hk5e

CONDENSER MICROPHONES

FOR PROFESSIONAL USE

Catalog 5

2

Foreword

Schalltechnik Dr.-Ing. SCHOEPS GmbH was estab-

lished in Karlsruhe in 1948, at first operating from

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 num-

ber of satisfied SCHOEPS users has grown steadily.

Nowadays we supply our microphones to broad-

casters, sound recording studios and film recordists

throughout the world. Our products are designed to

deliver the finest quality sound in the most demand-

ing environments, yet they are equally at home in

conference and sound reinforcement applications.

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 develop-

ment of the recording art.

Dr. Schoeps Dr. Küstersthe founders of the

company

CMV 50/21948

Preparing the microphone capsules– done almost entirely by hand.

CCM 4ULgtoday

3

Contents

Overview

Microphone Capsules & COMPACT MICROPHONES

Microphone Amplifiers

Accessories (by application)

Stereo

Surround

PolarFlexTM Microphone Processor

Vocalist Microphones

Headsets

Microphone Preamplifier

Accessories

Technical Appendix

4

9

35

43

59

75

81

85

89

91

95

117

Index 127

page

microphonesof the COLETTE MODULAR SYSTEM:

microphones of the COMPACT SYSTEM:

Explanation of symbols

XLR-3M

COLETTEmodular

CCMcompact

Jörg Wuttke Ulrich SchoepsThe present-day

leadership ofSchoeps GmbH

4

COLETTE MODULAR SYSTEM

Modular “COLETTE” Microphones

... consist of the combination of two basic units asshown above – a microphone capsule and amplifier.

Active Accessories

Active Accessories can be connected between the cap-sule and amplifier of a microphone. This allows manydifferent types of placement, including unobtrusive andvisually attractive setups.

“Active” means that these accessories contain electricalcircuitry, i.e. an impedance converter which connectsdirectly to the capsule.

The number of possible combinations is quite large – there are 20 types of microphone capsule and 6 basictypes of amplifier, some of which have further specialversions available. With very few exceptions, any type ofcapsule can be used with any type of amplifier.

Example for the use of an Active Accessory:RC 1200g microphone tube (page 47)

...has been well proven for over 25 years, and isconstantly being expanded.

pg. 36

pg. 47

pg. 12

MK... microphone capsule CMC... microphone amplifier

COLETTEmodular

5

low

-cut

filte

r(p

g. 1

00)

atte

nuat

orpg

. 101

VMS 5 U: microphone preamplifierwith M/S matrix (pg. 92)

VMS 5 Umicrophone preampli-fier with M/S matrix(pg. 92)

LC MDZ

unbalanced input(DAT recorder, pockettransmitter etc.)

mic

roph

one

caps

ule

(pg.

12)

atte

nuat

or

(pg.

96)

swiv

el

(pg.

97)

low

-cut

filte

r(p

g. 9

9)

mic

roph

one

ampl

ifier

(pg.

36)

...20 capsules

in totalinput with parallel powering

RC KC Active Tube

(pg. 48)(special version)

VST 62 IUgphantom-powered stereo

microphone amplifier (pg. 40)

CMC 6: P12 / P48

CMC 5: P48

CMC 3: P12

CMC 4: T12

tube microphoneamplifier (pg. 39)

M222

MK DZC GVC

KC (Active Cable)

pg. 97)

electrically Active Accessories

CUT

AK SU/2Uadapter cable

XLR-5F to 2× XLR-3M(pg. 102)KCY

Active Y-cable(pg. 98)

signal:balanced

unbalanced

CMBIbattery-powered micro-

phone amplifier (pg. 38)

Ster

eo

AK I/2Cadapter cable

(pg. 98)

KS 5 Iextension cable

(pg. 103)

TR 200 KCgActive TableStand(pg. 53)

RCActive Tube

(pg. 47)

RCYActive

Stereo Tube (pg. 65)

COLETTE MODULAR SYSTEM

System Overview

NT 222 ACspecial powering

unit (pg. 39)

NT 222 DCspecial powering

unit (pg. 39)

COLETTEmodular

LP 40 Ulow-pass filter(pg. 100)

6

COMPACT SYSTEM

CCM-L

XLR-3M

CCM-U

CCM COMPACT MICROPHONES

The CCM represents the logical next step in theminiaturization of classic condenser microphone tech-nology without any compromise in quality. The capsulesare identical to the corresponding Colette models, whilethe amplifiers follow the same circuit principles as CMCamplifiers, with low-impedance balanced output cir-cuitry that allows the use of microphone cables up tohundreds of feet long without interference.

The capsule and amplifier of a CCM (“CompactCondenser Microphone”) form a single unit. In onetype of CCM the output cable is detachable, but thecapsules and amplifiers cannot be interchanged likethose of the COLETTE MODULAR SYSTEM.

There are two basic versions:

The CCM-L, the standard version with thin, detachablecable (see following page)

The CCM-U, a slightly smaller version with a morerobust, permanently attached cable

Accessories

Mounting accessories originally designed for Colettecapsules on Active Cables can also be used with eitherversion of CCM. Several additional mounting accessorieshave been designed with Lemo connectors to hold thecapsule-and-amplifier unit of a CCM-L.

CCM-L COMPACT MICROPHONE, e.g. CCM 4Lg (cardioid), pg. 13RL 1200g microphone tube (RG 8 swivel included), pg. 47STR 350g support rod, pg. 106BF 250 floor stand, pg. 108

Example for accessories:RL microphone tube

pg. 13 pg. 41

pg. 44

CCMcompact

7

COMPACT SYSTEM

VMS 5 U: microphone preamplifierwith M/S matrix (pg. 92)

COMPACT MICROPHONE

with permanentlyattached cable;special version(pg. 13 ff., 41)

mechanical accessories for CCM-L and CCM-U see page 44 ff.

. . .

adjustable-height stand STV 900/1400 L3Ug

(pg. 46)

all signals shownabove are balanced

Ster

eoCOMPACT MICROPHONE

(pg. 13 ff., 41)

microphone tube e.g. RL 700g

(pg. 47)

gooseneck formounting intable surfaceS 250 L5Ug

(pg. 50)

Y-cable KLY I (pg. 103)

Y-cable KLY SU (pg. 103)

AK SU/2Uadapter cable

XLR-5F to 2× XLR-3M

(page 102)

K 5 LUadapter cable (Lemo / XLR-3M,included withCCM-L), pg. 103

attenuatorMDZ

(pg. 101)

tube for mountingin table surfaceRLG 350 Ug

(pg. 50)

table stand TR 200Lg (pg. 53)

elastic suspensionfor tables, fordecoupling ofvibrations

CCM-U

CCM-L

System Overview

CCMcompact

low-cutfilterLC 60 U(pg. 100)

low-passfilter

LP 40 U(pg. 100)

adapter cable to XLR-5M:

KS 5IU(page 103)

8

SCHOEPS M 221F tube microphone with M 934B capsule, shown with special attachmentfor the cardioid setting, 1959

9

Headline

10

12

14

18

21

23

25

27

28

30

page

Guidelines for Selection

Overview

Pressure Transducers

Boundary-Layer Capsules

Wide Cardioids

Cardioids

Supercardioids

Figure-8

Switchable Microphones

Microphones for Close Pickup

Microphone Capsules & COMPACT MICROPHONES

10


Which is the best microphone for ... ?

SCHOEPS is often asked to recommend a microphonefor a particular instrument or application. Some micro-phone manufacturers readily answer such requests.That might make sense if a microphone has a frequencyresponse that is tailored to the characteristic sound ofa given instrument. But the possible applications forsuch microphones would then be restricted significantly.

Our opinion

In our opinion a good microphone ought to soundnatural, just as one expects a good audio amplifier tosound; thus it should be suitable for any instrument.This requires flat frequency response and a directionalcharacteristic independent of frequency. There will beno difference in sound quality whether the pickup ison- or off-axis.

Obviously this ideal can be achieved only to a finitedegree. With directional microphones, proximity effectcauses the low-frequency response to vary significantlywhile with nearly all microphones (especially omnidirec-tional microphones), the polar pattern is rarely ideal atthe highest frequencies.

Only in rare cases can “the” correct microphone bechosen unequivocally, since – according to experience –one must also consider the aspects of taste, recordinglocation, position of sound sources and the microphone,and the atmosphere of the music or other programmaterial. Any absolute prescriptions would thus be oflimited value at best. However, we would like to offersome ideas to help orient the choice that must bemade.

Some basic observations

The microphone type that comes closest to the theo-retical ideal is the classic pressure transducer. It has anomnidirectional pickup pattern, reproduces even thelowest audio frequencies with full sensitivity, and hasno proximity effect.

In practice some degree of directionality is generallyconsidered desirable and the most commonly usedpattern for medium-distance pickup is the cardioid. Inparticular situations, however, there may be good rea-sons to make a different choice, which could include:

– increased directivity either for the sake of a “drier”recording or for the suppression of sound fromadjacent instruments: supercardioid type “41” (= MK 41 or CCM 41), assuming that there is nonearby sound source or loudspeaker behind themicrophone, since it has a rear lobe

– for decreased directivity or very natural sound qualityeven for sound arriving at the sides, or for improvedlow-frequency reproduction: the type “21” widecardioid

– for essentially perfect pickup of low-frequency infor-mation and “room” sound: the omnidirectionals,type “2H” or “2S”

– for very close miking: With directional microphonesit is necessary to compensate for proximity effect bymeans of a corresponding bass rolloff. This is espe-cially true when miking instruments; see our recom-mendations on page 57. For voice: try type “4S” or “4VXS.” For instrumentsthe omnidirectional type “2” may be of interest (noproximity effect, low sensitivity to “popping” or tosolid-borne noise); for grand piano, the BLM 03 Cg.

– for very distant miking with essentially perfect bassresponse and/or as an “ambience” microphone:omni type “3.”

– for outdoor recording if directivity is not required (at close miking distances): omni type “2S” + wind-screen W 5 or W 5 D (advantage: low sensitivity towind, “popping” and handling noise).

– for high directivity: type “41” with W 5 D, W 20 R1,or WSR MS (“basket”-type windscreen with built-inelastic suspension for mono or stereo).

As a starting recommendation:

the switchable omni/ cardioid capsule MK 5 plus anyof the modular “Colette“ Series amplifiers, or the cor-responding COMPACT MICROPHONE CCM 5.

11


Frequency response:

Directional pattern:

Near field:

Sensitivity to vibration, windand popping:

Pressure transducers(omnidirectional microphones)

Essentially flat, with accurate reproductionof low frequencies. The on-axis response ofthe free-field capsule does not have a high-frequency emphasis but the capsule meantfor the reverberant sound field does.

Omnidirectional pattern in its ideal form onlyat low and middle frequencies. At very highfrequencies there is an increasing directivity.For this reason even omnidirectional micro-phones are aimed toward the sound source.

No proximity effect

Very little; simple foam-type windscreens areusually sufficient.

Pressure-gradient transducers(directional microphones – e.g. cardioid)

Reduced sensitivity (rolloff) at lower fre-quencies, which can be compensated byclose placement to the sound source(proximity effect)

Types: wide cardioid, cardioid, supercardioid(hypercardioid), bidirectional (figure-8). Ourfigure-8 and wide cardioid have an excep-tionally frequency-independent polar dia-gram. Shotgun microphones: see pg. 119.

Proximity effect: Elevation of the low fre-quencies as working distance decreases innear-field use (quite noticeable at lessthan 50 cm)

Considerable

Applications: Recommendations:

On a lectern type “4” (cardioid) with close-speech guard B 5 DConference recording type “4” (cardioid) with close-speech guard B 5 DTV speaker’s table type “4” (cardioid), no popscreen required at distances greater than 0.5mRadio announcer type “4V” (cardioid with lateral pickup) with pop filter PR 120 SVNoisy environments (super-)cardioid for close pickup (10 – 20 cm) with bass rolloff: types “4S”, “40”, “41S”TV “round table” discussion type “4” (cardioid) or boundary-layer capsule BLM 03 Cg (hemisphere)Church type “40” (cardioid), perhaps as boundary layer microphone with BLCg (pg. 12) or BLM 03 Cg (pg. 20)Stage radio microphone type HXiR (Audio Ltd.) with MK 4 (cardioid) and B 5 D popscreen or MK 2S (omni)News reporting MK 5 (omni/ cardioid, switchable) with windscreen B 5 D or W 5 D or W 20 R1

(the omni setting if there is strong wind; cardioid if other nearby sound needs to be reduced)

Stage (moveable) radio microphone HXiR (Audio Ltd.) with MK 4 (cardioid) or MK 2S (omni) and popscreen B 5 DStage (fixed) type “4” (cardioid) on RC Active Tube with windscreen B 5 D, vocalist microphone CMH 64 (cardioid)Studio type “4”, “4V” (cardioids) with pop filter PR 120 S, PR 120 SV

All except organ and type “4” (cardioid); to pick up room sound as well, or an organ:deep percussion type “21” (wide cardioid) especially when the room’s character is less than optimal, or type “2S” (omni)

Tympani, bass drum, etc. type “2” (omni)Instruments with adapters flute: type “8” (figure-8), violin: type “4V” (cardioid), saxophone: type “4” or “4V” (cardioids)Accent miking (spot mike) in the orchestra: type “4” (cardioid), “41” (supercardioid), but also “21” (wide cardioid) or “2” (omni)

Orchestra, chorus ORTF microphone MSTC 64 (pg. 71); for best low-frequency reproduction, A/B recording e.g. with type“2S” or with BLM 3g or BLM 03 Cg (pg. 20); in particularly good acoustic, sphere microphone KFM 6

Small orchestra/ ensemble M/S with RCY Active Tube (pg. 65 ff.), boundary-layer microphone (pg. 18) or modular microphones(pg. 66 ff.), X/Y (pg. 72 ff.), in particularly good acoustic: sphere microphone KFM 6 (pg. 63)

Film and video dialog/effects M/S (pg. 68 ff.) with type “41” (supercardioid) in the M-channel or X/Y on a boom (pg. 73),boundary layer with BLM 03 Cg (pg. 20) e.g. under a thin tablecloth or in a car under the top

Orchestra OCT surround, KFM 360Film and video dialog/effects double M/S on a boom (pg. 79)

Surr

ound

Ster

eoIn

stru

men

tsV

ocal

sSp

eech

/ Sp

eake

rs

All of the wide variety of SCHOEPS microphones, without exception, are single-diaphragm electrostatic transducers.

Type “4”= CCM 4 or MK 4 + CMC 6

12

the most popular Microphone Capsules

BLCgmounting plate for directionalboundary-layer recordings with MK 4 (cardioid) or MK 41 (super-cardioid) with Active Cable; 100 mm diameter

hemi supercardioid

actual size20 mm diameter

“warm”sound

page 21

universallyapplicablepage 23

page 28

for M/S, Blumleinpage 27

universal;lateral pickup

page 24

universally applicablepage 25

Technical specifications: see page 120.

for mediumdistancepage 15

universallyapplicablepage 16

omni

wide cardioid

cardioid

supercardioid

figure-8

switchable

MK 2g MK 2Hg MK 2Sg

MK 21g

MK 4g MK 4Vg

MK 41g

MK 8g

MK 5g

for closepickup

page 14

Although our normal production tolerances are veryclose, we can deliver specially matched capsule orCOMPACT MICROPHONE pairs for a small extra charge.

Surface finish: matte gray (g)or nickel (ni)

BLM 03 Cgminiature boundary-layer capsule, page 20

boundary layer

hemisphere

hemi cardioid

COLETTEmodular

13

the most popular COMPACT MICROPHONES

“warm”sound

page 21

universallyapplicable

page 23

page 28

for M/S, Blumleinpage 27

universal;lateral pickup

page 24

universally applicable

page 25

for mediumdistancepage 15

universallyapplicable

page 16

for closepickup

page 14

CCM-L

CCM-Uspecial version, ca. 7 mm shorter, with permanentlyattached cable

All CCM types are available in two versions:

actual size20 mm diameter

CCM 2g CCM 2Hg CCM 2Sg

CCM 21g

CCM 4g CCM 4Vg

CCM 41g

CCM 8g

CCM 5g

omni

wide cardioid

cardioid

supercardioid

figure-8

switchable

boundary layer

BLCgmounting plate for directional boundary-layer recordings with COMPACT MICROPHONE

CCM 4 (cardioid) or CCM 41 (supercardioid);100 mm diameter

hemi supercardioid

hemi cardioid

CCMcompact

14


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)

As can be seen from the frequency response curve,this microphone type has a flat frequency response forfrontal sound incidence. This yields a very natural soundwhen recordings are made within the reverberationradius, where the direct sound (frontal incidence) pre-dominates over the reverberant sound (random anglesof incidence).

This microphone type can and should be used fairlyclose to the sound source – the sound image neverbecomes overly brilliant or sharp – and should bedirected towards it, since there is some loss of highfrequencies in sound arriving off axis.

The MK 2 capsule has qualities of a measurementmicrophone and is used in acoustimetric applications,where it has gained a considerable reputation.

For calibration with B&K devices a mechanical adapter(type AMBK1, from 20 mm to one inch diameter) isavailable.

MK 2g CCM 2 Ug CCM 2 Lg

frequency response curve MK 2 + CMC 6 xt20 50 100 200 500 1k 2k 5k 20k 50kHz10k

+10

-10

0dB

-20

Frequency range: 20 Hz – 20 kHzSensitivity: 15 mV/PaEquivalent noise level:

A-weighted: 11 dB-ACCIR: 23 dB

Signal-to-noise ratio (A-weighted): 83 dB-A

Maximum SPL: 130 dB-SPL (0.5% THD)

frequency response curve MK2 + CMC 6, CCM 2

polar diagram

from outerto inner:

up to 1 kHz 4 kHz2 kHz 8 kHz

16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

COLETTEmodular

CCMcompact

15


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, this microphone typedistinguishes itself from the other SCHOEPS pressuretransducers: the typical grill is absent, and the soundinlet (surrounded by a gold-plated ring) is smaller thanthat of other types. These special design features leadto a frequency response that rises only above 6 kHz.

This microphone type would be used in the near fieldonly if a slight high-frequency emphasis were desired.It resembles the MK 2S/ CCM 2S, though the high-fre-quency emphasis of the MK 2H/ CCM 2H is audiblyless pronounced and begins around an octave higher.The primary application for this capsule is at a greaterdistance from the sound source, e.g. near the reverbe-ration radius (page 119), when recording a large or-chestra.

This microphone type is particularly designed for therecording of classical music, a field in which it is highlyacclaimed. The choice between the MK 2H/ CCM 2Hand the equally well-liked MK 2S/ CCM 2S is essentiallya matter of personal preference.

MK 2Hg CCM 2H Ug CCM 2H Lg





frequency response curve MK 2H + CMC 6, CCM 2H

polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

frequency response curve MK 2H + CMC 6 xt20 50 100 200 500 1k 2k 5k 20k 50kHz10k

+10

-10

0dB

-20

COLETTEmodular

CCMcompact

16


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-frequencyemphasis for frontal sound incidence, with only a slightrolloff of high frequencies off axis and in the rever-berant sound field.

This microphone type represents a technically sophisti-cated and attractive compromise between the twoextremes represented by the MK 2/ CCM 2 and the MK 3/ CCM 3, and is thus close to being universallyapplicable.

It has been proven particularly useful in two- and three-microphone stereo arrays, where its normal placementnear the reverberation radius of the sound field pre-sents a sonically balanced pickup favored by manyrecording engineers. These models have become ourmost popular pressure transducers.

MK 2Sg CCM 2S Ug CCM 2S Lg





frequency response curve MK 2S + CMC 6, CCM 2S

polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

frequency response curve MK 2S + CMC 6 xt20 50 100 200 500 1k 2k 5k 20k 50kHz10k

+10

-10

0dB

-20

COLETTEmodular

CCMcompact

17


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 amicrophone type which would compensate for high-frequency losses and brighten the room sound tosome extent when placed at a great distance from thesound source. Used in a reverberant sound field, wellbeyond the source’s reverberation radius (page 119) ina room, the high-frequency emphasis shown in theon-axis frequency response plot is integrated with theless brilliant off-axis pickup and is not audible as such.

When this type of microphone is used close to thesound source, the emphasis of high frequencies foron-axis sound incidence becomes clearly audible, pro-ducing an overly brilliant sound image. Therefore theMK 3/ CCM 3 is most often used as an ambient roommicrophone, or in special cases when the extra bril-liance is desired.

MK 3g CCM 3 Ug





frequency response curve MK 3 + CMC 6, CCM 3

polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

frequency response curve MK 3 + CMC 6 xt20 50 100 200 500 1k 2k 5k 20k 50kHz10k

+10

-10

0dB

-20

CCM 3 Lg

COLETTEmodular

CCMcompact

18


Boundary-Layer Capsule BLM 3g

– microphone capsule (pressure transducer) designedfor placement at an acoustic boundary layer

– highly uniform hemispheric directional pattern; whenthe pickup angle changes, the sound “color“ doesnot change

– excellent reproduction of low frequencies

Boundary-layer recording is a well-known techniqueby now, offering unobtrusive microphone placementpossibilities (no stands or hanging fixtures required, andit is not necessary to aim the microphone) and a direc-tional characteristic that is independent of frequency.It is based on an effect in physics by which soundpressure doubles along a sound-reflecting surface. If atransducer is placed upon (or within) a large, sound-reflecting surface, its output voltage will be twice thatof an equivalent transducer in a free sound field.

