less. Features:New kind of directional pattern: “Open Cardioid”Optimal combination of classic cardioid directionality (MK 4) with the sonic character of the wide cardioid (MK 21)Directional pattern largely constant throughout the frequency rangeOften preferred for spot miking and as a soloist’s microphoneSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This type of microphone has a directional pattern between omni and cardioid. The basic idea in designing the CCM 21was to combine the advantages of the cardioid with those of the omni. This results in a pickup pattern which blends the two sets of characteristics in a useful manner. It has fuller and more extended low frequency response than a cardioid, with less proximity effect, while attenuating side- and rear-incident sound less than a cardioid.The polar diagram shows the directivity of the MK 21 to be only slightly dependent on frequency. This contrasts with omnidirectional capsules, whose directivity increases with rising frequency, and with cardioids (at least smaller ones), which tend to accentuate high frequencies that arrive at oblique angles. The MK 21’s orientation is less critical than with a cardioid, since direct sound arriving on axis and reverberant or other sounds off axis are both reproduced accurately. This lack of coloration in the off-axis pickup produces a “warm” and natural sonic impression. Features:Wide cardioid with especially consistent directionality throughout its frequency rangePleasant sound image, often described as “warm”Often preferred for use as a spot microphone, or as the main pair for overall stereo pickupSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

This microphone consists of a T-shaped body with two built-in microphone amplifiers, 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). The stereophonic recording angle is 95°.Features:For recordings with ORTF techniquePlacement relatively uncriticalGood stereo imagingFor a very wide range of recording applicationsFor 12 / 48 V phantom poweringSpecifications:Directional pattern: cardioid (2× MK 4)Recording angle: 95 °Frequency range: 40 Hz - 20 kHzSensitivity: 13 mV/PaEquivalent noise level (A-weighted): 15 dB-AEquivalent noise level (CCIR): 24 dBSignal-to-noise ratio (A-weighted): 79 dB-AMaximum SPL: 132 dB-SPLMaximum output voltage: 1 VOutput impedance: 35 ΩMinimum recommended load impedance: 600 ΩPowering: 12 V ± 1 V or 48 V ± 4 V phantomCurrent consumption: 4 mA per channel, independent of the supply voltageWeight: 230 gOutput: XLR-5M

This cardioid microphone, with its main axis along its side, improves speech intelligibility in very loud environments. It is designed for the very closest speech pickup, i.e. directly in front of the speaker’s mouth. Its low-frequency rolloff is compensated by proximity effect.Thus it has (up to the point of its high-frequency emphasis) a flat frequency response for the speaker’s voice, while showing a rolloff at low frequencies for all sound that originates from a greater distance. As a result, background sounds are picked up less strongly than the person speaking.Features:Cardioid for lateral pickupFor pickup of speech or music at close range (under 10 cm)Considerable attenuation of low frequenciesSpecifications:Frequency range: close pickupSensitivity: 10 mV/PaEquivalent noise level (A-weighted): 14 dB-AEquivalent noise level (CCIR): 25 dBSignal-to-noise ratio (A-weighted): 80 dB-AMaximum sound pressure level at 0.5% THD: 134 dB-SPLLength: 34 mmDiameter: 20 mmWeight: 18 gSurface finish: matte gray (g) or nickel (ni)

The CMXY 4V is a compact and versatile X/Y stereo microphone which is both elegant and very unobtrusive. Its mild high-frequency boost increases the intelligibility of speech and compensates for high-frequency losses typical of moderate recording distances. It thus lends itself ideally to music recordings, TV and broadcast use, e.g. on a table for discussions, for presenters, boom operations or as a stereo spot microphone on a stand.The side-by-side arrangement of capsules is somewhat unusual. But there can never be perfect three-dimensional coincidence between any two microphones, and the distance between center points of the capsules in a CMXY is only 21 mm. While this distance is in the horizontal plane, it is considerably less than the vertical distance between capsules in most other stereo microphones of professional quality. Thus the precision of stereo imaging and mono compatibility are fully in keeping with established professional requirementsThe overall width of the two microphones combined is similar to (often less than) the diameter of a conventional stereo microphone’s capsule assembly. This is possible by using the smallest non-electret condenser microphones with balanced outputs, the CCM Compact Condenser Microphones.Features:2 × cardioid with lateral pickupCompact, elegant and lightweightUniversally applicableThe angle between the microphones is adjustableWith XLR-5M or miniature output connectorSpecifications:Directional pattern: 2 × cardioid with lateral pickup (CCM 4V)Frequency response: 40 Hz - 20 kHzSensitivity: 13 mV/PaMaximum sound pressure level at 0.5% THD: 132 dB-SPLEquivalent noise level (A-weighted): 14 dB-AEquivalent noise level (CCIR): 24 dBPowering: phantom powering: 12 V ± 1 V (8 mA) or 48 V ± 4 V (4 mA), automatically switchedOutput impedance: 90 ΩMaximum output voltage: ca. 1 VLength: I-version: 110 mm, U-version: 119 mmWidth: max. 43 mmDepth: max. 22 mm

The capsules of condenser microphones (the only type which SCHOEPS manufactures) can’t be connected directly to microphone cables or inputs; a microphone amplifier is required in between. Thus a complete microphone of the Colette series comprises any of the twenty available types of capsules combined with an amplifier. The CMC 6 Ug is designed for standard 48- and 12-Volt phantom powering. Its circuitry recognizes the supply voltage and adjusts itself automatically. Its performance characteristics remain essentially the same either way; mainly, the difference is that the current drawn at 12 Volts is greater than at 48 Volts. However, the 12-Volt mode consumes less power and might be preferred for battery-powered recording.Features:Flat frequency responseExtremely low noise and distortionBalanced, very low-impedance outputCan be used with very long cablesWell-protected against RFIFor use with 12- or 48-Volt phantom poweringSpecifications:Powering voltage: 12 / 48 VCurrent consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance (at 12 V): 25 ΩImpedance (at 48 V): 35 ΩLow-cut frequency: 20 HzMaximum output voltage: 1 VMinimum recommended load impedance: 600 ΩLength: 116 mmDiameter: 20 mmWeight: 60 gSurface finish: matte gray (g) or nickel (ni)

The CCM 2XS (formerly CCM 3) is designed for placement in a diffuse sound field, i.e. at distances in reverberant environments where the greater portion of arriving sound has already been reflected from various room surfaces. In such placement the integrated frequency response of this capsule is essentially flat; the on-axis high-frequency response elevation shown in the graph below is not heard as such. It is remarkable how well-focused a recording can be made with omnidirectional microphones at such distances, when the microphones have been designed and placed appropriately.Fetures:Omnidirectional patternDiffuse-field capsuleFor miking distances at which the predominant sound is no longer directUseful for relatively distant placement in reverberant environments – as a room microphone, for “spaced microphone” stereo pickup and in “Decca Tree” arrangementsSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

The Schoeps V4 USM Set contains the V4 U Studio Vocal Microphone, the USM-V4 Elastic Suspension and a wooden case. The blue V4 U Studio Vocal Microphone features a small-diaphragm capsule with a beveled collar for controlling the polar response. It has a warm, clear sonic character with a smoothly rolled-off diffuse-field response.Specifications:Polar Pattern: CardioidFrequency Range: 50 Hz to 22 kHzSignal to Noise Ratio: 79 dB A-WeightedEquivalent Noise Level: 15 dB A-Weighted25 dB CCIRMaximum SPL: 144 dB SPL 0.5%Impedance: 600 ohmsSensitivity: 16 mV/PAPower Requirements: 48 VOperating Current Consumption: 3.3 µA 

The V4 U is the studio vocal microphone by SCHOEPS. It unites the outstanding technical characteristics typical of SCHOEPS with a timeless, classic design. The “look” of the V4 U is based on the SCHOEPS CM 51/3 from 1951. But the V4 U is a thoroughly modern studio microphone. Its capsule, circuitry and mechanical construction are the result of extensive new development.Features:Studio Vocal MicrophoneNew small-diaphragm capsule architecture, with bevelled collar for controlling the polar response.Warm, clear sonic character with smoothly rolled-off diffuse-field response.Capsule head with adjustable tilt angle.Optimal on-axis frequency response featuring a mild high-frequency lift.Very smooth polar response; carefully-controlled narrowing of the pattern at high frequencies.Diffuse-field response parallel to the 0 ° response, with a gentle roll-off at high frequencies.Newly designed electronics offer a very high maximum sound pressure level.Specifications:Directional pattern: CardioidFrequency range: 50 Hz - 22 kHzSensitivity: 16 mV/PaEquivalent noise level (A-weighted): 15 dB-AEquivalent noise level (CCIR): 25 dBSignal-to-noise ratio (A-weighted): 79 dB-AMaximum sound pressure level at 0.5% THD: 144 dB-SPLMaximum output voltage: 4.8 VLow-cut frequency: 40 HzPowering voltage: 48 VCurrent consumption: 3.3 mALength: 194 mmWeight: 302 g  