In theory an ideal transducer of this type would havea membrane of infinitesimally small size, and would bemounted flush with an infinitely large, perfectly sound-reflecting surface. In practice, the plate in which thesmall transducer of the BLM 3g is mounted assuresreflection of only the high and medium frequencies. To reflect sound at lower frequencies (greater wave-lengths), the dimensions of the surface must be corre-spondingly larger. So the microphone should be placedon a floor, wall or ceiling, or mounted on another sur-face large enough to reflect the lowest frequencies ofinterest.

Since the plate of the BLM 3g is only 5 mm thickand the transducer is not mounted at its center, theedges of the plate have very little effect upon thesound pickup. The BLM 3g does not interfere with thenatural sound field; off-axis sounds thus encountervery little frequency discrimination. Sound coloration islow, even for moving sound sources, because the fre-quency response is essentially the same for all angleswithin the hemispherical pickup pattern.

Microphones used near sound-reflecting surfacesordinarily produce comb-filter effects. This does notoccur with the BLM 3g, since at the boundary in whichthe transducer is mounted there can be no phase dif-ference between the direct sound and its reflection.

Ordinary pressure transducers show a difference insensitivity between direct and diffuse sound at highfrequencies. In a properly-placed boundary-layer micro-phone, however, this difference occurs at all frequen-cies. The sound pressure for direct sound is doubled atan acoustic boundary (6 dB increase), while the essen-tially random phase relationships of reflections in thediffuse sound field cause the boundary-layer micro-phone's sensitivity to increase by only 3 dB. Thus a

BLM 3g with CMC 6microphone amplifier





frequency response curve BLM 3g + CMC 6

polar diagram

from outerto inner:

up to 2 kHz 4 kHz8 kHz

16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

COLETTEmodular

19


boundary-layer microphone will suppress diffuse soundsomewhat, even though it is not directional. It willpick up less “room sound“ and the recording will beslightly “drier“ than it would be with an omnidirec-tional microphone.

The capsule itself is a classic electrostatic pressuretransducer, which assures accurate reproduction ofeven the lowest frequencies along with the high signal-to-noise ratio and stable performance typical of pro-fessional condenser microphones.

This type of transducer is inherently insensitive towind and vibration and the BLM 3g is comparativelyheavy, so it picks up very little solid-borne noise. Forexample, when footsteps are recorded, most of thesound reaching the microphone will be conductedthrough the air rather than the floor.

Typical applications include pickup of stage dialogue,or in orchestra pits, as an ambience microphone andfor special public address applications. Its miniaturizedversion (BLM 03 Cg) is often used on conference tablesand speakers' podiums.

Since the microphone may well be used on the floor,the likelihood of damage from its being stepped onhas been reduced by careful design and construction.As a rule, the capsule will not be harmed by normalfootwear.

The BLM 3g (boundary-layer microphone capsule)resembles any other microphone capsule (MK) of theColette Series in that it needs a microphone amplifier(CMC) to form a complete microphone. This arrange-ment allows the attenuator (DZC) and Active Access-ories such as the variable low-cut filter (CUT 1 or CUT 2)or the Active Cable (KC) to be added as well.

Dimensions: plate: 200 mm × 200 mm × 5 mmHeight of the microphone-amplifier connector: 21 mmWeight: 570 g (without microphone amplifier)

Surface finish: matte gray

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/Srecordings with a BLM 3g. Its larger side holds theCMC microphone amplifier or capsule connector ofthe KC Active Cable, screwed onto the BLM 3g. Thesmaller side either holds an Active Cable with an MK 8capsule or a CCM 8 U COMPACT MICROPHONE, whichshould be placed over the sound inlet of the BLM 3g.

MS-BLM

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 Ushould lie parallel to the plate of the BLM 3g, and thered dot should point to the left when viewed frombehind the microphones.

The great advantage of M/S technique is the abilityto make adjustments during post-production. The“M“ and “S“ channels can be recorded directly, andmatrixed into stereo left and right signals in playback.The apparent width of the stereo image can then beset appropriately for the given situation.

Color: gray

COLETTEmodular

20


Miniature Boundary-Layer Capsule BLM 03 Cg

– pressure transducer with hemispherical pattern– active miniature version of the BLM 3g– unobtrusive, universally applicable

The BLM 03 Cg offers all the recognized advantagesof the BLM 3g, while its smaller size permits moreunobtrusive microphone placement. Its shallow profileand circular shape can often be disguised or hidden,e.g. under a light tablecloth. It is recommended in thosecases where the BLM 3g is too large (e.g. for TV or filmsound) or too heavy (e.g. for mounting in the interiorof a car under the roof, or beneath the lid of a piano).

An Active Cable hard-wired to the BLM 03 Cgallows it to be joined to any microphone amplifier ofthe Colette Series (except the battery-operated modelCMBI) to become a complete microphone. The ActiveFilter CUT may also be added.

It should be noted that any boundary-layer micro-phone must be placed on a sufficiently large sound-reflecting surface for adequate low-frequency pickup.For speech applications as, for example, when a con-ference is to be recorded, a table top may be sufficient,but most music recordings will require the use of alarger surface.

Dimensions: diameter: 80 mm, max. height: ca. 8.6 mmCable length: 5 m

Weight without microphone amplifier CMC: 233 g Surface finish: matte gray

BLM 03 Cg with microphone amplifier CMC 6Ug




Maximum SPL: 128 dB-SPL(0.5% THD)

frequency response curve BLM 03 Cg + CMC 6

polar diagram

from outerto inner:


16 kHz

A related technique: directional boundary-layer recording:

BLCg mounting plate

directional micro-phone, e.g. CCM 4or MK 4 (cardioids)

suitable for

20 50 100 200 500 1k 2k 5k 10k 20kHz

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21

Wide Cardioids

Microphone Capsule MK 21COMPACT MICROPHONE CCM 21

– wide cardioid pattern very well maintained through-out the frequency range

– pleasant sound image, often described as “warm”

This type of capsule has a directional pattern betweenomni and cardioid.

The basic idea in designing this capsule was to com-bine the advantages of the cardioid with those of theomni. This results in a pickup pattern which blends thetwo sets of characteristics in a useful manner. It hasfuller and more extended low-frequency response thana cardioid, with less proximity effect, while attenuatingside- and rear-incident sound less than a cardioid.

The polar diagram shows the directivity of the MK 21/CCM 21 to be only slightly dependent on frequency.This contrasts with omnidirectional microphones, whosedirectivity increases with rising frequency, and withcardioids (at least smaller ones), which tend to accen-tuate high frequencies that arrive at oblique angles.The MK 21/ CCM 21’s orientation is less critical thanwith a cardioid, since direct sound arriving on axis andreverberant or other sounds off axis are both repro-duced accurately. This lack of coloration in the off-axispickup produces a “warm” and natural sound image.

When used as a spot microphone it must be placedsomewhat closer to the sound source than a cardioidwould be, due to its lower directivity.

Its uniform off-axis response helps to blend nearbyinstruments seamlessly into the overall mix. For widepickups where some directivity of the microphone isadvantageous, as in acoustically difficult rooms wherethe bass would be too strong when using omnis, theMK 21/ CCM 21 can be especially helpful.

The low directivity of this microphone type preventsit from generating large enough level differences forX/Y use, though M/S and near-coincident spacings areoften successful.

After the cardioid and supercardioid, this is one ofthe most preferred types among our microphones.







polar diagram

from outerto inner:


16 kHz

frequency response curve MK 21 + CMC 6 xt

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22

Wide Cardioids

Microphone Capsule MK 21HCOMPACT MICROPHONE CCM 21H

– wide cardioid pattern very well maintained through-out the frequency range

– high-frequency emphasis for a slightly "brilliant"sound image

– slightly brilliant sound image

This microphone type is an outgrowth of our fieldexperience with the MK 21. It embodies suggestionsmade by various pop musicians who wished certaininstruments (such as percussion, acoustic guitar andvocals) to be reproduced with a touch of additionalbrightness, while maintaining the essential uniformityof response to sound originating anywhere in themicrophone's front hemisphere.

The frequency response of the MK 21H/ CCM 21Hrises at high frequencies, reaching +4 dB at 7 kHz.Unlike most other condenser microphones, it does notthen roll off, but “stays up” even at very high frequen-cies.

As with our MK 21 or CCM 21, the frequencyresponse of this model is exceptionally independent ofthe direction of sound incidence.

MK 21Hg CCM 21H Ug CCM 21H Lg





frequency response curve MK 21H + CMC 6, CCM 21H

polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

frequency response curve MK 21H + CMC 6 xt20 50 100 200 500 1k 2k 5k 20k 50kHz10k

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23

Cardioids


– cardioid pattern well maintained throughout the fre-quency range

– for universal application

The MK 4 and CCM 4 are optimized for maximumrejection of rear-incident sound. Typical of the classiccardioid, at 90° to its axis the attenuation is 6 dB,while from the rear (180°) it can be as much as 30 dB,depending on the frequency. The random-energy effi-ciency – the ratio of on-axis sensitivity to diffuse soundfield efficiency – is 4.8 dB. (The higher this figure, theless “room sound” is picked up by a microphone, andthe less susceptible it is to acoustic feedback.)

Due to its directivity, the MK 4/ CCM 4 can be placed1.7 times farther from the sound source than a pressuretransducer of equivalent sensitivity, while maintainingthe same proportion of direct and reverberant sound.In the diffuse sound field (distant from a sound sourcein a room, for instance), this microphone type has flatfrequency response except for a slight emphasis around10 kHz.

It is ideal for speech as well as for music recordings,with a well-defined sound image free of coloration.When used for X/Y recording or as a Mid microphonein a Mid-Side configuration, it delivers exceptionalresults. It is also the capsule intended for use with ourORTF stereo microphone (MSTC 64 or STCg, see pages70 and 71).

This microphone type has the most general applica-bility and is the type most widely used.







polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20


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Cardioids

Microphone Capsule MK 4VCOMPACT MICROPHONE CCM 4V

– cardioid for lateral pickup– for universal application– slight high-frequency emphasis

The MK 4V and CCM 4V were created in answer torequests for a cardioid microphone whose main axis isalong the side of the capsule. In addition to its useful-ness in the concert hall, this microphone type is ofparticular value in speech recording, since its slightemphasis around 10 kHz helps to improve intelligibility.

The directional response is especially well maintainedeven at higher frequencies, due to the acousticallytransparent housing. High-frequency emphasis of off-axis sound – typical of most small axial-response cardioids– occurs less with the MK 4V/ CCM 4V, but becauseof its inherent frequency response, it still sounds some-what brighter overall than the MK 4 or CCM 4.

For speech applications, SCHOEPS offers the pop filter PR 120 SV (page 112).

The MK 4V may be easier to use in near-coincidentsetups than the MK 4: the microphone bodies do notget in each other's way. With the MK 4 this can beavoided using GVC “elbows” or Colette cables.

Note:

Though not specifically designed for such use, theMK 4V capsule can also be used on the RC ActiveTube or the variable angle joint GVC; when fullytightened it will rarely be aimed where you intend.On request we will supply an elastic ring which canbe slipped over the threads of the RC or GVC so thatthe final turn of the capsule will place it at the desiredangle of rotation.

MK 4Vg CCM 4V Ug CCM 4V Lg





frequency response curve MK 4V + CMC 6, CCM 4V

polar diagram

from outerto inner:


16 kHz

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Supercardioids


– supercardioid pattern very well maintained through-out the frequency range

– for music and speech– high directivity, comparable to that of a short

“shotgun“ microphone up through midrange fre-quencies

The MK 41 and the CCM 41 are strongly directional.Sound arriving from off axis is attenuated even morethan with a cardioid. The pickup is ‘drier’ and less sus-ceptible to acoustic feedback than any other SCHOEPSmicrophone type, provided that a loudspeaker is notlocated directly on the rear axis of the microphone.

Its directivity is highly independent of frequency, sothat even sounds arriving off axis and reverberantsound are registered without coloration. Consequently,even distant placement of the microphone produces avery natural sound pickup.This is a real advantage overinterference-tube “shotgun” microphones, whosedirectivity is very frequency-dependent – exceeding thatof a supercardioid only at higher frequencies. Inter-ference-tube microphones are notoriously sensitive totheir position in a room, where the shifting patternsof reflections cause corresponding shifts in sound color.Thus the MK 41 and CCM 41 are surprisingly effectiveand space-saving alternatives to shotgun microphones– and being small, they can often be placed closer tothe sound source. (Regarding shotgun microphones,see also page 119.)

An M/S microphone arrangement can be set up atquite some distance from the sound source if an MK 41 or CCM 41 is used for the “M“ channel.

Compared to the cardioid MK 4/ CCM 4, the super-cardioid has slightly more rolloff at the low end dueto the gradient effect. Its high-frequency linearity bothon- and off-axis also gives it a less brilliant sound thanthe MK 4/ CCM 4.







polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20


20 50 100 200 500 1k 2k 5k 20k 50kHz10k

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26

Supercardioids

Microphone Capsule MK 41VCOMPACT MICROPHONE CCM 41V

– supercardioid pattern maintained particularly wellthroughout the frequency range

– for lateral pickup– for universal application– high directivity, comparable to that of a short “shot-

gun“ microphone up through midrange frequencies

Like the MK 41 or the CCM 41, the MK 41V andCCM 41V are useful in all situations with music orspeech, either as “spot“ microphones or as overalldirectional microphones. However, this type of micro-phone is addressed from the side.

It excels particularly in the constancy of its polarresponse throughout the audio spectrum. As a result,sound within 90º on either side of the main axis ispicked up with virtually no alteration of frequencyresponse or tone color. This is strongly evident withsound sources that are in motion, but is also of greatbenefit in obtaining stable, precise stereo imaging fornormal music recordings.

This capsule type is therefore preferred for use as asupport microphone as well as in the OCT (“Opti-mized Cardioid Triangle“) microphone system for sur-round sound recording introduced by Dr. Theile of theInstitute for Radio Technology. (The front left and rightchannels in that system are picked up by sideways-facing supercardioid microphones; see page 122 inthe technical appendix to this catalog.)

The MK 41V may be easier to use in near-coincidentsetups than the MK 41: the microphone bodies donot get in each other's way. With the MK 41 this canbe avoided using GVC “elbows“ or Colette cables.

MK 41Vg CCM 41V Ug CCM 41V Lg

Note:

Though not specifically designed for such use, theMK 41V capsule can also be used on the Active TubeRC or the variable angle joint GVC; when fully tight-ened it simply will not necessarily be aimed whereyou might intend. On request we will supply an elasticring which can be slipped over the threads of the RCor GVC so that the final turn of the capsule will placeit at the desired angle of rotation.





frequency response curve MK 41V + CMC 6, CCM 41V

polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

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27

Figure-8


– pure pressure-gradient transducer with figure-8 pat-tern

– directional pattern almost completely identical at allfrequencies

– main axis: radial (pickup perpendicular to the micro-phone body)

This microphone type is a true dipole transducer,operating with a single diaphragm. The main axis ofits bidirectional pickup lies at right angles to its cylin-drical axis, and is marked at 0° and 180° with a redand a black dot respectively. When M/S stereo record-ings are made, the 0° axis faces to the left, as viewedfrom behind the microphone setup. The “8“ engravedon the top of the housing should be aligned on its sideso as to appear horizontal, at a precise right angle tothe Mid capsule. The microphone should be placeddirectly above or beneath the “M“ channel micro-phone, and as close to it as possible.

The inherent qualities of a pure pressure-gradienttransducer are readily observed in this microphone type:– Its sensitivity decreases at low frequencies.– The directional characteristic and the random energy

efficiency are extraordinarily independent of frequency.– Proximity effect is present.

The sound quality of the MK 8 or CCM 8 is clear andneutral. As physics would dictate, the frequency responserolls off above 16 kHz.

When an MK 8 or CCM 8 is used as a spot micro-phone, care must be taken to avoid picking up earlyreflections or unwanted direct sound from its rear, sincesound arriving from the back is picked up with full levelbut reversed in polarity. This could result in partial can-cellation of the intended sound, which can lead tocomb-filter effects at higher frequencies.

A typical and interesting application of the MK 8/ CCM 8, for which it is ideally suited, is as the S channelof an M/S stereophonic system. (As an X/Y pair, twoof them crossed at 90° are also ideal in the Blumleinstereo arrangement (page 62).)

(Continued on page 126.)


Note: Though not specifically designed for such use, the

MK 8 capsule can also be used on the Active TubeRC or the variable angle joint GVC; when fully tight-ened it will rarely be aimed where you intend. Onrequest we will supply an elastic ring which can beslipped over the threads of the RC or GVC so that thefinal turn of the capsule will place it at the desiredangle of rotation.






polar diagram

from outerto inner:


16 kHz

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Switchable Microphones


– omni and cardioid patterns, mechanically switchable– slight emphasis of the high frequencies– broad range of applications

The MK 5/ CCM 5 operates with only one mem-brane, but offers two selectable directional patterns.The pattern is selected purely by mechanical means,via a slide switch on the side of the capsule.

In its omnidirectional setting the capsule is a pressuretransducer with flat response down to the lowest audiofrequencies. The polar diagram shows increasing direc-tivity at high frequencies, which is typical for this typeof transducer.

In the cardioid setting equal components of pressure-gradient and pressure operation combine to form acardioid pattern. (Please make certain that the patternselector is definitely in one position or the other; in-between settings will yield undefined results.)

The fact that response is maintained to the highestaudible frequencies is unusual for a switchable-patternmicrophone.

The MK 5/ CCM 5 has a slight high-frequency empha-sis as compared with the corresponding single-patternomni (MK 2/ CCM 2) and cardioid (MK 4/ CCM 4).The MK 5/ CCM 5 has near-universal usefulness and itis the capsule which we recommend most highly forthose just starting out with the Colette Series.

Frequency range: 20 Hz – 20 kHz 40 Hz – 20 kHzSensitivity: 11 mV/Pa 13 mV/PaEquivalent noise level:

A-weighted: 14 dB-A 16 dB-ACCIR: 26 dB 25 dB

Signal-to-noise ratio(A-weighted): 80 dB-A 78 dB-AMaximum SPL: 133 dB-SPL 132 dB-SPL

(0.5% THD)


omni



polar diagram

polar diagram

cardioid

from outerto inner:


16 kHz

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

frequency response curve MK 5 (cardioid) + CMC 6 xt

50 100 200 500 1k 2k 5k 20k 50kHz10k

frequency response curve MK 5 (omni) + CMC 6 xt

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29

Switchable Capsule

MK 6g

omni

Frequency range: 20 Hz – 16 kHz 40 Hz – 16 kHz 40 Hz – 16 kHzSensitivity: 9 mV/Pa 10 mV/Pa 10 mV/PaEquivalent noise levelA-weighted: 15 dB-A 17 dB-A 19 dB-A

CCIR: 26 dB 27 dB 29 dBSignal-to-noise level(A-weighted): 79 dB-A 77 dB-A 75 dB-AMaximum SPL: 135 dB-SPL 134 dB-SPL 134 dB-SPL

(0.5% THD)

from outerto inner:


16 kHz

from outerto inner:


16 kHz

from outerto inner:


16 kHz

Microphone Capsule MK 6(not available as COMPACT MICROPHONE)

– omni, 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. Whenthe ribbed cap of the capsule is rotated, a system ofinternal shutters alters the acoustic chambering aroundthe diaphragm to change its characteristic from omnito cardioid to figure-8, then back through cardioid toomni. (There is no functional difference between thetwo available cardioid settings.)

In the omnidirectional setting it is a true pressuretransducer with flat response down to the lowest fre-quencies. In this setting the MK 6 shows an increasingdirectivity toward the high frequencies which is typicalfor such a transducer.

As with the MK 8, the 0° axis is perpendicular to thebody of the microphone and is indicated by a red dotat the lower rim of the capsule. A black dot marks the180° direction.

As with any microphone whose switchable patternsinclude the figure-8, the frequency response is neitheras flat nor as extended in the high-frequency region aswith the capsules described earlier. However, in thefigure-8 setting, the MK 6 closely resembles the MK 8.

frequency response curveMK 6 + CMC 6



polar diagram

polar diagram

polar diagram

cardioid

figure-8

Note: Though not specifically designed for such use,the MK 6 capsule can also be used on the ActiveTube RC or the variable angle joint GVC; when fullytightened it will rarely be aimed where you intend.On request we will supply an elastic ring which canbe slipped over the threads of the RC or GVC so thatthe final turn of the capsule will place it at the desiredangle of rotation.

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

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0dB

-20

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+10

-10

0dB

-20

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Microphone Capsule MK 4SCOMPACT MICROPHONE CCM 4S

– for pickup of speech or music at close range (under50 cm), otherwise the sound may become “thin“

– cardioid pattern– considerable attenuation of low frequencies

The MK 4S/ CCM 4S has a low-frequency rolloff tocompensate for the low-frequency boost which occurswhen close-miking.

The MK 4S/ CCM 4S is used primarily in voiceoverand sound reinforcement applications, and wherevergood speech audibility in a noisy environment is a primerequirement. This microphone is suited for the record-ing of music in exceptional cases only. When it is usedat a distance of ca. 10 cm flat frequency response canbe obtained.


Please note:This microphone type is a pressure-gradient trans-

ducer with a distinct bass rolloff, designed exclusivelyfor the intelligible pickup of speech at close range inacoustically unfavorable conditions where proximityeffect is inherent in the situation. Thus it is not nor-mally suitable for music, and speech pickup at greaterdistance would sound thin and bright.