The SCHOEPS SuperCMIT 2 U defines a new category of shotgun microphone, with directivity that goes beyond anything previously known. It offers the recording engineer entirely new possibilities.Where would I use the SuperCMIT 2 U? The SuperCMIT 2 U can be a problem-solver wherever diffuse sources of noise (such as street noise, wind noise, room sound, or audience and passers-by) might interfere with a recording. Unwanted noise is greatly reduced in level – even at low frequencies – without altering the tone color of front-arriving direct sound. Even a shotgun with a long tube can’t do that. This makes the SuperCMIT 2 U ideal for complex film sound applications and for sports events. The SuperCMIT 2 U also increases the “reach” of indoor recordings.How does the SuperCMIT 2 U achieve this directivity? Digital signal processing in the SuperCMIT 2 U recognizes sound energy arriving from various directions, and determines whether that sound has a discrete, persistent direction of arrival or not.It uses this information to suppress diffuse sound and to focus on discrete sound. This allows the “reach” of the shotgun microphone to be increased significantly, without causing the usual sound-coloring artifacts. The SuperCMIT 2 U is the first microphone in the world to combine such high directivity with high sound quality.Features:New type of digital shotgun microphone with increased directivity, based on SCHOEPS' extremely successful analog model CMIT 5Diffuse sound is suppressed to an extraordinary degreeCompletely new operating principle with two transducersPatented digital signal processing algorithms from ILLUSONIC (patent pending)Two-channel output, with SuperCMIT signal in channel 1 and (direct, single-transducer) CMIT signal in channel 2SCHOEPS sound quality: transparent soundSpecifications:Sensitivity: -31 dBFS at 1 PaEquivalent noise level (A-weighted): channel 1: 14 dB-Achannel 2: 16 dB-AEquivalent noise level (CCIR): channel 1: 27 dBchannel 2: 28 dBMaximum SPL: 125 dB-SPLFilter(s): switchable:80 Hz with 18 dB/oct.5 dB lift at 10 kHz (shelving)Powering: 10 V digital phantom powering (AES42)Current consumption: 170 mAOutput: AES42, Mode 1, sample rate: 48 kHz, resolution: 24 bitchannel 1: SuperCMITchannel 2: regular CMIT (shotgun signal only)Latency period: at 1 kHz:channel 1: 3.4 mschannel 2: 1.6 msLength: 280 mm (11'')Diameter: 21 mm (0.83'')Weight: 112 grams (only 4 ounces!)

The gray V4 SGV Set from Schoeps contains a V4 U Studio Vocal Microphone, a wooden case, and an SGV stand clamp. The base of the SGV stand clamp has a 5/8"-27 NS internal thread. A threaded adapter is supplied for 3/8" and 1/2" mounting. The angle can be varied continuously in the vertical plane.The V4 U Studio Vocal Microphone features a small-diaphragm capsule architecture with a beveled collar for controlling the polar response. It has a warm, clear sonic character with smoothly rolled-off diffuse-field response.Specifications:Polar Pattern: CardioidFrequency Range: 50 Hz to 22 kHzSignal to Noise Ratio: 79 dB A-WeightedEquivalent Noise Level: 15 dB A-Weighted25 dB CCIRMaximum SPL: 144 dB SPL 0.5%Impedance: 970 ohmsSensitivity: 16 mV/PAPower Requirements: 48 VOperating Current Consumption: 3.3 µAGeneralLength: 7.64" (194 mm)Diameter: 1.34" (34 mm)Weight: 0.66 lb (302 g)

This special version of the CCM 3 Lg compact microphone is equipped with a flange enabling it to be built into the surface of a table or speaker's rostrum. This makes the microphone nearly invisible, and at the same time improves the sound quality by eliminating comb filter effects.Features:Hemispherical pickup patternFor building in to the surface of a table or lecternUnobtrusiveAvoids “comb filter” effectSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

If this microphone is used indoors at medium recording distances (i.e. where direct sound energy is similar in amount to reflected sound energy), its overall response will be linear. Its extended frequency response and low noise make it appropriate for the most demanding applications.The sound inlet of the CCM 2H is narrower than that of our other pressure transducers, causing a slight, purely acoustic response elevation above 6 kHz. This reduces the high frequency loss for diffuse sound, thus helping to preserve natural sound quality.Features:Omnidirectional patternMild high-frequency rise to compensate for losses at medium recording distanceOften chosen for “spaced microphone” stereo pickup and “Decca Tree” arrangementsSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

The MK 2S exhibits a slight high-frequency emphasis for frontal sound incidence, with only a slight rolloff of high frequencies off axis and in the reverberant sound field.The frequency response characteristic of the CCM 2S falls between that of the CCM 2 and the CCM 3, making this microphone suitable for a wide range of applications.Features:Omnidirectional patternSlight high-frequency rise to compensate for losses at moderate recording distancesFor a very wide range of recording applicationsOften preferred for “spaced microphone” stereo pickup and “Decca Tree” arrangementsSpecifications:Current consumption with 12 V: 8 mACurrent consumption with 48 V: 4 mAImpedance: 90 ΩMinimum recommended load impedance: 600 ΩLow-cut frequency: 20 HzLength (L version): without connector: 46 – 58 mmLength (U version): 46 – 58 mmDiameter: 20 mmWeight (U-version): 33 gWeight (L-version): 43 gSurface finish: matte gray

Attenuator DZC 10 .Overview ca. 10 dB constant attenuationraises maximum sound pressure level by ca. 10 dBattenuates signal ahead of CMC microphone ampli fiers of the Colette modular systemUnder extreme conditions, even a SCHOEPS Colette series microphone can be overdriven by very high sound pressure levels. Here the limiting factor is not the capsule but the microphone amplifier. The overload point ranges from 128 – 135 dB-SPL, depending on the capsule and the amplifier type (e.g. 5 dB lower with the “+5 dB“ version).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 Ac cessories.The use of two DZC 10 on one microphone will result in an attenuation of only ca. 15 dB due to the capacitive principle of operation. If the level must be attenuated by a full 20 dB, a DZC 20 should be used.