If the user is faced with such problems only occa-sionally, this type of microphone may not be the mostpractical choice since it is intended to be used for veryclose miking, especially of speech. Instead, the stan-dard version of the cardioid (MK 4 or CCM 4) can beused in combination with a variable filter (CUT or LCfor MK 4, LC for CCM 4) which attenuates the lowfrequencies electrically. The CUT allows the amountof low-frequency attenuation to be tailored to thespecific voice, its working distance and the locale. Ofcourse the low frequencies could also be reduced atthe preamp or console, but the CUT reduces thedanger of overloading their inputs due to pop orwind noise. The MK 4 or CCM 4 – without the low-cut – can then be used for recording music or moredistant dialogue on a different occasion.






polar diagram

from outerto inner:


16 kHz

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31


MK 40g CCM 40 Ug CCM 40 LgMicrophone Capsule MK 40COMPACT MICROPHONE CCM 40


– cardioid pattern– considerable attenuation of low frequencies– emphasis of high frequencies– for severe acoustic conditions

This microphone type has the same features as theMK 4 S, but in addition emphasizes the frequencyresponse in the 9 kHz region by 4 dB. This effects afurther improvement of speech intelligibility, particu-larly in very reverberant venues such as churches.

The MK 40 or CCM 40 is used primarily for soundreinforcement of speech. It is not particularly recom-mended for music recording.






polar diagram

from outerto inner:


16 kHz

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32


Microphone Capsule MK 4ACOMPACT MICROPHONE CCM 4A


– cardioid pattern– reduced sensitivity– considerable attenuation of low frequencies

When cardioids are used in some situations, e.g. ashand-held microphones for vocalists or announcers,proximity effect can become quite prominent. In addi-tion, the output level can become much higher thanthat of the other microphones being used at the sametime, which may be more distant and/or of dynamictype. Neither characteristic is desirable. So SCHOEPSoffers the MK 4S/ CCM 4S in a special version knownas the MK 4A or CCM 4A (“A“ for “attenuation“),with a stronger low-frequency rolloff and 10 dB lowersensitivity.

This microphone type is recommended for use exclu-sively in situations of very close pickup and high soundpressure levels. At greater distances it would only delivera low output level, resulting in an effective reductionin signal-to-noise ratio.

MK 4Ag CCM 4A Ug CCM 4A Lg

Frequency range: close pickupSensitivity: 3 mV/PaEquivalent noise level:




frequency response curve MK 4A + CMC 6, CCM 4A

polar diagram

from outerto inner:


16 kHz

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33


Microphone Capsule MK 4VXSCOMPACT MICROPHONE CCM 4VXS


– cardioid for lateral pickup– considerable attenuation of low frequencies– emphasis of high frequencies

This cardioid microphone, with its main axis alongits side, improves speech intelligibility in very loud envi-ronments. It is designed for the very closest speechpickup, i.e. directly in front of the speaker’s mouth. Its low-frequency rolloff is compensated by proximityeffect. Thus it has (up to the point of its high-frequencyemphasis) a flat frequency response for the speaker’svoice, while showing a rolloff at low frequencies for allsound that originates from a greater distance. As a re-sult, background sounds are picked up less stronglythan the person speaking.

The MK 4VXS or CCM 4VXS should be used with thepopscreen B 5 in order to prevent “popping“ soundsfrom the voice.

The CCM 4VXS has proved itself especially whenused in the broadcasting or recording of motor sportingevents. In this case it is attached to the user’s head-phones. (See headset, page 89.)

MK 4VXSg CCM 4VXS Ug CCM 4VXS Lg

Frequency range: close pickupSensitivity: 10 mV/PaEquivalent noise level:




frequency response curve MK 4VXS + CMC 6, CCM 4VXS

polar diagram

from outerto inner:


16 kHz

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34


Microphone Capsule MK 41SCOMPACT MICROPHONE CCM 41S


– supercardioid directional pattern which is highly uni-form throughout the frequency range

– considerable attenuation of low frequencies– excellent suppression of ambient noise

In its frequency response and in the range of itsapplications this microphone type resembles the MK 4Sor CCM 4S, but due to its greater directivity it attenu-ates reverberant sound further, and it is less prone tofeedback.

The rolloff of its low-frequency response is offset byproximity effect at close working distances.







polar diagram

from outerto inner:


16 kHz

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

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If the user is faced with such problems only occa-sionally, this type of microphone may not be the mostpractical choice since it is intended to be used for veryclose miking, especially of speech. Instead, the stan-dard version of the cardioid (MK 41 or CCM 41) canbe used in combination with a variable filter (CUT orLC for MK 41, LC for CCM 41) which attenuates thelow frequencies electrically. The CUT allows theamount of low-frequency attenuation to be tailored tothe specific voice, its working distance and the locale.Of course the low frequencies could also be reducedat the preamp or console, but the CUT reduces thedanger of overloading their inputs due to pop or windnoise. The MK 41 or CCM 41 – without the low-cut– can then be used for recording music or more dis-tant dialogue on a different occasion.

35

36

38

39

40

41

page

... phantom-powered/ T-powered

... battery-powered

... with vacuum tube

...stereo

COMPACT MICROPHONES


36


CMC 5Ugfor 48 Vphantompowering

CMC 6Ugfor 12 V and 48 Vphantom powering

(auto-switching)

CMC Microphone Amplifiers

– balanced, very low-impedance output– can be used with very long cables (several hundred

meters)– can be used with Active Accessories for miniaturiza-

tion and special applications (see pages 5 and 47 ff.)

The chief task of the amplifier in a condenser micro-phone is to convert the extremely high-impedancesignal of the capsule to a very low-impedance andbalanced one suitable for transmission through a micro-phone cable. Several standard versions of CMC micro-phone amplifier are available which differ only in theirpowering, output levels, frequency range and surfacefinishes. They all feature a symmetrical, direct-coupledclass-A output stage; the circuit uses neither couplingcondensers nor an output transformer. This designhelps them to achieve extremely low distortion andlight physical weight, while their very low outputimpedance helps make them insensitive to electricalinterference.

On the choice of amplifier type:If a recording device has balanced inputs but lacks

phantom powering, it may be possible to add 12 Voltpowering rather easily by using a supply voltage thatis already present internally. In most cases 48 Voltswould need to be generated with a voltage multipliercircuit, which is more difficult to implement. That iswhy we recommend the CMC 6, which works withboth 12 V and 48 V phantom powering so long asthe relevant standard is followed.

If it is certain that 48 Volt phantom powering willbe available in all foreseeable recording situations, theCMC 5 should be fully satisfactory. In addition to theCMC 6's dual-voltage circuitry versus the CMC 5'ssingle-voltage circuitry, the two amplifiers differ in theirresponse at the very bottom of the audio frequencyrange. The CMC 5 rolls off below 30 Hz, while withdigital recording in mind, the CMC 6 is essentially flatto 20 Hz.

The CMC 3 is designed for 12 Volt phantom power-ing. If necessary it can also be driven from certain 48Volt phantom supplies, but it will draw significantlymore current than a CMC 5 or CMC 6 without offer-ing any particular advantage for doing so (a CMC 3draws 11 mA at 48 V).

The CMC 4 works only with 12 Volt parallel power-ing (“T-feed“), which is rarely encountered nowadaysexcept in video and film sound.

Special VersionsPlease note: The two amplifiers in a stereo pair of

microphones should always be of the same type.

CMC 6 U“xt“ – the 40 kHz VersionThis version is indicated by the letters “xt“ engraved

on the microphone's output socket as shown at left. Itextends the frequency response of the axially addressedColette capsules beyond 40 kHz.

CMC 3Ugfor 12 Vphantompowering

CMC 4Ugfor 12 Vparallel

powering

standardmicrophone amplifier:

additional microphone amplifier models:

new

Frequency response curve of CMC 6 xt with MK 4 (cardioid)

20 50 100 200 500 1k 2k 5k 20k 50kHz10k

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37


Technical specifications:Low-cut fre-

Amplifier type Powering Current consumption Impedance quency (-3 dB)CMC 6U/ 6Uxt: 12 V phantom 8 mA 25 Ohms 20 Hz

48 V phantom 4 mA 35 Ohms 20 Hz(automatically switched)

CMC 5U: 48 V phantom 4 mA 35 Ohms 30 HzCMC 3U: 12 V phantom 11 mA 20 Ohms 30 HzCMC 4U: 12 V parallel 9 mA 13 Ohms 30 Hz

Maximum output voltage: 1 V (at 1 kHz and 1 kOhm load resistance)Minimum recommended load impedance: 600 Ohms (If a lower load impedance is used, the main effect

will be to reduce the maximum output level of the microphone.)Length: 116 mm (incl. 3 mm capsule thread)Diameter: 20 mmWeight: 65 – 68 g, depending on typeSurface finish: matte gray (g) or nickel (ni)

A note of caution:The current required by the SCHOEPS class “A“

output circuit falls well within the 10 mA limit set bythe prevailing standard (DIN EN 61938, July 97).However, certain commercially available power sup-plies, preamplifiers, and mixing desks – mostly older,but some more recent – may fail to meet this stan-dard. Such units may not be able to power SCHOEPSmicrophones adequately, especially where headroomat high SPL is desired. Where doubt exists, equip-ment should be checked to verify its suitability forprofessional work with SCHOEPS microphones.

The PHS 48 accessory test plug (described on page101) can be helpful in testing equipment quickly andeasily to see whether it is compatible with SCHOEPS48 Volt phantom-powered microphones.

CMC “+5 dB“ In past years, this version was marked with a blue

dot after the model designation, on the ring near theoutput connector.

The sensitivity of a microphone using this type ofamplifier is 5 dB higher than with the standard version,but the equivalent noise level and maximum outputvoltage are not materially affected. Thus the highestsound pressure level which the microphone can acceptwithout distortion is 5 dB lower than in the standardversion, while the signal-to-noise ratio is essentiallythe same with either gain setting.

This version might be chosen in order to raise themicrophone's signals above the noise level of theequipment to which it will be connected, and/or forworking with sounds that occur mainly at low levels.

CMC “linear“In past years, this version was marked with a dash

after the model designation, on the ring near the out-put connector.

CMC microphone amplifiers normally have a gradualrolloff in response below 30 Hz (20 Hz in the CMC 6)to guard against infrasonic disturbances from varioussources such as air movement and vibration. However,when using pressure (omnidirectional) transducers,particularly with digital recording, it can be desirableto pick up frequencies below 20 Hz without attenua-tion. The special technology of the CMC microphoneamplifiers makes this possible; on request we candeliver microphone amplifiers with response that isflat to as low as 3 Hz.

Caution must be advised with respect to infrason-ics, however. Since pressure transducers can pick upvery low frequencies, ventilation systems in large spaces(churches, concert halls) or traffic rumble can create aproblem. With pressure gradient transducers the risk

Type designation of a complete microphone:CMC 64 Ug

6 powering 12V and 48Vphantom

4 capsule type MK 4U connector XLR-3M

g surface finish matte gray, non-reflective surface finish

is even greater. They are far less sensitive to very lowfrequency sound, but respond much more strongly tolow-frequency mechanical stimuli such as air currentsand solid-borne noise. Such signals may be below theaudible range of frequencies, but they can overloadelectronic circuitry and produce severe distortion, par-ticularly in transformer-coupled circuitry.Included accessory with every CMC microphone

amplifier: polished wood case for two microphones

COLETTEmodular

38

Battery-powered Microphone Amplifier

Battery-powered Microphone Amplifier CMBI

– unbalanced, 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 micro-phone input is unbalanced as in many portable recordersand wireless microphone transmitters, a phantom-powered microphone can be awkward to use. Forthese and other situations SCHOEPS offers the CMBI,a battery-powered microphone amplifier with unbal-anced output.

Combine this with one of 19 microphone capsulesof the Colette Series and you obtain a microphonewhich is acoustically equivalent to the balanced versionusing a CMC microphone amplifier.

The CMBI features a readily available internal 6 Vsilver oxide battery which, combined with power-saving circuitry, gives up to 80 hours of operation. About 6 hours before the end of battery life a built-inLED begins to light up as a warning.

In addition to battery operation, the CMBI allowsfor external powering through a standard XLR micro-phone cable. (The included K 5 ISK cable is not suitablefor this mode of operation.)

Because of this model's unbalanced, low-level out-put and its medium output impedance, the total cablelength should be kept to less than about 15 m to avoidpossible RF interference and impaired performance.

Possible arrangements for connecting the CMBI areshown in the technical appendix on page 125.

Accessories:included:

wooden case, battery, adapter cable K 5 ISK (minia-ture plug to 3.6 mm mini stereo phone plug, 5 mlong)

Available separately:microphone capsules, windscreens, etc.

Please note:Neither the Colette Series Active Accessories northe BLM 03 Cg can be used with the CMBI.

Technical specifications:

Sensitivity and equivalent noise level: see page 120Maximum output voltage:

“0 dB“- setting: 700 mV “-15 dB“- setting: ca. 140 mV

Maximum sound pressure level at 0.5% THD (capsule- and load-dependent):switch setting “0 dB“:

RL > 10 kOhm: > 130 dB-SPL RL= 1 kOhm: ca. 120 dB-SPL

switch setting “-15 dB“: at least 130 dB-SPL

Output: unbalanced, impedance: in setting “0 dB“: 500 Ohms in setting “-15 dB“: 300 Ohms

Switches: combined on/ off/ attenuation switch withthree settings: on (0 dB)/ off/ on (-15 dB)

Powering: internal: 6 V silver oxide battery (e.g. IEC 4 SR 44),maximum battery life: 80 hExternal powering: 7 – 13 VDC

Output connector: 5-pin miniature Diameter: 20 mm Length without capsule: 92 mm Weight: 72 gSurface finish: matte gray (g) or nickel (ni)

COLETTEmodular

CMBIgwith matte graysurface finish

39

Tube Microphone Amplifier

Tube Microphone M 222Powering Units NT 222 DC and NT 222 AC

– made exclusively for SCHOEPS by

The model M 222 is based on the name of the leg-endary SCHOEPS tube microphone M 221 B. However,its circuit design does not merely recycle techniquesfrom the sixties; rather it unites a first-quality tube withfully up-to-date circuitry. For example, the audio signalpath is transformerless, and the overall specificationsand performance are significantly improved.

The dimensions and fittings of the M 222 amplifierare the same as those of the CMC series. Any capsulesof the Colette Series be used (including the BLM 03 Cg)as well as all Active Accessories such as the CUT, KC,RC and GVC.

The M 222 can be ordered with two different power-ing units. With the NT 222 DC, an AC adapter is sup-plied but portable operation from an external 12 Voltsupply (e.g. car battery) is possible as well; the outputis also switchable to line level.

The NT 222 AC has identical dimensions, but itsmains transformer is internal and the output is notswitchable to line level. Thanks to its universal outputcircuitry it can be used with any microphone input,whether phantom powered or not and whether bal-anced or not. When connected to 48 V phantom power(“P48 ON“), cable runs up to 200 m can be used.“HARMONICS“ (see below) is adjustable in five steps.

The power supply offers a “TUBE DIRECT“ switchsetting in which there are no semiconductors in thesignal path whatsoever. A “HARMONICS“ switch altersthe Q-point of the tube, causing the gradual increase

of harmonics to set in earlier, to emphasize the typical“tube sound.“

Visit : www.M222.de

Supplied equipment: transport case with:tube microphone M 222microphone cable KS 5U, 5 m longpowering unit NT 222 DC or NT 222 ACpopscreen B 5microphone clamp SG 20only with NT 222 DC: miniature mains adapter,

90 – 260 V

The MK capsule must be ordered separately.

Technical specifications:M 222:Dimensions: diam. 20 mm,

length 116 mm (without MK capsule)Output connector: XLR-5M (gold-plated contacts)Maximum SPL: 142 dB-SPL without attenuation

(k=0.5%) with MK 2SOutput: transformerless, balancedSurface finish: matte gray, nickel,

for extra charge: matte red gold

NT 222 DC and NT 222 AC: Dimensions: 105 mm × 50 mm × 140 mmInput: XLR-5 with gold-plated contacts, balancedOutput: XLR-3 with gold-plated contacts (balanced,

can be operated in unbalanced mode without lossof level)Max. output level: DC: 9.5 Vrms (+19.6 dBV)

AC: 3 Vrms (+9.5 dBV)Max. 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, AC: 5 steps)

NT 222 DC: Further switches: FILTER 60 Hz (12 dB/Oct), GROUND

LIFT, GAIN (-10 dB(Tube Direct)/0/10/20/30 dB)Powering: with miniature mains adapter (included) or

other mains adapters offering 12 VDC, ca. 300 mA,may be unstabilized (internal switching regulator);galvanic isolation from ground (switchable)

NT 222 AC:Further switches: ATT –10 dB, BAL./ UNBAL, P48 (acti-

vates cable driver, for cable lengths up to 200 m;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, 5 m long, low capacitance, flexible,100% shielded, gold-plated contacts

M 222 with MK 4g micro-phone capsule

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40

Stereo Microphone Amplifier

Phantom-powered Stereo AmplifierVST 62 IUg

– 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 hun-

dred meters (far longer than the maximum for KCActive Cables)

Together with the KCY Active Cable and accessories,the VST 62 IUg can form a compact, universal stereomicrophone for A/B (spacing up to 50 cm), ORTF, X/Yor M/S.

Unlike the CMC microphone amplifiers, the VST 62 IUgcan be connected directly to transformerless, unbal-anced inputs without loss of level or alteration of thenoise figure – though a power supply with DC blockingis required.

Surface finish: matte gray (g)

Accessories (to be ordered separately):K 30 STR stand support clamp for microphone ampli-

fiers, for attaching the VST 62 IUg to any 12 mmrod (e.g. STR vertical support rod)

Mounting accessories for M/S, ORTF, X/Y: see page 65 ff.

Technical Specifications:

Sensitivity of the microphone, equivalent noise level,signal-to-noise ratio, maximum sound pressurelevel: as stated for the MK capsules with the CMC6 microphone amplifier (page 120). This data isindependent of the powering voltage.

Phantom powering: 12 and 48 Volts (automaticchangeover)

Current consumption per channel: 4 mA, independ-ent of the powering voltage

Maximum output voltage at 0.5% THD: 950 mV (at1 kHz and 1 kOhm load impedance)

Impedance: 60 OhmsMinimum recommended load impedance: 600 OhmsLow-cut frequency (-3 dB): 20 HzLength: 170 mmDiameter: 30 mmWeight: ca. 230 gPin assignment (XLR-5M): see page 126

MK 8 microphone capsule, pg. 27MK... microphone capsule RCY 1200/2 Ig M/S stereo tube, pg. 56VST 62 IUg stereo amplifier STR 350g support rod, pg. 106BF 250 floor stand, pg. 108

MKmicrophone

capsules

KS 5 Iextension, 5 m

VST 62 IUg

KCY 250/0IgActive Y-Cablepage 98

0.1m;with KCY 250/5Ig: 5 m

2× 250mm

*

* 5-pin Binder miniature connector

COLETTEmodular

41

CCM COMPACT MICROPHONES

Technical Specifications for all CCM Types:

Current consumption (automatically switched): P12: 8 mA, P48: 4 mA

Source impedance: 90 OhmsMinimum recommended load impedance: 600 OhmsLow-cut frequency (-3 dB): 20 HzFor all other specifications see page 120.Length U-version: 46 mm – 58 mm, type-dependentLength L-version: 46 mm – 58 mm without connectorDiameter: 20 mmWeight without cable: U-version: 33 g, L-version: 43 gSurface finish: matte gray (g) or nickel (ni)Standard length of the cable (K 5 LU): 5 mOther lengths are available on special order, but the

carrying case has room only for cables up to 10 m.

COMPACT MICROPHONES

CCM-L, 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.

300 meters, depending on the cable materials)

In the CCM (Compact Condenser Microphone) series,the acoustic transducer (capsule) and the microphoneamplifier form an inseparable unit. This enables a veryhigh degree of miniaturization and reliability to beattained.

For further details see pages 6, 7 and 13 plus thedescriptions of the specific models on pages 14 – 34.

The two general types:CCM-L: The thin, removable connecting cable is sturdy

and reliable. It terminates in an XLR-3 plug and fea-tures a miniature Lemo connector with a threadedcollar, so that when it is connected to the micro-phone, nothing can rattle

CCM-U: special version which is lighter and 7 mmshorter; the XLR cable is heavier-duty and perma-nently connected to the microphone

Accessories:included:SGC, miniature swivel stand coupler (see on the right);

polished wood carrying caseCCM L: adapter cable K 5 LU (Lemo/ XLR-3M), 5 m long

optional:stereo cable KLY, page 103, see at the bottom rightLC 60 and LC 120 Active Low-cut Filter (60 and 120 Hz

respectively); can be inserted into the microphonecable; see page 100

Further accessories: starting on page 44, allaccessories marked with this symbol:

CCM-L

CCM-U

CCM... COMPACT MICROPHONE

SGC swivel stand coupler, pg. 44STR-TC support rod, pg. 106ST 20-3/8 adapter, pg. 106AF 1 flanged mounting adapterwith internal shock mount, pg. 106

SGC

KLY 250/5 Istereo cable

KLY 250/5 SUstereo cable

XLR-5M

miniatureBinder

connector

250 mm

5 m,see alsopage 61

CCMcompact

CCMcompact

42

Siemens tube microphone amplifier CMV 51-9 with CM 51-N9capsule (cardioid), both made for Siemens, 1954 Photos: Siemens

...the SCHOEPS version:

CM 51-7 capsule (omni)

CM 51-U capsule,omni/ cardioid

43

44

46

47

49

53

55

56

57

page

Microphones on Stands

Microphone Stand

Tubes

Table Mounting

Table Stands, Boundary-Layer

Cable Hangers

Mounting on a Boom

Instrument Adapters

Accessories arranged by Application

44


Stand Clamp SG 22

The angle between the microphones can be varied aswell as the angle of inclination for the pair. However,the SG 22 is not suitable for stereo pickups because ofthe very limited range of angles and spacings possiblebetween the microphones. It is primarily intended forholding a main microphone and a backup when extremeoperational security is required.

In the mid-position (shown at left) the microphonesare oriented perpendicular to the microphone stand. Theangle of inclination is +90° to -90° from the mid position.

Stand Clamp SG 20

– for a microphone with 20 mm in diameter (e.g.CMC or CMBI)

The base of the SG 20 has a 5/8"-27 NS internalthread. A threaded adapter is supplied for 3/8" and1/2" mounting.

The angle can be varied continuously in the verticalplane.

Color: gray

Miniature Swivel Stand Couplers SGC, SGCM

– for CCM COMPACT MICROPHONES or Active Cable withMK microphone capsule

– adjustable from 0° through 100° in either direction

The internal thread of the SGC or SGCM screws ontoany 3/8" rod (e.g. vertical support rods STR, page 106)or stand adapter.

The SGC is an integral part of the HC cable hanger(page 55) and the TCg table stand (page 54).

Color: gray/ black

SGCClamp made of grayplastic material – theunobtrusive, estheticstandard version

SGCMall-metal clamp withblack chrome finish– stable constructionwith knurled screwfor especially securegrip

COLETTEmodular

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COLETTEmodular

CCMcompact

Stand Clamp SG 22 MOD

Holds two microphones in parallel alignment. Theirdistance can be varied from 4 mm to 52 mm, while theycan be oriented parallel to the stand, perpendicular tothe stand, or at any angle in between.

Certain "near-coincident" microphone arrangementsfor stereo recording can be created in this way. With apair of CMC amplifiers placed upright side by side, radial-ly-addressed Colette directional capsules (the MK 4V,MK 41V, MK 6 and MK 8) can be used with any desiredangle set between their main axes. The other direc-tional capsules (the MK 4, MK 41 and MK 5) can beused with GVC angle adapters (see page 97); evensome coincident microphone setups are then possible.

45


Elastic Double SuspensionA 22 S, A 22

The angle between the microphones can be varied aswell as the angle of inclination for the pair. However, itis not suitable for stereo pickups because of the verylimited range of angles and spacings possible betweenthe microphones. This type of clamp is primarily intend-ed for holding a main microphone and a backup whenextreme operational security is required.

The A 22 S is the standard version. The A 22 hassofter elastics.

Color: gray

Elastic Suspensions with Swivel A 20 S, A 20

– for a microphone with 20 mm diameter (e.g. CMCor CMBI)

The A 20 is recommended when only the CMCmicrophone amplifier and an MK capsule are used,and maximum protection from vibration is desired, forexample, on a boom.

When accessories such as the CUT filters, GVC orSKC 200g are added to the microphone, the stifferelastics of the A 20 S standard version are required.

A special clamp secures the microphone cable. Thisis necessary with the A 20 and advantageous with theA 20 S.

The microphone can be tilted to any angle.Threads: 5/8"-27 NS with adapter for 3/8" and 1/2"

Color: gray

Elastic Miniature Suspension with SwivelAC

– for CCM COMPACT MICROPHONES or Active Cable withMK microphone capsule

– variable angle

Matching pop filter: B 1 or B 5. Not intended for usewith larger, heavier windscreens.

Diameter: 61 mm; thread: 3/8"; color: gray

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46

Microphone Stand

minimum height:900 mm

120°

Adjustable-height Microphone Stand with SwivelSTV 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.g. SCHOEPS floor stand BF 250)– minimum cable length (at maximum height of the

STV): 3 m; other cable lengths are available onrequest.

– output connector: XLR-3M

Surface finish: matte gray (g)Recommended windscreen: B 5 D (page 114)

maximum height:1400 mm

COMPACT MICROPHONE CCM...L, pg.13STV 900/1400 L3Ugfloor stand BF 250, pg. 108

CCMcompact

47

Tubes

Active Tube RC

The RG 8 swivel clamps the Colette tube onto a ver-tical support rod, allowing adjustment of the tube'sheight and angle. The angle of the capsule relative tothe tube is adjustable independently from 0° (fullyextended) to 120°. This gives the Colette tube a verywide range of applications.

RC 350g: length: 350 mmrecommended stand base (if the vertical supportrod is fairly short): T 5

RC 700g: length: 350 mmrecommended stand base: BF 250

RC 1200g: length: 1200 mmrecommended stand base: BF 250

Special lengths – up to 1200 mm – can be ordered.

Included accessory: swivel joint RG 8Recommended windscreen: B 5 D (page 114)

Note: Though not specifically designed for such use, the

laterally addressed capsules MK 4V, MK 41V, MK 8and MK 6 can also be used on the Active Tube RC orthe variable angle joint GVC; when fully tightened theywill rarely be aimed where you intend. On request wewill supply an elastic ring which can be slipped overthe threads of the RC or GVC so that the final turn ofthe capsule will place it at the desired angle of rotation.

MK... microphone capsuleRC 1200g Active TubeCMC 6 Ug microphone amplifier, pg. 36,

or M 222, pg. 39STR 350g vertical support rod, pg. 106BF 250 floor stand, pg. 108

Microphone TubeRL

– extension tube for CCM-L COMPACT CONDENSER

MICROPHONES

– at the front end: Lemo socket; at the output: Lemoplug for the existing adapter cable of the CCM-L

– the swivel at the front end can be set from 0° (fullyextended) to 120°

Standard lengths:RL 350g: 350 mmRL 700g: 700 mmRL 1200g: 1200 mmTube diameter: 8 mmSurface finish: matte gray (g)

Other lengths can be ordered; please inquire aboutdelivery times.

The RG 8 swivel joint is included.The K 5 LU adapter cable is included with the CCM-L.

CCM...L COMPACT MICROPHONE

RL 700g tube(STR 350g vertical support rod, pg. 106)(BF 250 floor stand, pg. 108)

COLETTEmodular

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48

Tubes

Special Version: Double TubeR2C KC

Twin version of the RC KC Colette tubes of theCOLETTE MODULAR SYSTEM. Each tube terminates in aconnector mounted on a flexible, 0.5-meter Colettecable. These connectors are screwed onto the micro-phone amplifiers, which may then be mounted on thevertical support rod with clamps or inserted in thecable path at a hidden position.

The second channel serves as a fail-safe backup.

Type designation: e.g. R2C 350 KC 0,5 g: 350 mm tube length, 0.5 m cable length


Matching windscreen: B 55 D (twin B 5 D, see page 114)

Special Version of the RC Active Tube:RC KC

This special type of Colette Active Tube terminatesin a connector mounted on a flexible, 0.5-meter Colettecable. This connector is screwed onto the microphoneamplifier, which may then be mounted on the verticalsupport rod with a clamp or inserted in the cable pathat a hidden position.

This arrangement is most useful when working inclose quarters, where inadvertent movement at therear of the microphone stand might disturb the align-ment, or where the microphone amplifier body andcable connector might be objectionable and when thearrangement is not changed frequently.

The possible drawbacks are:The inconvenience of wrapping and securing the

cable attached to the tube especially if it is long.The length should not exceed what is necessary, in

order to avoid possible interference.Both of these problems can be avoided by choosing

a similar arrangement with the COMPACT MICROPHONE

CCM-L instead – see next page.

Type designation: e.g. RC 350 KC: 0,5g = RC 350gwith 0.5 m cable length

Special lengths are available on request.Surface finish: matte gray (g)

Included accessory: swivel joint RG 8MK... microphone capsuleRC 350 KC 0,5g Active TubeCMC 6 Ug microphone amplifier, pg. 36

or M 222, pg. 39STR 600g vertical support rod, pg. 106K 20 STR clamp for CMC: pg. 107(BF 250 floor stand, pg. 108)

COLETTEmodular

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49

Table Mounting

The photo at right shows a 350 mm tube and a100 mm STR support rod. If greater extension isrequired for either part of the setup, two AF 1 adaptersshould be mounted one above the other with thethreaded adapter ST 20 M. That approach would alsobe recommended if the support rod must be tilted ata 45° angle or greater.

To run the Colette cable through the AF 1, its outputconnector (which is larger than 20 mm) must be dis-assembled, unsoldered and removed, then resolderedon the other side.


See remarks above regarding the tube and supportrod lengths, etc., for this type of setup.


Setting up microphones on a table top

A good speaker's desk, or a table on which micro-phones are to be set up, calls either for a rather heavy-weight construction or for a perforated metal surfaceto be used. A heavy tabletop will not flex much; aperforated surface on the other hand will radiate andreflect less sound energy than one which is flat andsolid.

It is not always necessary to use several directionalmicrophones (e.g. cardioids) when recording round-table discussions. A single boundary-layer microphonesuch as the BLM 03 Cg, concealed perhaps beneath a

thin covering cloth, can be placed at the center of thetable, solving the problem in elegant fashion. Thistype of microphone is also significantly less sensitiveto solid-borne noise than an ordinary directional typesuch as a cardioid. Even if monitor loudspeakers arenearby, the risk of feedback is less than might beexpected since the boundary-layer effect discriminatesin favor of direct sound. In addition, by using oneboundary-layer microphone instead of several conven-tional microphones, the risk of phase cancellation isgreatly reduced.

MK... microphone capsuleRC 350 KC 0,5g Active Tube(CMC 6 Ug microphone amplifier, pg. 36)STR 100g vertical support rod, pg. 106ST 20-3/8 threaded adapter, pg. 1061× AF 1 flanged mounting adapter, pg. 106

+ ST 20-3/8 adapter, pg. 106or 2× AF 1 + ST 20 M adapter (see descrip-

tion above)


RL 350g microphone tubeK 5 LU, adapter cable of the CCM...STR 100g vertical support rod, pg. 106ST 20-3/8 threaded adapter, pg. 1061× AF 1 flanged mounting adapter, pg. 106

+ ST 20-3/8 adapter, pg. 106or 2× AF 1 + ST 20 M adapter (see descrip-

tion above)

COLETTEmodular

CCMcompact

RC 350 KC 0,5g Active Tube mounted in a tabletop with elastic suspension

RL 350g microphone tube mounted in a tabletop with elastic suspension

50

Table Mounting

Gooseneck with CableS 250 L5Ug

– length: 250 mm– permanently attached cable, 5 m long– with 3/8" internal thread– output connector: XLR-3M

The cable can be brought out from the side of thegooseneck or, after resoldering the connector, fromthe center of the gooseneck on through the AF 1(unit is delivered with cable exiting from the side).


Gooseneck with XLR-3MS 250 LUg

Like S 250 L5Ug, but with an XLR-3M plug at thebottom end instead of the cable.

Microphone Tube with two SwivelsRLG 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 andsupport rod lengths, etc., for this type of setup.

Special versions (e.g. with permanently attachedoutput cable) are available on request.

Surface finish: matte gray (g)Output connector: XLR-3M


RLG 350Ug microphone tube1 or 2× AF 1 flanged mounting adapter, pg. 106


S 250 LUg gooseneckAF 1 flanged mounting adapter, pg. 106

5 m cablewith XLR-3M


S 250 L5Ug gooseneck ST 20-3/8 threaded adapter, pg. 106AF 1 flanged mounting adapter, pg. 106

CCMcompact

CCMcompact

CCMcompact

51

Table Mounting

Miniature GoosenecksSKC 200g, SKC 300g, SKC 420g

These goosenecks are used directly between capsulesand amplifiers of the CMC series. For mounting in atable top, the AF 1 flange (not included) offers goodisolation from solid-borne noise. Mounting is generallyquite straightforward and simple.

A CUT 1 or CUT 2 variable low-cut filter can beused on the amplifier – though the filter does not fitinto the AF 1, so it would have to “ride“ above thetable top.

Lengths:SKC 200g: 200 mmSKC 300g: 300 mmSKC 420g: 420 mm, 120 mm of which is rigid

Other lengths on request.Surface finish: matte gray (g)

When there is a particularly great need to isolate themicrophone from solid-borne noise, the elastic suspen-sion A 20 S can be used along with the SKC 200g. Inan arrangement as shown at right, only the gooseneckand capsule will be visible, and the suspension will berelatively soft.

SKC 200gSKC 420g

F 5g flange (fastened bya screw in the center)

S 420 L5Ug on T5g table stand

GooseneckS 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 theactive part of a CCM-L microphone. The upper andmiddle regions of the gooseneck are flexible, whilethe lower part (120 mm) is constructed as a rigidtube, in order to give sufficient stability despite thenarrow diameter.

Cable path: as with the S 250 L5Ug (see previous page)Cable length: 5 mSurface finish: matte gray (g)


S 420 L5Ug gooseneckST 20-3/8 threaded adapter, pg. 106AF 1 flanged mounting adapter, pg. 106

MK... microphone capsule SKC 200g/ SKC 420g gooseneckCMC 6 Ug microphone amplifier, pg. 36AF 1 flanged mounting adapter, pg. 106

MK... microphone capsule SKC 200g gooseneckCMC 6 Ug microphone amplifier, pg. 36A 20 S elastic suspension, pg. 45F 5g flange, pg. 107

COLETTEmodular

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52

Table Mounting

AF 1 beneath thetable surface

3. Like variant 2, but because of the weight increasecaused by the GVC, the stiffer version of the A 20 elas-tic suspension should be used.

4. Simple mounting and more restrictive grip thanwith variant 3.

Further ways of mounting microphones on atable with elastic suspension

1. Simple mounting and a relatively restrictive grip.

F 5g

A 20 S

CCM-L or CCM-U Compact Microphoneor MK... microphone capsule + KC cable

SGC miniature swivel stand coupler, pg. 44STR-TC vertical support rod, pg. 106ST 20-3/8 threaded adapter, pg. 106AF 1 flanged mounting adapter, pg. 106

MK... microphone capsule, pg. 12GVC capsule swivel, pg. 97CMC 6 Ug microphone amplifier, pg. 36AF 1 flanged mounting adapter, pg. 106

CCM-L or CCM-U Compact Microphoneor MK... microphone capsule + KC cable

SGC miniature swivel stand coupler, pg. 44STR-TC vertical support rod, pg. 106ST 20-3/8 threaded adapter, pg. 106A 20 S elastic suspension, pg. 45F 5g table mounting flange, pg. 107

MK... microphone capsule, pg. 12GVC capsule swivel, pg. 97CMC 6 Ug microphone amplifier, pg. 36A 20 S elastic suspension, pg. 45F 5g table mounting flange, pg. 107

Twin Table MicrophoneC2 CCM 4 Ug

This table microphone consists of two CCM 4 COM-PACT MICROPHONES (cardioids) rigidly attached to oneanother and facing in the same direction. They can betilted forward or backward together. The second chan-nel serves as a fail-safe backup. For technical specifica-tions see pages 25 and 43.

Output connector: XLR-5MSurface finish: matte gray (g)

XLR-5M

AF 1 above the tablesurface

C2 CCM 4 Ug in AF 1flanged mountingadapter with internalshock mount

2. Very good isolation from solid-borne noise, andelegant appearance due to the smaller openingrequired in the table top.

COLETTEmodular

COLETTEmodular

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CCMcompact

Variant 1:

Variant 2:

Variant 3:

Variant 4:

SGC

AF 1

notch hole

STR-TC

ST 20-3/8

53

Table Stands

Table StandTA 20g

As T 20g, but with integral shock mount.Surface finish: matte gray (g)

Table StandT 20g

– tripod for a standard microphone of the COLETTE

MODULAR SYSTEM (CMC, 20 mm diameter)– the microphone can be tilted to any desired angle


Active Table StandTR 200 KC 2g

– elegant design– fully adjustable swivel joints at both ends of the tube

This elegant microphone table stand is easily adjustedin height and angle, thus offering an esthetically pleas-ing alternative to goosenecks, which are often twistedinto awkward shapes.

The cable brought out at the base of the TR 200 KC2g can be connected to any microphone amplifier ofthe COLETTE MODULAR SYSTEM (pg. 5) (except for CMBI).

Cable length is 2 m; other lengths can be ordered.

Base diameter: 80 mmHeight when extended, without capsule: 230 mmSurface finish: matte gray (g)

The capsule is not included.

Table Stand TR 200 Lg

– as TR 200 KC 2g (see above), but for CCM-LCOMPACT MICROPHONES

– tube length: 200 mm

The required K 5 LU adapter cable (Lemo to XLR-3M)is included with the CCM-L.

The TR 200 Lg is also available with permanentlyattached cable, either at the rear or the bottom of thebase.

Surface finish: matte gray (g)The CCM microphone is not included.

COLETTEmodular

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54

Table Stands

Twin Table MicrophonesT2 CCM 4g

This table microphone consists of two CCM 4 COM-PACT MICROPHONES (cardioids) rigidly attached to oneanother and facing in the same direction. They can betilted forward or backward together. The secondchannel serves as a fail-safe backup. The permanentlyattached output cable terminates in an XLR-5M con-nector.

For technical specifications see pages 25 and 43.

Cable: 5 mSurface finish: matte gray (g)

Miniature Table StandTCg, TC 2g

– adjustable angle

These elegant table stands, with vibration-isolatingbase, can be placed unobtrusively. The vertical rod isremovable, allowing the microphone to be mountedon the base close to the mounting surface.

A neat cable run is obtained when the cable is putinto the wire loop between the bolt and the socket.

Dimensions: base diameter: 57 mmheight: 80 mm

Surface: matte gray (g)

The microphone(s) and cable(s) are are not included.

Heavy Table Stand T 5g

– solid metal– with 3/8" threaded stud, e.g. for STR support rods

Dimensions: diameter: 129 mm, height: 52 mm Weight: 1.5 kgSurface finish: matte gray

CMC 6 Ug microphone amplifier, pg. 36SG 20 stand clamp, pg. 44T 5g heavy table stand

MK microphone capsule(s), pg. 12KC (pg. 97) or KCY Active Cable (pg. 98)CMC 6 Ug microphone amplifier

(not shown), pg. 36orCCM-L/ U COMPACT MICROPHONES, pg. 13/41TC table stand

TC

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55

Boundary-Layer Plate; Cable Hangers

Miniature Cable HangerHC

This accessory is used when hanging an MK capsuleon a KC Active Cable or a CCM COMPACT MICROPHONE.Incorporated in its design is the SGC swivel whichallows orientation to any angle laterally, and verticallyto any angle from 0° to 100°.

There is very little danger of an Active KC Cable orthe cable of a CCM twisting (e.g. as a result of risingtemperature) after it has been suspended.

The HC is suitable only for use with the CCM-U or theActive Cable KC because of the cable diameter. If usedwith the CCM-L (which has a thinner cable), the mount-ing should be secured additionally with adhesive tape.Color: gray

Cable HangerH 20g

This cable hanger suspends a microphone of theCOLETTE MODULAR SYSTEM from its cable, and allows it tobe set both vertically and horizontally to nearly anyangle. A tie line can be attached to a loop in the cableto keep the microphone absolutely steady.

The use of SCHOEPS microphone cable (see pg. 102)particularly minimizes the risk that the cable will twistafter being set up, e.g. in response to an increase intemperature.Color: gray/ matte gray

Mounting Plate for Directional Boundary-Layer TechniqueBLCg

Turns any directional (e.g. cardioid or supercardioid)CCM COMPACT MICROPHONE or MK capsule with ActiveCable into a boundary-layer (PZM) microphone. This isespecially useful when recording moving singers/ actorson a stage, or when a microphone on a stand wouldbe obtrusive. A rubber ring built into the bottom ofthe plate prevents inadvertent rotation of the plate ormarring of the surface on which it is placed.Diameter: 100 mm; surface finish: matte gray (g)

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hemi-supercardioid+6 dB

supercardioidsensitivity: 0 dB

in a free sound fieldon a boundary layer, e.g. floor or wall

Example of a directional boundary-layer microphoneusing a supercardioid:

sensi- -1dB -2dB -4dBtivity

distance: 2h h h/2

hemi-sphere

hemi-supercardioid

h

A directional boundary-layer microphone tends to "even" the balance of speakers and singers at various distances. Forsources at greater distances, the sensitivity of the microphoneincreases in a compensating manner due to the angle ofsound incidence, as shown here with a supercardioid.

Placement on a boundary layer increases the randomenergy efficiency of a directional microphone by a fur-ther 3 dB. This provides a noticeable improvement inclarity due to the greater suppression of diffuse soundenergy.

56

Operation on Booms (Mono)

Elastic SuspensionACA 53

– especially for indoor use– small and lightweight– can be used with small, lightweight windscreens

(W 20 R1, 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.

The microphone is held securely by a metal clampwith thumb wheel. The low weight – 190g including awindscreen – leads to an extraordinarily light weight atthe end of the boom, and thus to easy handling.

The 3/8" internal thread fits any readily availablemicrophone boom.

Color: blackThe windscreen is not included.

recommended windscreen: W 5 D (page 114)

Windscreen for a single CCM-LWSR 100 LU

– especially for outdoor use– small and lightweight– good isolation against solid-borne noise (handling

noise)– cable: internal: extraordinarily flexible,

external: robust– with 3/8" internal thread for booms– optional: Windjammer, a fur-like “overcoat” which

enhances the efficiency

The cable from the CCM and the output cable jointogether at the small “ConnBox.” The output cable ispermanently connected to this box, but the cable fromthe CCM itself is attached by means of a miniatureconnector. This allows the rapid exchange of the cablewhen necessary.

Basket diameter: 100 mmLength of the output cable: 16 cmOutput connector: XLR-3M

Windjammer,additionally availablefor enhancing theefficiency of windnoise reduction

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57

Instrument Adapters

Adapter for Violin VA 1

– for CCM 4V COMPACT MICROPHONE or MK 4V micro-phone capsule (both cardioids) with KC Active Cable

To protect the microphone againstrosin deposits, a thin, dark gray foamcover (B 1) is included.

Range of span: ca. 25 to 40 mm

Picking Up the Sound of Musical Instruments

... is best accomplished with a normal microphonesuch as a CMC amplifier with MK 4 capsule. This canbe stand-mounted, or an Active Colette Tube can beused.

On stage, however, the risk of acoustic feedbackmay necessitate very close miking – perhaps by meansof an adapter that attaches directly to the instrument.That approach may also be necessary in order to getconsistent sound despite a player's physical motions.As far as the sound quality is concerned, it is always acompromise. However, SCHOEPS microphones do asmuch as possible to allow good sound quality to beobtained with this type of technique.

B 1VA 1

VA 2

leather strips (at points ofcontact)

SA 2

Adapter for FluteFA 1

– for CCM 8 COMPACT MICROPHONE or MK 8 microphonecapsule with KC Active Cable

Adapter for Violin/ Viola VA 2

As VA 1, but with range of span: ca. 26 mm to 50 mm

Adapter for SaxophoneSA 2

– for CCM 4/ CCM 4V COMPACT MICROPHONE or MK 4/MK 4V microphone capsule (cardioids) with KC ActiveCable

The SA 2 has a miniature elastic suspension whichsignificantly reduces the transmission of handling noisefrom the instrument to the microphone.

CCM 4V LgCOMPACTMICROPHONE

clamp forthe cable

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58

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

59

60

62

62

63

65

70

72

page

Miniature Stereo

A/B

Blumlein

Sphere Stereo

M/S

ORTF

X/Y

Stereo

60

Colette MINIATURE STEREO

RCYfor M/Spage 65

MK...microphone capsules

KS 5 Iextension, 5 meterspage 103

CMCmicrophone

amplifierpage 36

CUT(optional)

low-cut filterpage 99

LC 60 U, LC 120 U (optional)Active Low-cut Filter

page 100

LC 60 U, LC 120 U (optional)Active Low-cut Filterpage 100

AK SU/2Uadapter cableXLR-5F / 2× XLR-3Mpage 102

VST 62 IUgstereomicrophoneamplifierpage 40

AK I/2Cadapter

cablepage 98

KCY 250/0IgActive Y-Cablepage 98

0.1 m;with KCY 250/5Ig: 5 m

2× 250 mm

VMS 5 Ustereo microphone preamplifier

with M/S matrix, page 92

*

*

*


*

M/S Stereopage 65 ff.

OCT / OCT Surroundpage 122

ORTF Stereopage 70

*

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permanentlyattached cable

61

CCM-L MINIATURE STEREO

LC 60 U, LC 120 U (optional)Active Low-cut Filterpage 100

AK SU/2Uadapter cableXLR-5F / 2× XLR-3Mpage 102

CMXY 4V Ig with

miniature socket

KS 5 IUadapter cable toXLR-5M andextension, 5 mpage 103



KLY 250/0IY-cablepage 103

0.1 m;with KLY 250/5I: 5 m

2× 250 mm

CCM...LCOMPACT MICROPHONESFeatures of these systems:

– allow for small and light-weight stereo recordingsetups without compromisein sound quality

– powered from battery orvia AC supply (optional)

– suited for all two-micro-phone stereo recordingtechniques with 50 cm distance or less betweenmicrophones

– especially suited for M/Sand ORTF

CMXY 4V Ugfor X/Ypage 72

*

**


M/S Stereo page 66 ff.

ORTF Stereopage 70

*XLR-5M

OCT / OCT Surroundpage 122

Double-M/S Surroundpage 79 ff.

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62

A/B and Blumlein Stereo

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 NSthreads and can be directly attached to a microphonestand. However, because it has a 20 mm diameter, itcan 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: grayFor windscreens see page 111.

with WB windscreen

Blumlein Stereo

A/B Stereo

A/B and OCT Mounting BarMAB 1000

– for two microphones in an A/B arrangement (can beused for ORTF, but see the relevant section onpages 70 and 71)

– with mounting arm for a third, central microphoneoffset 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" threadedattachments for three stand adapters or shock mounts.The microphone positions are continuously adjustable.

Each side of the bar is engraved with markings every2.5 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-MABsupporting 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 micro-phones.

– MC-MAB microphone carriage for additional micro-phones

– CB-MAB supporting beam for OCT surround; holdstwo MAB 1000 bars at variable distance (13 – 47 cm)

KMAB 1000carrying case,included

new

3/8" threaded stud

MAB 1000 – as delivered

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63

Sphere Stereo

WKFMwindscreen

KGball-and-socket joint

Stereo Sphere Microphone KFM 6smaller version: KFM 360 (page 76)

– head-related stereo microphone for loudspeakerreproduction

– very good imaging and sense of depth; good localiz-ation, very natural sound

– with qualities of a dummy head when headphonesare 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 distin-guished by the simplicity of the recording techniqueand of the setup. Only two microphones and record-ing tracks are required, and with the KFM 6 only onemicrophone cable is needed.

The KFM 6 sphere microphone is the embodimentof a stereo microphone design using an acoustic baffle.It bears some resemblance to a “dummy head“ andfollows some of the same principles – but while dummyhead recordings can provide excellent results, they aresuitable only for headphone listening. The “Sphere“microphone was developed so that similarly convincingresults could be achieved for loudspeaker playback. Tofulfill this objective the microphone must provide notonly interaural arrival-time cues, but also spectral-vs-angular incidence information. A further requirementwas that the frequency response on the main axis ofthe microphone in the free sound field and also thefrequency response in the diffuse sound field remainflat. (See G. Theile: “On the naturalness of two-channelstereo sound,” AES/SMPTE Joint Television Conference,Jan. 1991, Detroit)

In constructing the KFM 6, two special pressure trans-ducers are mounted flush on the surface of a sphere20 cm in diameter, an acoustic baffle having especiallyfavorable properties.

Normally two pressure transducers placed so closeto each other would not provide a convincing stereoimage. However, the sphere between the capsules creates a frequency-dependent emphasis of level differ-ences comparable to that which occurs naturallybetween the human ears.

The frequency response on the stereo main axis ofthe KFM 6 is flat when measured at the output of eitherchannel. If a sound source moves around the sphere,the level in the one channel will increase by the sameamount as it decreases in the other. This is broughtabout by the unique construction of the microphonecapsules, the effect of the sphere as an acoustic baffle,and some special electronic circuitry built into theamplifier. As a result, the energy sum of the two chan-nels is largely independent of the angle of sound inci-dence and shows essentially flat frequency response inboth the direct and the diffuse sound field. Furthermore,the directionality of the microphone is essentially con-stant throughout the audio frequency range.

These features, combined with an exceptionally flat

64

Sphere Stereo


The following data were measured on the axis of the capsules. A standard 48 V phantom power supply was usedand the load impedance was 1 kOhm.

Classification of the special capsules: pressure transducerRecording angle* for full stereo reproduction: ca. 90°Frequency range: 18 Hz – 16 kHzSensitivity: 100 mV/Pa (10 mV/µbar)Equivalent noise level, CCIR: 25 dBEquivalent noise level, A-weighted: 17 dB-ASignal-to-noise ratio, A-weighted: 77 dB-AMaximum sound pressure level for 0.5% THD:123 dB-SPLOutput voltage at maximum SPL: 2.8 VSource impedance: 60 OhmsMinimum recommended load impedance: 600 OhmsPowering: 12 – 48 V phantomCurrent consumption per channel: 4.4 mA, independent of the supply voltage;

at high sound pressure levels slightly moreMeasuring conditions: see page 120Weight: ca. 1.1 kgDiameter of the sphere: 200 mmTotal weight of the suspension device: ca. 0.5 kgSurface finish: matte grayPin assignment (XLR-5M): see page 126

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 suchas the mounting and suspensiondevices, other hardware, cables,etc.

– WKFM (see previous page), a foam windscreen foroutdoor use in moderate wind. It has minimal effecton the sound pickup (diam. 200/ 240 mm x 40 mm)

– XLR-5 stereo cables (page 102)

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 espe-

cially useful when the KFM 6 is positioned at somedistance.

– The sensitivity of the KFM 6 is about 15 – 20 dBhigher than that of a standard Colette Series micro-phone.

– The KFM 6 can operate into unbalanced inputs with-out any loss of level and without transformers. Thisrequires a powering device with DC decoupling.

– Any standardized 12 V or 48 V phantom poweringis suitable. Please note: When a 12 V phantom powering isused, the maximum SPL is reduced by 7 dB.

– In order to assure proper operation, make sure thatboth channels are powered simultaneously at alltimes.

Frequency response curve on the stereo main axis

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

response that extends down to the very lowest fre-quencies, are responsible for the remarkably naturalimpression of space, depth and image typical of theKFM 6.

* the range within which the sound sources should beplaced, as “seen“ by the microphone

65

M/S Stereo

Active Stereo Tube RCY

– small, 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 omnidirec-tional microphone are blended together, e.g. toobtain a “wide cardioid“ pattern

Tube lengths: 350 mm, 700 mm, 1200 mmStandard cable length: 2 mSpecial lengths of tube and cable are available.The RG 8 swivel joint and a rubber ring (see on the

right) are included.

Type designation: for example RCY 1200/2Ig (1200 mm tube and 2 m cable, 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...) are available on request.

A rubber ring keepsthe capsule in itsintended orientation.

MK 8g microphone capsule (figure-8), pg. 27MK microphone capsuleRCY 1200Ig stereo tubeVST 62 IUg stereo microphone amplifier, pg. 40

or microphone preamplifier VMS 5 U, pg. 92STR 350g vertical support rod, pg. 106BF 250 floor stand, pg.108

Laboratory model of a sphere microphoneusing vacuum-tube circuitry, SCHOEPS, 1955

M/S Stereo

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66

M/S Stereo

Elastic Suspension for M/S with SwivelAMS

– especially for indoor use

Holds both capsule connectors of the Active KCYStereo Cable, or two Active KC Cables equipped withcapsules or two CCM COMPACT MICROPHONES one abovethe other. With its swivel adapter it can be mountede.g. on support rods (STR), and tilted.

With a windscreen and, if necessary, the fur-like“overcoat” (Windjammer) the AMS becomes the WSRMS windscreen with elastic suspension that is bestsuited for outdoor recordings (see following pages andpage 114).

The forward ends of the cables are all 115 mm longand are made of a thin, especially flexible material.The output cable is 250 mm long.

Mounting Stud with Swivel for M/SSGMSC

Thread: 5/8"-27 NS internal thread. An adapter isincluded for 3/8" and 1/2" mounting.

Matching windscreen: WMS (page 115)

Cable Hanger for M/SHSGMSC

The microphones can be adjusted in their orientationby inclining the double clamp or turning it to eitherside.

Thread: 5/8"-27 NS internal thread. An adapter isincluded for 3/8" and 1/2" mounting.

Matching windscreen: WMS (page 115)

Double Clamp for Ugrading from Mono toM/S StereoKMSC– for adapting a microphone of any directionality

(including shotgun microphones) to M/S stereo, bythe use of a CCM 8 (figure-8)

No further parts are needed beyond the clamp andmicrophone. Existing windscreens can still be used.The small CCM 8 adds hardly any weight to that ofthe setup as a whole.

CCM 8 Lg or CCM 8 Ug (both figure-8)

cableKLY 115/0,25 SU

directional micro-phone, e.g. CMC 641 Ug(supercardioid)

COLETTEmodular

CCMcompact

COLETTEmodular

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CCMcompact

CCMcompact

67

M/S Stereo

Binder miniatureplug (I)

“C” plug

Windjammer(fur-like “overcoat” forWSR MS CI, -LI, -LU)

AMS LI

AMS CI

XLR-5M (U)

Lemominiatureplug (L)

AMS LU

AMS LI + windscreen = WSR MS LIdiameter of the basket: 150 mm

Binder miniatureconnector (I); smalland lightweight,adapter cable toXLR-5M: KS 5 IU

for MK... microphone cap-suleswith Y-cable KCY 115/0,25Ig, output connector: miniatureplug for VMS 5 U microphonepreamplifier and VST 62 IUgstereo microphone amplifier

Corresponding version withwindscreen: WSR MS CI

for CCM...L COMPACT

MICROPHONES, with Y-cable KLY 115/0,25I:Lemo to miniature outputconnector

Corresponding version withwindscreen: WSR MS LI

for CCM...L COMPACT MICRO-PHONES,with Y-cable KLY 115/0,25 SU:Lemo to XLR-5M connector

Corresponding version withwindscreen: WSR MS LU

AMS: without cable (not shown)

The following versions of the AMS are available:

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68

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

Windjammerfor WSR MS CI (fur-like “overcoat”)

WSR MS CI150 mm dia.



MK 8g capsule (figure-8)MK, e.g. MK 4g (cardioid)

extensione.g. KS 5 I (5 m)

... with MODULAR COLETTE SYSTEM

This approach to M/S recording takes advantage ofthe modular nature of the COLETTE SYSTEM, and mightbe preferred by those who already own one or moreof the COLETTE capsules involved.

WSR MS CI windscreen for M/S with AMS CI elas-tic suspension (including pre-mountedActive Y-Cable KCY 115/0,25Ig),without capsules. (Version withoutpre-mounted cable: WSR MS, whichcan be used with the more commonKC Active Cables).

Windjammer fur-like “overcoat” for the WSR MSCI, to increase resistance to windnoise

MK microphone capsule for the M channel,e.g. MK 4g (cardioid) or MK 41g(supercardioid, for higher directivity)

MK 8g capsule with bidirectional characteris-tic for the S channel

KCY 115/0,25Ig Active Y-Cable (see pg. 98) with 25 cmsingle end piece. The two branches(115 mm long) which connect to thecapsules are made from a specialmaterial that is designed to remainflexible even at sub-freezing tempera-tures (-20° C).Note: The KCY is also available with5 meter output cable (KCY 115/5Ig),but handling and storage are easierwith the shorter cable; the extensioncable (KS 5 I) can be simply attachedor removed.

KS 5 I extension cable (5 m long), necessaryfor the KCY 115/0,25Ig

VMS 5 U special powering unit for capsuleswith Active Cable; contains micro-phone preamplifier, M/S matrix andheadphone output (see page 92)Instead of the VMS 5 U, the doublemicrophone amplifier VST 62 IUg ortwo CMC microphone amplifiers – viaadapter cable AK I/2C – can be used.The latter combination allows thevariable low-cut filter CUT 1 or CUT 2to be used as well (see page 99).

AMS CIelastic suspensionwith Active Y-CableKCY 115/0,25Ig

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69

M/S Outdoors

Windjammerfor WSR MS LI(fur-like “overcoat”)

... with CCM-L COMPACT MICROPHONES

This version is the one which we recommend partic-ularly to our newer customers since the Y-cable is theonly component specially required for this application.The microphones themselves are in no way limited touse only for M/S recording.

WSR MS LI windscreen for M/S with AMS LIelastic suspension (pre-mounted Y-cable KLY 115/0,25U is included),without microphones. (Versionwithout pre-mounted cable: WSR MS)

Windjammer fur-like “overcoat” for WSR MS, toincrease its resistance to wind noise

CCM 4 Lg cardioid COMPACT MICROPHONE forthe M channel; a CCM 41Lg super-cardioid can be used when greaterdirectivity is needed

CCM 8 Lg COMPACT MICROPHONE with bidirec-tional characteristic for the S channel

KLY 115/0,25I Y-cable; the single end piece is 25 cm long. The two branches(115 mm long) which connect tothe capsules are made from a special material that is designed toremain flexible even at sub-freezingtemperatures (-20° C).Note: The KCY is also available with5 meter output cable (KCY 115/5Ig),but handling and storage are easierwith the shorter cable; the extensioncable (KS 5 IU) can be simplyattached or removed.

KS 5 IU stereo adapter and extension cableto XLR-5M

AK SU/2U adapter cable XLR-5F to 2× XLR-3M

VMS 5 U microphone preamplifier withphantom powering, M/S matrixand headphone output (page 92)

The windscreen is also available in the WSR MS LUversion (page 67, 114) with an XLR-5M plug insteadof the miniature Binder connector.

extension andadapterKS 5 IU (5 m)

WSR MS LI150 mm dia.



AMS LIelastic suspensionwith Y-cable KLY 115/0,25 I

CCM 8LgCCM 4Lg

AK SU/2Uadapter cableXLR-5F/ 2× XLR-3Mpage 102

– good resistance to wind noise– signals can be dematrixed during recording or in

post-production– can be battery- or AC-powered (accessory)

The parts shown here as being needed for M/S stereorecording are also available as a complete “M/S Set.“It comprises: 1× WSR MS LI, 1× Windjammer,1× KS 5 IU, 1× AK SU/2U,1× CCM 8 Lg (figure-8), including K 5 LU adapter cable

(Lemo/ XLR-3M), SGC stand clamp and polishedwood case,

1× CCM 4 Lg (cardioid); included accessories: as withCCM 8 Lg

The supercardioid microphone CCM 41 L can be sub-stituted for the cardioid CCM 4 L at a slight increasein cost.

Optional: low-cut filter LC 60 (page 100)

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70

M/S / ORTF Stereo

Adapter for M/S using Boundary-LayerTechniqueMS-BLMFor the BLM 3g boundary-layer capsule (pg. 18) and

a) MK 8 microphone capsule with Active KC Cable orb) CCM 8U COMPACT MICROPHONE

Universal Stereo BarUMS 20

– for two microphones of the COLETTE MODULAR SYSTEM

(CMC, 20 mm diameter)– for M/S, Blumlein, ORTF, X/Y

Matching windscreen for M/S: WMS (page 115)

Stereo Bar for ORTF RecordingsSTCg

For information on the ORTF technique please seefollowing page as well as page 120 in the technicalappendix.Thread: 5/8"-27 NS, with adapter for 3/8" and 1/2"The SG 20 stand clamp is included.

Note: The two MK 4 cardioid capsules or CCM 4 cardioid

COMPACT MICROPHONES normally used with the STCgare available as a matched pair.

Universal Stereo Bar UMS 20

– for two standard microphones of the COLETTE MODULAR

SYSTEM (CMC, 20mm diameter)– for ORTF, Blumlein, M/S, X/Y More on the UMS 20: page 104; on ORTF: page 120

Elastic Suspension for M/SAMS 22

– for two standard microphones of the COLETTE

MODULAR SYSTEM (CMC, 20mm diameter)

Its base has a 5/8"-27 NS internal thread. A threadedadapter is supplied for 3/8" and 1/2" mounting.

Color: gray/ matte grayMatching windscreen: WMS (page 115)

ORTF Stereo

STCgSG 20

M 100 C, see page 105

COLETTEmodular

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71

ORTF Stereo

withWindjammers

Technical Specificationsof the MSTC 64, measured on the axis of the MK 4capsules:

Recording angle*: 95°Frequency range: 40 Hz – 20 kHzSensitivity: 13 mV/PaEquivalent noise level, CCIR: 26 dBEquivalent noise level, A-weighted: 16 dB-ASignal-to-noise ratio, A-weighted: 78 dB-AMaximum SPL for 0.5% THD: 132 dB-SPLOutput voltage at maximum SPL: 1 VSource impedance: 35 OhmsMinimum recommended load: 600 OhmsPhantom powering: 12 / 48 V (auto-switching)Current consumption per channel,

independent of the supply voltage: 4 mAWeight: ca. 230 gPin assignment (XLR-5M): see page 126

withoutWindjammersMSTC 64 Ug with

BBG windscreens

Surface finish: matte gray (g) or nickel (ni)

Accessories (included):SG 20 stand clamp

In many situations the use of an elastic suspension isadvisable. Due to the weight of the MSTC, the A 20 S(see page 45) with its stiffer elastics should be used.

Popscreens and windscreens for the MSTC 64 aredescribed in the section beginning on page 111.

ORTF Stereo Microphone MSTC 64

– for recordings with ORTF technique– placement relatively uncritical – good stereo imaging– universally applicable– for 12 / 48 V phantom powering

This microphone consists of a T-shaped body withtwo built-in microphone amplifiers, and a matchedpair of MK 4 cardioid capsules of the COLETTE MODULAR

SYSTEM which are mounted 170 mm apart with anincluded angle of 110° (ORTF system). Like the KFM 6this is a “head-related” arrangement. The stereophonicrecording angle* is 95°.

This is probably the simplest stereo technique ingeneral use. In almost any situation it produces anevenly-spread stereo image with good localization,often without the need for spot or ambient miking.Setup is particularly quick and simple since the capsulespacing and angles are fixed, with only a single standand microphone cable required. Placement is relativelyuncritical and the technique produces good resultseven in the hands of an inexperienced or hasty user.

The MSTC 64 accepts any 12 V or 48 V standardizedphantom powering, with the maximum sound pressurelevel being slightly reduced (ca. 4 dB) when poweredby 12 V.

The two MK 4g capsules included with the MSTC 64gare a specially selected, matched pair.

The designation MSTC 64g refers to a dual micro-phone amplifier MSTC 6g equipped with two MK 4gcardioid capsules. Surface finish here: matte gray (g)

ORTF microphone MSTC 64 UgB 5 D windscreens, pg. 114A 20 S elastic suspension, pg. 45

COLETTEmodular


72

X/Y Stereo

The angle between the microphone’s axes can beadjusted continuously in the range from 0° to 180°.

0°

90°

180°

X/Y Stereo MicrophoneCMXY 4V

– 2× cardioid with lateral pickup– compact, elegant and lightweight– universally applicable– with XLR-5M or miniature output connector

The CMXY 4V is a compact and versatile X/Y stereomicrophone which is both elegant and very unobtrusive.Its mild high-frequency boost increases the intelligibilityof speech and compensates for high-frequency lossestypical of moderate recording distances. It thus lendsitself ideally to music recordings, TV and broadcastuse, e.g. on a table for discussions, for presenters,boom operations or as a stereo spot microphone on astand.

The side-by-side arrangement of capsules is some-what unusual. But there can never be perfect three-dimensional coincidence between any two micro-phones, and the distance between center points ofthe capsules in a CMXY is only 21 mm. While this dis-tance is in the horizontal plane, it is considerably lessthan the vertical distance between capsules in mostother stereo microphones of professional quality. Thusthe precision of stereo imaging and mono compatibilityare fully in keeping with established professionalrequirements. The overall width of the two microphonescombined is similar to (often less than) the diameterof a conventional stereo microphone’s capsule assem-bly. This is possible by using the smallest non-electretcondenser microphones with balanced outputs, theCCM Compact Condenser Microphones.

Unlike conventional microphones which have onefixed and one rotatable capsule, the angle betweenthe capsules of the CMXY 4V (and hence the record-ing angle*) can be adjusted without affecting the mainstereo axis. The capsules always rotate equally and inopposite directions by means of an ingenious geararrangement in the base of the microphone. Thisgreatly simplifies setting up the microphone.

The CMXY 4V has balanced outputs at an impedanceof only 90 Ohms. This allows cable lengths of up toseveral hundred meters to be used without loss ofsound quality, while the risk of electromagnetic inter-ference is greatly reduced.

Two versions are available (see on top of the next page): CMXY 4V Ig: miniature output connector;

the KS 5 IU adapter cable to XLR-5M is included.CMXY 4V Ug: XLR-5M output plug

The adapter cable AK SU/2U (XLR-5F to 2× XLR-3M)is included.

Surface finish: matte gray (g)Accessory part (included): polished wood case

CMXY 4V Ugactual size


Polar pattern: 2× cardioid with lateral pickup (CCM 4V)Frequency range: 40 Hz – 20 kHzMaximum SPL:

132 dB-SPL at 0.5%THDEquivalent noise level: 24 dB (CCIR) 14 dB-APhantom powering:

12 V (8 mA) or 48 V (4 mA) (automatically switched)

Impedance: 90 OhmsMax. output voltage: ca. 1 VoltWeight: 190 g


73

X/Y Stereo

A 20 Selastic

suspension

A 20 Selastic

suspension

WMSwindscreen

CMXY 4V Ig CMXY 4V Ug

Windjammerfur-like “overcoat”for WSR CMXY

KS 5 IUadapter cable

WSR CMXYbasket-type windscreen with A 20 CMXY elastic suspension(modified A 20 S)

Notes:If the “basket”-type windscreen WSR CMXY is to

be used, the version of the microphone with minia-ture output connector (“I”) would be preferable. Ifthe version with XLR-5M connector (“U”) must beused with this windscreen, a short (right-angle) XLRconnector is required on the cable to avoid its scrap-ing against the inside of the “basket.”

When any microphone is placed near (but notdirectly onto) a flat surface, comb-filter effects willoccur. These can be reduced if the surface (e.g. thetable top) consists of a perforated material.

74

Universal Stereo Bar UMS 20

– for two STANDARD Microphones of the COLETTE

MODULAR SYSTEM (CMC, 20 mm diameter)– for M/S, Blumlein, ORTF, X/Y

For further information: see page 104.

X/Y Stereo

Miniature Positioning DeviceM 100 C

– for X/Y and ORTF

Axially addressed microphones: MK 4 microphonecapsule or CCM 4 U/ L COMPACT MICROPHONE,

Laterally addressed microphones: MK 4V microphonecapsule or CCM 4V U/ L COMPACT MICROPHONE

For critical applications the M 100 C can be sus-pended in an A 20 S shock mount (see page 45) withthe aid of the ST 20-3/8 adapter (see page 105).

Alternatively, it can be suspended from a cable bymeans of the H 20g hanging adapter (see page 55).

The entire bar is hinged so that it can be tilted for-ward or backward.

Mounting adapter: 5/8"- 27 NS, with adapter to 3/8"and 1/2"

COLETTEmodular

COLETTEmodular

CCMcompact

75

76

78

79

80

page

Sphere Surround

OCT/ OCT Surround

“Double M/S“

“IRT Cross“

Surround

76

Surround Microphone System by Bruckwith KFM 360 and DSP-4 KFM 360

– compact, highly effective arrangement– extensive capability for post-processing in digital

domain (many important parameters can be adjustedafter 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 con-sists of:

– KFM 360 sphere microphone with SGC-KFM sus-pension for two figure-8s

– two figure-8 microphones (CCM 8L) and– the DSP-4 KFM 360 processor.

These components are also available separately.

The central unit in this system is the KFM 360 spheremicrophone. It uses two pressure transducers and canalso be used for stereophonic recording. Its recordingangle* is ca. 120°, thus permitting closer miking thanthe pure stereo microphone KFM 6 (90°). The necessaryhigh-frequency compensation for the pressure trans-ducers is built into the processor unit.

Surround capability is achieved through the use oftwo figure-8 microphones, which can be attached nextto the pressure transducers by an adjustable, detachableclamp system with bayonet-style connectors (SGC-KFM).The main axes of these two microphones should beaimed precisely forward.

The DSP-4 KFM 360 processor derives the four “corner” channels (L, R, LS, RS) from the microphonesignals. A center channel signal is obtained from thetwo front signals. An additional output channel is pro-vided which carries only the frequencies below 70 Hz.To avoid perceiving the presence of the rear loudspeak-ers one can lower the level of their signals, delay themand/or set an upper limit on their frequency response.

The front stereo image width is adjustable, and thedirectional patterns of the front-facing and rear-facingpairs of “virtual microphones” (see “Operating principle”below) can be chosen independently of one another.

The processor unit offers both analog and digitalinputs for the microphone signals. In addition to pro-viding gain, it offers high-frequency compensation forthe pressure transducers as well as low-frequencycompensation for the figure-8s.

As with M/S recording, matrixing can be performedduring post-production. All matrixing in the DSP-4 isperformed in the digital domain.

Operating principle:The front and rear channels result from the sum (front)

and difference (rear) of the omnidirectional and figure-8microphones on each side respectively (see illustrationon the next page). The four resulting “virtual micro-phones” which this process creates will seem to be

Sphere Surround

DSP-4 KFM 360processor unit with built-in A/D and

D/A converters

+

KFM 360

DSP-4 KFM 360 processor

KS 5 U5 m

KLY 250/5 SU5 m

XLR-5 XLR-5 XLR-5 XLR-5 XLR-5I II I II IIIinputs outputs

KFM 360plus 2 CCM 8Lg COMPACT MICROPHONES (figure-8)

6× XLR-3M

3× AK SU/2Uadapter cable


Frequency response curves showing the effect of the proces-sor’s built-in corrective equalization (before/ after)

77

Operating principle: derivation of right (R) and right surround(RS) signals (rough diagram); see block diagram on page 125for details

Technical specifications:

KFM 360– for 12 V/ 8 mA, 48 V/ 4 mA phantom powering– 2 pressure transducers, built into the sphere– diameter: 18 cm– recording angle: ca. 120°– weight: 800 g

CCM 8Lfigure-8, for technical specifications: see page 27

DSP-4 KFM 360Analog inputs (2× 2, XLR-5F, balanced, transformer-

less, 48 V phantom powering, 20 kOhm):“Analogue Mic Gain”: +10 dB +20 dBMaximum input level: -4 dBU -14 dBUMaximum SPL

KFM 360: 130 dB-SPL 120 dB-SPL(The digital output level can be adjusted.)

Analog outputs: 3× 2, XLR-5M, balanced, trans-formerless, 100 Ohms, max. 6 dBV (2Vrms):

REC mode: outputs I, II: unprocessed input signals,output III: Monitor;

SURR. mode: output I: L, R; output II: C, LFE; outputIII: SL, SR

Maximum analog output level: +6 dBUDigital inputs/ outputs: channel assignment just as with

the analog outputs; data format: 24 bit AES/EBUDigital inputs: 2× 2, XLR-3FDigital outputs: 3× 2, XLR-3M synchronization/ sample

rate:with internal synchronization: 44.1/ 48/ 96 kHzwith external synchronization (through masterinputs): 25 – 100 kHz

Elevation of the digital level: max 33 dBDynamic range:

A/D converter: 98dB (peak) CCIR110dB (rms) unweighted

D/A converter: 100dB (peak) CCIR113dB (rms) unweighted

Characteristic impedance of the cable connected tothe digital outputs: 110 Ohms

Mains voltage: switchable 110 – 120 V / 220 – 240 VPower consumption: 15 VAFuse: 230 V: 100 mA slow blow; 110 V: 200 mA slow

blowDimensions (W x H x D) 22 x 9 x 24.6 cm

about 8.7" × 3.5" × 9.7" Weight: 2.7 kg (about 6 lbs)

aimed forward and backward, as the figure-8s are. At higher frequencies, however, they will seem to beaimed further outward. Their directional pattern canbe varied anywhere from omnidirectional to cardioidto figure-8; the pattern of the two rear-facing virtualmicrophones can be different from that of the twoforward-facing ones. Altering the directional patternsalters the sound as well, in ways that are not possiblewith ordinary equalizers. This permits a flexible meansof adapting to a recording situation – to the acousticconditions in the recording space – and this can evenbe done during post-production if the unprocessedmicrophone signals are recorded.

The signals from the four “virtual microphones“comprise a type of surround reproduction which is validin its own terms but lacks the center channel and low-frequency channel of the standard 5.1 approach, sothese additional facilities are provided by the digitalsignal processor.

The complete KFM surround set consists of:KFM 360 sphere microphone1× KG ball-and-socket joint for mounting on a stand2× CCM 8 L COMPACT MICROPHONE (as a matched pair);

included: K 5 LU adapter cable (Lemo/ XLR-3M), SGCstand 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 case3× AK SU/2U adapter cable (XLR-5F to 2× XLR-3M)

for connecting the processor’s analog outputs1× KS 5U stereo cable for connecting the KFM 360

(5 m long; advantage: only one cable is necessary

Sphere Surround

for two channels)1× KLY 250/5 SU, Y-cable, 5 m long, 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.g. KS 10 U, 10 m; KS 20 U, 20 m)for the KFM 360:

KKFM wood case and HKFM suspension device

When a KFM 360 is ordered separately, it comes with1× KG, 2× SGC-KFM, 1× AK SU/2U (XLR-5F / 2× XLR-3M)

+

–+

–

front channels:sum (omni + figure-8)

rear channels:difference (omni – figure-8)

omniomnifigure-8CCM 8

figure-8CCM 8

KFM 360

RS

R

+

–

+–

78

OCT Mounting Bar for the Front Channels(by Dr. Theile, IRT, Germany)

MAB 1000

– 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

The OCT (Optimized Cardioid Triangle) is a well-designed method for obtaining the front channels fora convincing surround recording of music. A detaileddescription of the OCT technique can be found onpage 122 in the technical appendix.

This 1-meter-long mounting bar has 3/8" threadedattachments for three stand adapters or shock mounts(not included). The microphones can be positionedanywhere along the bar. Each side of the bar is en-graved with markings every 2.5 cm so that distancesof 5 cm, 10 cm, 15 cm, etc. can easily be set betweenthe two outer microphones.

Please note: Stand adapters or shock mounts must beordered separately. Recommended stand adapters orshock 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.

Thread: 3/8", length: 1000 mm, weight: 500 g

OCT Surround Setup(by Dr. Theile, IRT, 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 addinga connecting rod (CB-MAB) along with a second MAB1000 mounting bar for the rear-channel microphones.

Further information: see page 122 ff. and www.hauptmikrofon.de

OCT surround setup:2× AB/ OCT mounting bar MAB 10001× connecting bar CB-MABmicrophones:front: center: cardioid MK 4 or CCM 4

sides: 2× supercardioid MK 41V or CCM 41Vrear: 2× cardioid MK 4 or CCM 4

OCT / OCT Surround

Accessories (included): KMAB 1000, robust, foam-lined carrying case for the two MAB 1000 mountingbars and the CB-MAB supporting beamKMAB 1000

new

new

4 – 100 cm

8 cm

OCT bar MAB 1000center: cardioid MK 4 or CCM 4sides: 2× supercardioid MK 41V or CCM 41V

front

40 cm

front

20 cm wider than at the front, max. 100 cm

3/8" threaded stud

MAB 1000 as shipped

CB-MAB

up to 100 cm, dependenton the recording angle*

COLETTEmodular

CCMcompact

COLETTEmodular

CCMcompact


79

Surround, miscellaneous

new

Surround playback arrange-ment: see ITU 775-1

M SM/S matrix I

“FRONT“

M SM/S matrix II

“REAR“

C

L LS RSR

CL

LS RS

R

front

WSR DMS LU = shock mount with cableadapter and windscreen(150 mm dia.)

Windjammer,fur cover for enhancingthe protection againstwind noise

“Double M/S“ Surround withDouble-MS Set

– requires only three microphones and channels for5.0 surround

– very small, 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 well-known M/S stereo recording technique. In addition toa front-facing cardioid or supercardioid “mid“ micro-phone and a figure-8 “side“ microphone, a rear-facingdirectional microphone is set up. The front- and rear-facing microphones share the signals of the figure-8microphone so as to form two complete, back-to-backM/S systems. One M/S system then provides the threefront channels (the center channel signal being provideddirectly by the mid microphone of the front system),while the other system provides the two surround chan-nels. A double M/S arrangement of this kind allowsflexible processing of the stereo surround image widthand post-production adjustment, just as with two-channel M/S recording.

The Double-MS Set consists of a special shock mountwith three CCM-L miniature microphones in a doubleM/S configuration, a windscreen and a Windjammer.(Instead of the CCM 4VL, a CCM 41VL supercardioidcan be ordered for an additional charge.) A cableadapter from three Lemo sockets to an XLR-7M outputconnector is included as well as an XLR-7 extensioncable (5 m long) and a DMS-Splitter. The latter is apassive device that simplifies connecting a double M/Sarray to phantom-powered preamplifiers with matrixcircuitry (e.g. 2× SCHOEPS VMS 5 U) or to the inputsof a mixer. It divides the signals from the three micro-phones to five outputs (the center channel plus thetwo M/S pairs, with two of the microphones servingdual functions), while preventing any overlap in thephantom powering of the microphones from theinputs to which it is connected.

Double M/S viewedfrom top; for reasonsof clarity, not drawnone above the other(coincident)

front

FRONT

left right

REAR

+ –

left right

M/S stereo pair I(FRONT)

M/S stereo pair II(REAR)

+ – + – rightleft+

=

rear

CCM 4VLg(cardioid)

CCM 4VLg(cardioid)

CCM 8Lg(figure-8)

DMS-Splitter

= M channel “FRONT”

C

shock mount andcable adapter ofWSR DMS LU

In place of the DMS Splitter,an AK DMS 3U adapter cable(XLR-7F to three XMR-3M; 50 cm long) can be used.

KDMS 5 UXLR-7 extensioncable, 5 m long

CCMcompact

80

Surround, miscellaneous

Ambient/ Surround Recording Array:Mounting Bars for “IRT Cross“CB 250, CB 200

The IRT microphone cross is an arrangement forambient recording. Its primary characteristic is a trans-parent and spacious rendering of the acoustic environ-ment. It is useful as a four-channel arrangement forroom tone (for example in combination with the OCTsurround system, see page 124) and can also be usedfor full surround (e.g. 360° cinema sound recordingor for other playback arrangements in which thespeakers are placed in the four corners of a square).

The CB 250 is the version which more closelyapproximates the theoretical ideal, while the CB 200is the original, somewhat smaller version.

CB 140A modified form of IRT Cross exists for supercardioids

as well. Since the distance between microphones isonly 140 mm, the cross itself is distinctly smaller.

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

FRONTL R

RS

COLETTEmodular

CCMcompact

LSCB 250: 25 cmCB 200: 20 cmCB 140 (version forsupercardioids): 14 cm

81

PolarFlexTM Microphone Processor

82

DSP-4P Processor

PolarFlexTM – System for Modeling anyMicrophone

Make the recording first and then choose themicrophones...

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-processingin 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 direc-tional pattern often sound quite different from oneanother. Differing on-axis frequency response explainsonly part of the sonic impression; equally important isthe fact that polar patterns vary throughout a micro-phone's frequency range, and that they do so differ-ently in different types of microphone. The lack ofconstancy in polar response is technically a defect, butrealistically such defects can be used to advantagewhen adapting to the acoustics of a particular record-ing environment.

Equalization can be used to control the effective fre-quency response of a microphone. Until now, however,there has been no direct way to alter polar patterns ina corresponding manner, i.e. separately within specificfrequency ranges. With the DSP-4P processor, nearly-ideal (i.e. frequency-independent) directional charac-teristics can be selected – or nearly any frequency-dependent directional characteristic can be chosen, e.g.a “cardioid“ which becomes omnidirectional belowthe midrange so that it has better response at the verylowest frequencies.

The DSP-4P can model well-known microphones(e.g. the behavior of large-diaphragm microphones canreadily be synthesized), but its most interesting appli-cation may be to optimize a recording by defining

rear panel

PolarFlexTM

2× omni & figure-8:

Y-cableKLY-DTM

CCM 8 Lg

front

CCM 2S Lg

“female” 5-pinBinder miniatureconnector

25 cmlength

B-DTMbar

or 2× double cardioid:

+

KA-DTMhemisphere

L

R

front

CMXY 4V L

R

83

characteristics that do not exist in any real-world micro-phone of today. In an excessively reverberant spaceone could obtain a “drier” sound (cardioid or super-cardioid setting) or in spaces that are dry, one couldaccept more room reflections (wide cardioid or omnisetting) – either across the bandwidth or in a particularfrequency range. The ratio of direct to reflected soundwould thus be altered rather than the on-axis frequencyresponse. That cannot be done with an equalizer –nor can a reverb unit reduce the degree of reflectedsound in a recording after it has been made.

The PolarFlexTM microphone system consists of:– a pressure transducer (omni) and a figure-8 per chan-

nel (also two cardioids per channel can be used)– the DSP-4P stereo processor

On the opposite page, two suitable double micro-phone arrangements are shown. They both are madeup of SCHOEPS microphones and accessories.

The upper arrangement (omni + figure-8) consists of:1. An omnidirectional microphone with a mild high-

frequency emphasis in the direct sound field (shownhere: CCM 2S). Because of its angle of orientation, thecapsule has ideal directional response in the horizon-tal plane. The high-frequency emphasis compensatesfor the high-frequency losses due to lateral sound inci-dence.

2. A figure-8 microphone set directly above theomni; the direction in which it is aimed will determinethe orientation of the resulting adjustable “virtual”microphone. The hemispherical device attached to thetop of the figure-8 flattens the response of the omni-directional microphone at the highest frequencies.

The second arrangement consists of an X/Y stereomicrophone, the SCHOEPS CMXY 4V. The two cardioidshave been rotated to an included angle of 180°, andare aimed forward and backward.

Other small-diaphragm condenser microphones canalso be used. They must be small-diaphragm micro-phones, however, since only those would have a suffi-ciently uniform directional characteristic throughoutthe frequency range. If another kind of microphone isused, the result could be uncontrolled polar responseat various frequencies. If the first arrangement (shownon top) is being followed, the figure-8 microphoneshould have flat frequency response, while the omnishould have a slight diffuse-field equalization (a high-frequency emphasis as measured on axis).

ProcessorThe following settings can be made independently

of one another in three adjustable frequency ranges.With the three knobs in the upper row, the direction-al patterns in each of the three frequency bands canbe set. The settings are indicated by a circle of LEDs


Analog inputs (2× omni + 2× figure-8, or 4× cardioid, XLR-5F, balanced, transformerless, 48 V phantom powering, 20 kOhm):

“Analogue Mic Gain”: “+10 dB” “+20 dB”Maximum input level: -4 dBU -14 dBUMaximum SPL withCCM 2S (omni): 130 dB-SPL 120 dB-SPL(The digital output signal can controlled.)

Analog outputs (3× 2, XLR-5M, balanced, trans-formerless, 100 Ohms, max. 6 dBV (2Vrms)):2× 2 for passed-through input signals, 1× 2 for processed signals

Digital inputs: 2× 2, XLR-3F; format: AES/EBU, 24 bit

Digital outputs (3× 2, XLR-3M):2× 2 for passed-through input signals, 1× 2 for processed signals

Data format: AES/EBU (24 bit)Synchronization/ sample rate:

with internal synchronizsation: 44.1/ 48/ 96 kHzwith external synchronization (through masterinputs): 25 – 100 kHz

Elevation of the digital level: max 33 dBDynamic range:

A/D converter: 98 dB (peak) CCIR110 dB (rms) unweighted

D/A converter: 100 dB (peak) CCIR113 dB (rms) unweighted

Characteristic impedance of the cable connected tothe digital outputs: 110 Ohms

Mains voltage: switchable 110 × 120 V / 220 – 240 VPower consumption: 15 VAFuse: 230 V: 100 mA slow blow;

110 V: 200 mA slow blowDimensions (W×H×D in cm): 22 × 9 × 24.6

about 8.7" × 3.5" × 9.7" Weight: 2.7 kg (about 6 lbs)

PolarFlexTM

around each of the knobs. At the lower left of eachknob is the omnidirectional setting; at the lower rightis the figure-8 setting. Eleven intermediate patternsettings are available. The knobs in the lower row areset between those in the upper row. They are used forsetting the boundaries between the frequency ranges:100 Hz – 1 kHz and 1 kHz – 10 kHz respectively, inthird-octave steps.

If the unprocessed microphone signals have beenrecorded, these adjustments can be made after therecording during post-processing.

The three buttons at the lower right are for storing

84

and recalling presets.The processor operates at 24-bit resolution with

either a 44.1, 48 or 96 kHz sampling rate (switchable).When a digital device is connected to the input, thePolarFlexTM processor adapts to its clock signal.

The PolarFlexTM is offered as a complete set,including:

DSP-4P processor including mains cable and a polishedwood case

2× CCM 2S Lg (omni)2× CCM 8 Lg (figure-8) The two pairs of CCM are selected and matched. They

are delivered with adapter cables K 5 LU (Lemo/XLR-3M), stand adapters SGC and a polished woodcase.

2× KA DTM hemispherical cap for CCM 82× B-DTM microphone bars1× traverse bar for mounting two “PolarFlex” micro-

phones with B-DTM bar on a common microphonestand in various simple stereo setups

2× KLY-DTM Y-cable for connecting each microphonepair via KS 5 IU adapter cable

2× KS 5 IU, extension cable for the Y-cable KLY-DTM,5 m long, 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 (twowould be needed for the four microphones):KS 10 U, KS 20 U, KS 30 U (10, 20 and 30 m long)

PolarFlexTM

85


CMH 64 U

CMH 641 U

86

frequency response CMH 64 U

frequency response CMH 641 U

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

20 50 100 200 500 1k 2k 5k 10k 20kHz

+10

-10

0dB

-20

Handheld Speech and Vocalist MicrophonesCMH 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 tothe other parameters of the microphones’ performance.

SCHOEPS handheld microphones, however, use a veryeffective 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 elasticmounting for all the functional elements.

As with the CMC 6, each version of the CMH canoperate with any 12 V or 48 V standard phantompowering.

CMH 64 Uwith Cardioid Pattern

When there is simultaneous loudspeaker transmis-sion, the risk of acoustic feedback is reduced by thelow-frequency rolloff and the directional characteristic,provided that the performer stays on axis and awayfrom the loudspeakers.

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

CMH 641 Uwith Supercardioid Pattern

The increased directionality and the reduced low-frequency response of this model help to reduce thechance of acoustic feedback when used with monitorloudspeakers or a public address system – providedthat the microphone is aimed at the soloist and not atthe loudspeaker system.

Proximity effect may be used to boost the voice ofthe speaker or singer.


87


Type of microphone: CMH 64 U CMH 641 U

Directivity pattern: cardioid supercardioidFrequency range: 40 Hz – 20 kHz 40 Hz – 20 kHzSensitivity: 13 mV/Pa 12 mV/PaEquivalent noise level, CCIR: 26 dB 27 dBEquivalent noise level, A-weighted: 16 dB-A 17 dB-ASignal-to-noise-level, A-weighted: 78 dB-A 77 dB-AMaximum SPL at 0.5% THD: 132 dB-SPL 132 dB-SPLPowering: 12 / 48 V (autoswitching)Current consumption: 12 V: 8 mA, 48 V: 4 mA

automatically switchedOutput voltage at maximum SPL: 1 VOutput impedance: 12 V: 25 Ohms, 48 V: 35 OhmsMinimum recommended load impedance: 600 OhmsMeasuring conditions: see page 120Connector: XLR-3M (pin assignment see page 126)Dimensions in mm: diam. 37/26 x 210 diam. 37/26 x 210Weight: 190 g 190 g

SGH

PS 4

Accessories:included: SGH: stand clamp with tapered holder. The operating

angle is adjustable. For 5/8"-27 NS threads; adapterprovided 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


88

Headsets

89

Headsets HS 4VXS, HS 2S

– with cardioid (HS 4VXS) or omnidirectional (HS 2S)microphone attached

– highest-quality pickup of speech– HS 4VXS: effective suppression of noise from sur-

roundings– excellent protection from vocal “popping” sounds– The earpiece on the opposite side can be folded out

of the way of the ear.

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) orthe CCM 2S Lg (omni); both have a matte gray sur-face finish

– the HBL, a connecting rod for the microphone witha fixed-angle suspension

– a foam pop screen B 5– a pair of closed stereo headphones

The HCCM 4VXS Lg was developed in cooperationwith the sound engineers of a TV station who soughtthe highest possible quality of sound even under theextreme conditions of Formula 1 motor races.

A closed type of headphone was chosen to shieldthe wearer from surrounding noise; it was also chosenso that its size would accommodate the microphone.

The microphone of the HS 4VXS offers a strong bassrolloff and a mild high-frequency boost. It is designedfor lateral sound pickup at the shortest possible dis-tance, i.e. directly in front of the speaker’s mouth.Proximity effect compensates for its low-frequencyrolloff such that the microphone has an even frequencyresponse for the person speaking, while backgroundnoise encounters the full response rolloff and is greatlyreduced.

The microphone should be protected from vocal“popping” noises by the use of a small, simple foamwindscreen such as the B 5; this is also recommendedfor hygienic reasons.

Since the cable between the microphone and theheadset (KHS LI) is subjected to increased stress, it caneasily be exchanged if necessary.

In place of the cardioid microphone, an omnidirec-tional microphone such as the CCM 2S Lg can beused; the result (model HS 2S) would have lower sen-sitivity to popping and handling noise.

For standard cable lengths and connectors, see illus-tration.

Other connectors (supplied by the customer) can beinstalled at no extra charge if requested when order-ing.


Phantom powering:current consumption: 12 V: 8 mA, 48 V: 4 mA (automatically switched)

Source impedance: 90 OhmsAll other data are identical with CMC 6 + MK 4VXS

(page 33) or MK 2S (page 16).Length of the microphone: CCM 4VXS: 58mm ,

CCM 2S: 46 mmDiameter: 20 mmWeight (without cable): ca. 110 g

Headsets

splitter box standardversion

0,5 meach

XLR-3M stereo 1/4"phone plug

cableKHS LI

tubeHBL

1,5 m

new

90

CV 61 with CM 61 U S capsule (omni/ cardioid), incardioid setting (discernable here by the “collar“around the capsule); photo at left: with mesh guardCB 61 S for close pickup of speech, SCHOEPS 1956

91

Headline


92

Very High Quality Stereo MicrophonePreamplifier with Phantom Powering andM/S MatrixVMS 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; the ability to

disable phantom powering is important for M/Spost-production

– inputs: XLR-3F (balanced) and special socket forActive Y-Cable of the COLETTE MODULAR SYSTEM

– outputs: XLR-3M (balanced); easy connection tounbalanced inputs without loss of signal level

– can run from six internal batteries (primary orrechargeable) or from externally supplied DC

– glitch-free, automatic switchover to internal batteriesin 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 sometimeshave high noise figures because current consumptionis kept limited in the interests of longer battery life. Butthe VMS 5 U places hardly any such limitation on theperformance of the microphones. In addition, its fre-quency response leaves nothing to be desired.

One of the characteristics of high-quality equipmentis durability. It may be several years before you findout whether the potentiometers and switches on aunit will become noisy when used. In the design ofthis product, SCHOEPS placed the primary emphasison reliability and durability, choosing all its components(such as switches and sockets with gold-plated con-tacts) accordingly.

The unit shuts itself off if the battery voltage fallsbeneath a certain threshold value, in order to preventcompletely draining the batteries and possibly damag-ing circuit components.

A further quality feature is the all-metal housing,which is unbreakable and protects against radiatedelectromagnetic interference.

For increased ease of use, the lettering on the backpanel is printed upside down relative to the front panel,so that it is unnecessary to turn the unit around inorder to read the labeling.

The VMS 5 U with its universal power supply capa-bility and compact dimensions is equally well suitedfor portable or fixed operation.

rear panel, as seen from above

underside


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93

Frequency response curves with (below) and without (above) the switchable low-cut filter

Block diagram of the VMS 5 U microphone preamplifier

A set of batteries is included with the unit.Available separately: AC power adapter VMS 5 DC-W,a high-quality off-line switching power supply for 90 –

264 Volt AC.


A special version (VMS 5 U lin.) without the fixed 20 Hz low-cut filter is available for measurement appli-cations. This version is not recommended for audioapplications because of the possibility of infrasonicnoise problems.

94

Technical Specifications:InputsSwitchable between two XLR-3F sockets and a special input

for the SCHOEPS KCY Active Cable.XLR inputs are balanced and transformerless; the 48 Volt

phantom powering is switchable (for subsequent M/Sdematrixing).

Input impedance: 20 kOhmsFrequency range: 20 Hz – 80 kHz (-3 dB)Recommended minimum sensitivity of microphones at XLR

inputs: 8 mV/PaMaximum input level for <0.5% THD:

at 4 dB gain setting: 14 dBV (5Vrms) at 20 dB gain setting: -2.2 dBV (780 mVrms)

Preamplifier gain settings: 4, 10, 20, 30 or 40 dBOverall performance specifications of VMS 5 U with SCHOEPS

CMC 6 microphone amplifier and MK 4 capsule (cardioid):Maximum sound pressure level at 0.5% THD and equivalent

noise level according to CCIR as a function of gain:gain: 4 dB 10 dB 20 dB 30 dB 40 dBmax SPL/dB: 132 132 130 120 109Lnoise/dB CCIR: 27,5 26,5 26 26 25,5Lnoise/dB-A: 16,5 16 15,5 15,5 15,5

Level indicators: -20 dB, -3 dBThe BALANCE potentiometer permits compensation for differ-

ences in microphone sensitivity up to 20 dB.The polarity inversion switch permits rapid change of input

channel assignments in M/S recording, as when changingbetween an upright stereo microphone and one that ishanging downwards.

OutputsThe outputs are impedance-balanced and transformerless, and

are switchable between the amplified microphone signalsand the decoded M/S stereo signals.

Output impedance: 100 OhmsMaximum output level for <0.5% THD:

18 dBV (8 Vrms)Recommended load impedance: 2 kOhms or greater

Headphone outputSwitchable; either the amplified microphone signals

(=left/ right for A/B recordings, or mid/side for M/S) or the decoded M/S stereo signals can be monitored.

Headphone impedance: 32 – 2,000 OhmsHeadphone socket: 1/4" stereo phone jack

FiltersAn infrasonic filter (20 Hz, 18 dB/oct.) is permanently active.

In addition, a low-cut filter (150 Hz, 6 dB/oct.) can beswitched on.

The upper frequency limit is 80 kHz.

PoweringAn internal filter/ regulator circuit which generates and stabi-

lizes the supply voltages permits a wide range of input volt-ages (5.5 V to 15.5 V).

Operation with internal batteries (possibly rechargeable)Number and type of cells: 6 × AA (also called LR6)Recommended primary cell type: AlkalineRecommended rechargeable cell type: NiMHA user-replaceable fuse protects against reversing the polarity

of the batteries. Battery life with alkaline cells: ca. 8.5 hoursBattery life with rechargeable batteries:

ca. 3 hours (700 mAh NiCd)ca. 5 hours (1100 mAh NiMH)ca. 5.5 hours (1300 mAh NiMH)ca. 7 hours (1600 mAh NiMH)ca. 12 hours (3400 mAh gelled lead-acid battery (external))

A voltage indicator displays the battery voltage within the unit. A warning LED will begin to blink if the voltage falls beneath

a critical value (time remaining at that point with 1300 mAhrechargeable batteries: at least 10 minutes).

The unit will shut itself off automatically to help prevent dam-age from draining the batteries completely. The unit resumesoperation only after the on/off switch is used.

External poweringAn appropriate AC power adapter is available (model VMS 5

DC-W). Other adapters offering a regulated or unregulatedoutput voltage of 6 Volts DC (at 500 mA) to 15 Volts DC(at 250 mA) can also be used. Under no circumstancesshould an open-circuit voltage of 16 V be exceeded; other-wise a fuse inside the VMS 5 U will blow.

Coaxial socket, 5.5/ 2.1 mm diameterReverse polarity will not damage the unit, though it will not

operate.If external powering is present, any internal batteries are auto-

matically disconnected (indicated by yellow LED “EXT.”).This protects the batteries from being discharged uninten-tionally.

The battery voltage indicator displays the level of any externalpowering.

External powering with outboard rechargeable battery: nominal 6 – 12 V; we recommend gelled lead-acid batteries(6 V, 3400 mAh type = 12 hours of operation).

Parallel operation of a VMS 5 U along with one or more otherpieces of equipment from a single power supply is generallypossible, because of the internal voltage regulation.

Robust, black aluminum case.

Overall measurements: (W × H × D): 162 mm × 60 mm × 172 mm (approximately 6-2/3" × 2-1/3" × 6-3/4")

Weight (with batteries): 1.1 kg (approximately 2 lb. 7 oz.)


95

96

100

102

104

109

page

Accessories for COLETTE MODULAR SYSTEM

Electronic Accessories

Cables/ Adapter Cables

Mechanical Accessories

Windscreens and Popscreens

Accessories arranged by Category

96

Attenuators

Signal distortions at high sound pressure levels havetwo main causes:

1. Overload of the microphoneUnder extreme conditions, even a SCHOEPS Colette

Series microphone can be overdriven by very high soundpressure levels. Here the limiting factor is not the cap-sule but the microphone amplifier. The overload pointranges from 128 – 135 dB-SPL, depending on the cap-sule and the amplifier type (e.g. 5 dB lower with the“+5 dB“ version).

In these situations the signal level at the amplifierinput may be attenuated by inserting a DZC betweenthe capsule and the microphone amplifier or the ActiveAccessories.

2. Overload of the input of the device to whichthe microphone is connected

If the microphone is not being overloaded but itsoutput level must be reduced, it would be far better touse an MDZ in-line attenuator than a DZC. The MDZshould be placed at the end of the cable farthest fromthe microphone, where it will not only help to preventpreamp overload but also to reduce any interferencepicked up in the microphone cable and the noise ofthe microphone itself. (Never place an in-line attenuatorat the microphone end of a cable. Doing so wouldincrease the relative strength of any induced interfer-ence, and increase the rate of signal loss in longercables due to the higher source impedance.)

The MDZ can also prevent the input impedance of apreamp from loading down a microphone; with it inplace, the minimum load impedance for a CMC-seriesamplifier is reduced from 600 to 200 Ohms. It can alsobe useful when driving transformer-equipped inputsdesigned for 200 Ohm sources, which may develophigh frequency response errors when driven by muchlower impedances, particularly if the input transformerhas a high turns ratio.

AttenuatorsDZC 10, DZC 20

– ca. 10 or 20 dB constant attenuation– raises maximum sound pressure level by ca.

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 willresult in an attenuation of only ca. 15 dB due to thecapacitive principle of operation. If the level must beattenuated by a full 20 dB, a DZC 20 should be used.

Dimensions: length: 18 mm, diameter: 20 mm Weight: 14 gSurface finish: matte gray (g) or nickel (ni)

Accessories – COLETTE MODULAR SYSTEM

MDZ 10 Upage 101

DZC 10g,DZC 20g

COLETTEmodular

This type of attenuator should normally be used only atextremely high sound pressure levels, when the microphonecircuitry itself is in danger of overload (i.e. above 130 dB SPL).

97

Capsule Swivel GVC

– allows the angle of a capsule to be adjusted on allmicrophone amplifiers of the COLETTE MODULAR SYSTEM

– adjustable from 0° through 120° in either direction

The electrically passive GVC capsule swivel may beinserted between any capsule and microphone amplifierof the COLETTE MODULAR SYSTEM, or before an ActiveCable, Active Tube, or the CUT 1.

This is especially useful with capsules intended forfrontal sound pickup such as the MK 4 (cardioid).

Maximum length: 64 mmDiameter: 20/ 21 mmWeight: 75 gSurface: matte gray (g) or nickel (ni)

Active Tube RCSee page 47

Active Colette Cables KC, WKC

Active Colette Cables may be inserted between anycapsule of the COLETTE MODULAR SYSTEM and any micro-phone amplifier except the CMBI (see overview onpage 5).

We recommend that the length not be excessive forthe anticipated use, to avoid radio-frequency inter-ference from sources such as SCR-equipped lightingboards. Greater than the standard cable length of 5 mmay be required when hanging a microphone from aceiling, but we do not recommend runs in excess of20 m since the circuit up to the microphone amplifieris unbalanced.

The cable itself is highly resistant to stretching,bending and abrasion. Moreover it does not tend totwist after being suspended, even with temperaturechanges. This is of importance, e.g. when the micro-phone is hung from the ceiling.

Type designation:KC 5g: 5 m longKC 10g: 10 m longSpecial lengths can be ordered.

The Active Cable is also available with lateral cableconnection at the capsule end. Type designation: WKC 5g (5 m cable)

KC 5g

MK microphone capsule (pg. 12)GVCg capsule swivel CMC microphone amplifier (pg. 36)

MK microphone capsule (pg. 12)KC 5g Active CableCMC microphone amplifier (pg. 36)TCg table stand (pg. 54)


COLETTEmodular

COLETTEmodular

WKC 5g= KC 5g withright-angle connector

98

MK 8 microphone capsule, pg. 27MK... microphone capsule, pg. 12KCY 250/5Igcable hanger for M/S, HSGMSC,

pg. 66

5-pin Binderminiature plug (I)

KCY 250/0 Ig

Active Stereo Cable KCY for MK Capsulesfor stereo microphone amplifier VST 62 IUg or stereo micro-phone preamplifier VMS 5 U

By using the Active Stereo Cable KCY, a completestereo recording setup can be arranged with only twosmall capsules and a small, elegant supporting devicebeing visible. The microphone amplifier can stay out ofsight, and need not contribute to the weight of thearrangement.

The cables at the capsule ends of the versions shownhere are 25 cm long. Various lengths for the outputend of the cable are available; the KCY 250/0I shownat left has a 10 cm output segment, resulting in a par-ticularly compact unit.

Due to its unbalanced signal arrangement, the out-put cable should be no longer than necessary, with 20 meters as a maximum. If longer cables (up to sever-al hundred meters) are required, the VST 62 should beconnected to a relatively short KCY arrangement; theVST 62 has balanced, low-impedance outputs and candrive very long cables without interference.

Standard lengths:KCY 250/0 Ig: 10 cm cable only, for use with an ex-

tension cable (e.g. KS 5I; 5 m long)KCY 250/5 Ig: 5 m cable length for direct connection

without an extension cableOther lengths for both types of cable are available onrequest.

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

Adapter CableAK I/2C

This adapter cable is a counterpart to the KCY cableshown above. The KCY provides signal and power leadsfor two microphone capsules in a single cable termi-nated with a Binder plug. The AK I/2C, conversely,accepts a Binder plug and connects to a pair of CMCamplifiers, with use of the low-cut filters CUT 1 orCUT 2 and certain other accessories being possible aswell. This allows a stereo capsule arrangement to besuspended from a “fishpole” with only a single cablefor most of the run.

The AK I/2C can also be combined with the RCYActive Tube (page 65).

When the AK I/2C is used, the output level of theconnected CMC microphone amplifiers is always thesame as the “+5 dB“ amplifier version.

Accessories – Colette Modular System

COLETTEmodular

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99

Variable Low-Cut Filters CUT 1, CUT 2

– can be screwed onto the CMC or M 222 microphoneamplifiers

– very effective suppression of low-frequency andinfrasonic effects of wind and vibration: 24 dB/octbelow 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 capsuleand the microphone amplifier; see system overview onpage 5. The CUT filter performs two tasks:

First, it prevents the effect of infrasonic disturbancesfrom being passed on to any succeeding device.

In particular, pressure-gradient transducers (direc-tional microphones) produce very high infrasonic signallevels when exposed to wind. These can saturate aninput transformer or an amplifier stage even before theaudible portion of the disturbance becomes noticeable.

To avoid this, a very sharp (24 dB/oct) infrasonic filteris permanently engaged. It has only a negligible effecton speech, which is the principal field of applicationfor the CUT 1 (cutoff frequency = 60 Hz). The CUT 2'sinfrasonic filter is an octave lower (i.e. 30 Hz), and hasno audible effect on speech pickup whatsoever.

The second task is to offset proximity effect and/orto improve speech intelligibility in reverberant roomsby means of an additional 6 dB/oct rolloff. By turninga recessed thumbwheel the user can vary the frequencyat which this begins to have an effect, and thus tailorthe low-frequency response as required. Its turnoverfrequency can be continuously varied between 30 Hz(CUT 2) or 70 Hz (CUT 1) and 600 Hz (see responsecurves, above right).

Of course it is to be expected that filters such as theCUTs will affect the naturalness of the sound pickedup by the microphone. But in many cases the CUTs (in combination with the appropriate windscreen) arethe only means by which an acceptable recording canbe made at all.

As an aid to properly seating the windscreens W 20and W 20 R1, the diameter of the CUTs have a slightstep near their front ends.

The CUTs raise the sensitivity of standard microphoneamplifiers by 5 dB, while those marked with “+ 5 dB”will retain their increased sensitivity.

Since the weight of a microphone increases with theaddition of a CUT, the stiffer elastic suspension A 20 Sis required.

Dimensions: length: 64 mm, diameter: 20/ 21 mmWeight: 50 gSurface finish: matte gray (g) or nickel (ni)

Frequency response of theCUT 1 at various settings ofthe control

Frequency response of theCUT 2 at various settings ofthe control


COLETTEmodular

CUT 2g

100

Low-cut FiltersLC 60 U (60 Hz), LC 120 U (120 Hz)

– Active High-pass Filters for phantom-poweredmicrophones, in particular CCM COMPACT CONDENSER

MICROPHONES and CMC microphones of the COLETTE

MODULAR SYSTEM

– for standard phantom power, 12 V or 48 V

These electronic filters can be inserted anywhere inthe microphone cable path. With a rolloff of 18 dB/octave, the LC 60 U suppresses low-frequency acousticinterference (e.g. wind noise, or solid-borne infrasonicnoise such as handling noise during boom operation)without detracting from the sound quality of voicerecordings. Under extreme conditions the LC 120 Ucan be used, though it may have an audible effect onthe sound of a voice. Both filters can help preventoverloading the input circuit to which a microphone isconnected – a problem which occurs more often thanmany people realize.

The specifications of the SCHOEPS microphones(sensitivity, noise, source impedance) remain nearlyunchanged with the LC.

These low-cut filters are suitable not only for SCHOEPSmicrophones but also for phantom-powered micro-phones of other manufacturers, provided that they havea current consumption of at least 2 mA. Otherwise themaximum sound pressure level would be reduced.

Please note:The use of two LC in series is possible, particularly

with SCHOEPS microphones, but is not recommended.The cutoff frequency would be raised, and the maxi-mum output level with 12 Volt operation would belowered. In no case should three LC be cascaded,especially if the microphones have less than 4 mA cur-rent consumption.


Filter: in-line high-pass, Butterworth, 18 dB/octaveCut-off frequency (-3 dB): LC 60 U: 60 Hz, LC 120 U: 120 HzA maximum of two filters may be used in series, which

would then result in a 36 dB/octave slope.Output impedance: 40 Ohms at 1 kHz with SCHOEPS

CCM COMPACT MICROPHONES or CMC microphones ofthe COLETTE MODULAR SYSTEM

Gain: 0 dBMaximum output voltage: ca. 1 V when 4 mA current is

being drawnDiameter: 20 mmLength : 94 mmSurface finish: Nickel

Active Low-Pass Filter LP 40 U

– for adapting the signal from a pressure (omnidirec-tional) microphone to fill in the bass region of direc-tional microphones (especially with the OCT system)

– for phantom-powered microphones

The low-frequency response of any directional micro-phone is inherently inferior to that of omnidirectional(pressure) microphones. When using directional micro-phones, one can extend the low-frequency responseby adding in signals from omnidirectional microphonesthat have been low-pass filtered with a device such asthe LP 40.

The LP 40 filter is designed to extend the frequencyresponse of the SCHOEPS supercardioid (MK 41(V) orCCM 41(V)) with the lowest possible ripple. This makesit ideal for use with the OCT front surround system(pg. 122 ff.); it can also be used to extend the responseof directional microphones with other patterns.


new

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101

Technical Specifications:Filter: in-line low-pass, critical damping, 12 dB/octaveCut-off frequency (-3 dB): 40 HzOutput impedance: 40 Ohms @ 1 kHz with SCHOEPS

CCM COMPACT MICROPHONES and CMC standard Colettemicrophone amplifiers

Gain: 0 dBMaximum output voltage (depends on current drawn by

microphone): ca. 1 V for 4 mAConnectors: XLR-3Dimensions: length: 94 mm, diameter: 20 mmSuface finish: Nickel

AttenuatorMDZ 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 ratioConnectors: XLR-3F/ XLR-3MDimensions: length: 75 mm; max. diameter: 19 mmColor: black

Please note: With parallel-powered microphones,the MDZ must be inserted between the powering unitand the output cable. See also the notes on page 96.

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 inputor cable that carries 48 Volt phantom power, to verifythat sufficient current is available to power a SCHOEPSmicrophone. According to the standards, a 48 V phan-tom powered microphone may draw a current of upto 10 mA per channel. SCHOEPS CMC 5, CMC 6 andCCM microphones actually need only 4 mA (ca. 5 mAif Active Accessories are used), so the PHS 48 tests forapproximately this amount of available current at therequired voltage level.

Any trim, gain, or volume controls should first be setto their minimum position, to avoid noise and potentialdamage. Then, while all other microphones are alreadyconnected the test plug is attached to the socket whichis intended to power the SCHOEPS microphone. Thegreen LED in the PHS 48 will light and remain lit if thetest result is positive.

Connector: XLR-3MDimensions: length: 53 mm, diameter: 19 mmSurface finish: nickel


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102

AK SU/2U

Stereo XLR-5F jack to two XLR-3M plugs.Color coding: channel I: yellow, channel II: redLength: 0.5 m

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 elas-

tic 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 specialthin, flexible cabling.

Technical specifications of our cables:see page 126

AK 2U/SU

Two mono XLR-3F jacks to XLR-5M plug.Color coding: channel I: yellow, channel II: redLength: 0.5 m

Microphone Cables

Mono:K 10 U: 2× 2 conductors, crosswise connected in par-

allel, screened, 10 m, XLR-3, black, pins gold-platedK 20 U: as above, but 20 meters long

Stereo:KS 10 U: 2× 2 conductors, screened, 10 m, XLR-5, black,

pins gold-platedKS 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-platedKDMS 20 U: as above, but 20 meters long


103

K 5 LU

This is the adapter cable from the Lemo output con-nector 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

KS 5 I

Stereo extension cable with Binder miniature con-nectors; for miniature stereo recording system withActive Cable (see page 60)


KS 5 IU

Stereo adapter cable from Binder miniature connectorto XLR-5M plug of the miniature stereo recording sys-tem with CCM-L COMPACT MICROPHONES (see page 61)and miniature stereo microphone CMXY 4VI (page 72)


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 thePolarFlex™ system). The output cable can be any rea-sonable length desired. The 100 mm version KLY 250/0I 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 longKLY 250/5 SU: 5 m cable length for direct connection

without an extension cable

This cable is also available with miniature Binderconnectors in case the XLR should be too large orheavy for certain applications; it is then known as theKLY 250/0 I or KLY 250/5 I. (See below for extensioncables and adapter cables for XLR output.)

Other lengths are available on request.

KLY 250/0 IKLY 250/0 SU

XLR-5M

5-pin “female”Binder miniatureconnector (I)

5-pin “male”Binder miniatureconnector (I)

XLR-5M


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104

Sphere Attachments KA 40, KA 50

These sphere accessories (40 and 50 mm diameterrespectively) are for use with omnidirectional micro-phones as shown in the photo at left.

They create the illusion of closer placement, so thatgreater miking distances can be used while maintaininggood “focus” in the sound. This in turn reduces thedisparity among the distances between individual soundsources and the microphones, e.g. in orchestras andchoruses. Thus it can improve overall balance in termsof both level and clarity. This is not due so much tothe relatively modest change in directionality, but ratherto the elevated response plateau which is achievedwithout a lessening of bass response.


KA 50,shown on MK 2H capsule


CMC 62Uwith KA 40

e.g. 1.5 meters

ideally suited for the“Decca Tree”:3× CCM 2S (omni) withKA 50;the spacings aredependent on the roomand a matter of taste

e.g. 2 meters

CENTER

LEFT RIGHT

0 – 90°

CMC 62Uwith KA 50

CMC 62Uwithout KA

CMC 62Uwith KA 50

Universal Stereo-Microphone Bar UMS 20

– for microphones of the COLETTE MODULAR SYSTEM

(CMC, 20 mm diameter)With this device and two corresponding microphones,

nearly any of the familiar stereo techniques (X/Y, M/S,ORTF, Blumlein (crossed figure-8s), small A/B) can easilybe set up.

Its microphone clamps slide and rotate on a barmarked with angles and spacings, with detents in thefour familiar positions. It is also lockable at any desiredpoint in-between.

The mounting adapter has a diameter of 20 mm andfits into the SG 20 stand clamp (page 44) or the A 20 Selastic suspension (page 45) for horizontal and verticalmounting angles. SG 20 and A 20 S are not included.

Mounting adapter: 5/8"- 27 NS, with adapter to3/8" and 1/2"

X/Y

M/S

ORTF

BlumleinSurface finish:

matte black, plasticholders: gray

Windscreens: page 111

COLETTEmodular

COLETTEmodular

see also “Engineer turns accessories into art”, ProSoundNews07/ 98; http://www.nucleus.com/~lockwood/deccatre.html

105


A/B Stereo Mounting Bar/ OCT Mounting BarMAB 1000

– for two (or more) microphones– for A/B and ORTF– with mounting arm for a third, central microphone

placed slightly forward (e.g. for OCT; see page 122 ff.)– can be expanded for five-channel OCT surround

(see at the bottom right and pg. 123 ff.)

Any distance from 4 to 100 cm can be set betweenthe microphones. Each side of the bar is engraved withmarkings every 2.5 cm so that distances of 5 cm, 10 cm,15 cm, etc. can easily be set between the two outermicrophones.

Thread: 3/8"; length: 1000 mm; weight: 500 g

Accessories:included: KMAB 1000, robust, foam-lined carrying

case for the two MAB 1000 mounting bars and aCB-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; SGC(page 44) or AC (page 45) for CCM-series micro-phones.

– CB-MAB supporting beam for OCT surround; holdstwo MAB 1000 bars at variable distance (13 – 47 cm)

– MC-MAB microphone carriage for additional micro-phones

OCT surround setup (pg. 123)2× MAB 10001× CB-MAB connection bar

KMAB 1000transport case(included)

new

neuMiniature Positioning Device for StereoRecordingM 100 C– for ORTF with two axially addressed capsules or

microphones: MK 4 capsules + KC Active Cables orCCM 4 COMPACT MICROPHONES

– for X/Y as above or with radially addressed capsulesor microphones such as the MK 4V or CCM 4V U/ L

The M 100 C is the solution for SCHOEPS compactstereo recording rigs. This “T-Bar“ style mount is unob-trusive with a bar length of only six inches and a blackanodized finish.

When shockmounting is critical, the addition of theA 20 S (pg. 45) and ST 20 3/8 adapter (pg. 106) is allthat is needed. For installations requiring a small stereoSCHOEPS setup that must be hung, the M 100 C withan H 20g (pg. 55) upgrade is perfect.

The device can be tilted forward or backward asneeded.

Threads: 5/8"-27 NS with adapter for 3/8" and 1/2"

13 – 47 cmmax.

3/8" threaded stud

FRONT

CB-MAB

A/B setup with2× SG 20 stand clamp2× CMC 62S Ug (omni)

The MAB 1000 as shipped

ORTF

X/Y

microphone carriage MC-MAB

COLETTEmodular

COLETTEmodular

CCMcompact

106


pin with slot – for clampingmechanism

AF 1

notchhole

STR-TC

ST 20-3/8

SGC

Stand ConnectorRG 12

The RG 12 connects two STR vertical support rods orany other rods with 12 mm in diameter. The anglemay be adjusted over a wide range.

Maximum length of the angled rod when a CMC isfixed at the end and when no counterweight is used:appr. 50 cm


Vertical Support RodsSTR 250g, 350g, 600g, 1000g

These support rods have complementary 3/8" threadson each end and can thus be screwed together in anycombination to extend one another. They can also beattached to the floor stand BF 250 (page 108).

A gray plastic cap is provided to allow covering theupper threads of an STR if desired.

Lengths: 250 mm, 350 mm, 600 mm, 1000 mmDiameter: 12 mmWrench size for tightening the rods (via flat spots at

the lower end): 10 mmSurface finish: matte gray

Flanged Mounting Adapter with InternalShock Mount AF 1& Threaded Adapter ST 20-3/8 & STR-TC

This convenient elastic suspension device acceptsany 20 mm diameter microphone or accessory (suchas a gooseneck), and holds it in place with a clamp.

For use with our miniature accessories, an adapter(ST 20-3/8) is available with 20 mm outer diameterand 3/8" threading. It has a hole drilled in the centerof its top which could be used to pass a miniaturecable through, but this would require unsoldering andresoldering the cable connector; two notches are alsoprovided on the sides of the adapter so that this sol-dering work is generally not required (with one excep-tion: the connector used at the amplifier end of ColetteActive Tubes RC KC won't fit through the 20 mmopening).

Dimensions: flange: 69 mm diametercylinder: 54 mm diameter, 29 mm depth below the flange

The adapter ST 20-3/8 must be ordered separately.Color (cylinder and adapter): black

COLETTEmodular

CCMcompact

107


Universal Clamp Z 10

The Z 10 allows microphones or accessory parts tobe mounted onto the edge of a table or the like. Twointerchangeable pieces can be locked into its hollowhandle: a rigid stud with 3/8" threads, for use withadditional extensions or accessories, and a two-pieceextendable rod with a ball-and-socket head with 3/8"thread.

Maximum thickness of table edge, etc.: 65 mmSurface finish: black crackle finish

Table Mounting Flange F 5g

The F 5g is mounted on a table top with a screw. It allows the attachment of accessories with 3/8" inter-nal threads. It can also be used with a thread adapterto support any stand adapter or shock mount with5/8"-27 threads.

Dimensions: height (without threaded stud): 6 mmdiameter: 36 mm

Color matte gray

Clamp for VST 62 IUgK 30 STR

This clamp for the VST 62 IUg stereo microphoneamplifier module (30 mm diameter) can be mountedonto an STR vertical support rod or any other rod 12 mmin diameter.

Color: gray

Stand Support Clamp for a Microphone Amplifier K 20 STR

With this clamp a CMC microphone amplifier can bemounted onto an STR vertical support rod or any otherrod 12 mm in diameter. This is especially useful for RC KC tubes of the COLETTE MODULAR SYSTEM whoseflexible cable attaches to a CMC amplifier.

Color: gray

COLETTEmodular

108


SM 270 under BF 250 floor stand

STR vertical support rod

STR vertical support rod

T 5

Heavy Floor StandBF 250

The BF 250 is supplied with a special chuck, typeSPV 12-3/8, to create a quick connect and disconnectsystem for an STR vertical support rod. This can simplybe plugged into the chuck and tightened by handwith a half turn of the milled cap nut.

The chuck SPV 12-3/8 is also available separately forthe purpose of updating older equipment. It can bescrewed on with a open-ended wrench.

Diameter: 250 mm, height (without the SPV): 38 mmWeight: approximately 5 kgSurface finish: black textured varnish

Special Foam Mat SM 270

– additional isolation against vibration for BF 250

Occasionally a microphone must be placed on a very“noisy” wooden floor, which can lead to pickup offootstep noise, and – especially when an RC Active Tubeis used – even some mechanical “ringing.” Sometimesthe existing acoustic isolation of the heavy floor standBF 250 does not suffice to keep the microphone freeof these disturbances. For that reason we offer the SM 270, an isolation mat which is simply placed be-neath the BF 250. It is made of a specially-treatedfoam material that is very well able to hold its shape.

Dimensions: diameter: 270 mm, thickness: 12 mmColor: blue-green

Heavy Table Stand T 5g

– with 3/8" threaded stud, e.g. for STR support rods

Dimensions: diameter: 129 mm, height: 52 mm Weight: 1.5 kgSurface finish: matte gray

109


Which pop screen or wind screen is right formy microphone?

Before taking up this question, one should first con-sider the choice of microphone type.

With a SCHOEPS supercardioid, the level of noise inmild to moderate wind will be some 2 to 5 dB higherthan with a SCHOEPS cardioid under similar conditions.But the difference in wind noise pickup between pres-sure transducers and pressure gradient transducersgenerally (i.e. omnidirectional microphones vs. direc-tional microphones as a class) can be as much as 20 dB.Thus when wind noise is a factor, one should alwaysconsider whether an omnidirectional microphone couldperhaps be used. Furthermore, it should be consideredthat a windscreen will affect the low-frequency polarpattern of a directional microphone (see below).

One widely useful choice of capsule would be theswitchable-pattern MK 5 (omnidirectional/ cardioid).

In general, when comparing two windscreens whichare equally efficient, the smaller one will always have agreater adverse effect on sound quality. If two wind-screens are the same size, the one which is more effi-cient will have the greater adverse influence on soundquality – altering the microphone’s frequency responseand (with directional microphones) the polar patternas well. Thus it is advisable to select a windscreen thatis only as efficient as is really necessary, and perhapsto use a larger windscreen rather than a smaller onethat has the required degree of efficiency.

Establishing some terms: Pop screens are only for indoor use, to reduce the air

currents produced when singers or speakers pro-nounce consonants such as “p” or “t”.

Close speech guards are for use in moderate air cur-rents and with microphones on moving boom arms,and/or as heavier-duty pop screens.

Wind screens suppress even more strongly the distur-bances due to air motion, making it possible torecord outdoors.

Screens for pressure transducers (MK 2, MK 2H, MK 2S,MK 3, omnidirectional setting of MK 5 and MK 6)

The most suitable wind screens generally are thosemade of homogeneous, fine open-pore foam. They arealso the simplest and least expensive choice.Effect on sound quality: Limited to a high-frequency

rolloff which can be corrected with equalization orby choosing a brighter sounding capsule.

Effect on polar response: None.

Practical suggestions: Adequate protection shouldbe available from a light foam windscreen (B 5) formild wind or a thicker windscreen (W 5) for strongerwind. Further protection would require a basket-typewindscreen with fur-like covering. Since wind noise cancause extremely high output levels at low frequencies,the input of the equipment to which the microphone

is connected can become overloaded, which may cre-ate the false impression that the microphone itself isbeing overloaded. Thus one might also consider usinga low-cut filter (CUT 1 or LC 60).

The following combinations have worked particularlywell in practice: Capsule MK 2S or MK 3, foam windscreen W 5 or W 5 D, and Active Low-cut Filter CUT 1or in-line filters LC 60 or LC 120.

Hollow foam windscreens and basket-type wind-screens can also be used.Effect on sound quality: Again the effect is restricted

to the high frequencies, but in addition to the rolloff,a slight unevenness of response is introduced. Thiswill depend on the capsule type, the diameter of thebasket, the position of the microphone within thebasket and the possible use of a fur-like “overcoat”.The degree of wind noise suppression will dependon the thickness of the foam and the "overcoat."

Effect on polar response: Slight, and limited to thehigh frequencies.

Screens for pressure gradient transducers such as thecardioid MK 4 or supercardioid MK 41

For this case we recommend wind screens that havean enclosed volume of air. There are two types: hol-low foam windscreens and basket-type windscreens.The latter type is often augmented by an optional fur-like covering which increases its effectiveness.Effect on sound quality: There is some reduction of

low-frequency response, since the pressure differ-ence between the front and rear sound inlets of thecapsule is made smaller by the basket structure. Athigh frequencies, in addition to a slight rolloff, acertain unevenness of response is introduced. Thiswill depend on the capsule type, the diameter of thebasket, the position of the microphone within thebasket and the possible use of a fur-like “overcoat.”Wind screens with this type of covering (e.g. W 20 R 1)are especially effective because no wind turbulencewill arise at their surface while any existing turbu-lence will be reduced.

Effect on polar response: At low frequencies thedecreasing pressure gradient component will causethe directional pattern to become more nearly omni-directional. In extreme cases a supercardioid maytake on a cardioid pattern at low frequencies, whilea cardioid capsule’s pattern may resemble that of awide cardioid or an omnidirectional capsule.

Practical suggestions: The hollow windscreens B 5 D and W 5 D are suitable for mild to moderatewind conditions. In strong wind, the largest practicalbasket-type windscreen should be used (e.g. WSR MS)with a fur-like outer covering.

Perhaps an optimal balance of size and effectivenesscan be achieved by using the W 20 R 1 windscreenand either the Active Low-cut Filter CUT 1 or the in-line filters LC 60 or LC 120.

Not recommended

110


Attenuation of the A-weighted wind-noise level compared to the unprotected transducer at a windspeed of 18 km/h (ca. 11 mph) and absolute wind noise level...

... with pressure gradient transducer (CMC 641 / CCM 41*)Attenuation Wind noise Type of windscreen diam. in mm0 dB-A 130 dB-A no windscreen –

20 dB-A 110 dB-A B 5 4526 dB-A 104 dB-A B 20 5028 dB-A 102 dB-A W 5 9032 dB-A 98 dB-A B 5 D 5034 dB-A 96 dB-A B 20 S 5038 dB-A 92 dB-A W 20 8044 dB-A 86 dB-A BBG 10044 dB-A 86 dB-A WSR 100 10046 dB-A 84 dB-A W 5 D 9051 dB-A 79 dB-A W 20 R1 9052 dB-A 78 dB-A WSR MS 15057 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+

... with pressure transducer (CMC 62 / CCM 2)Attenuation Wind noise Type of windscreen diam. in mm0 dB-A 110 dB-A no windscreen –

25 dB-A 85 dB-A B 20 5027 dB-A 83 dB-A B 20 S 5028 dB-A 82 dB-A B 5 4529 dB-A 81 dB-A W 20 8035 dB-A 75 dB-A B 5 D 5037 dB-A 73 dB-A WSR MS 15038 dB-A 72 dB-A W 5 9040 dB-A 70 dB-A W 5 D 9041 dB-A 69 dB-A BBG 10041 dB-A 69 dB-A WSR 100 10043 dB-A 67 dB-A W 20 R1 9047 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 CCM-L CCM-U capsule RC RCY MSTC CMXY+capsule on KC

B 1*B 5W 5

B 20B 20 SW 20W 20 R1

BBGWSR 100WSR MSWSR CMXY

B 5 D** * * * * *W5D*** * * *WMSWB

* Primary function: protection against dust deposits** Cannot be used with MK 6 or 8 or corresponding CCM COMPACT MICROPHONES. With MK / CCM 4V, 4VXS, 41V: see page 114*** Cannot be used with MK 4V, 4VXS, 41V, 6 or 8 or corresponding CCM COMPACT MICROPHONES.

* The corresponding values for the cardioid (CMC 64or CCM 4) are consistently 2 to 5 dB better; for thewide cardioid (CMC 621 or CCM 21) the differenceis 5 to 7 dB.

For a given strength of wind, the noise levelproduced in a pressure transducer will alwaysbe distinctly less than that produced in a pres-sure gradient transducer. Thus when wind mightbe a problem, we recommend using an omni-directional microphone where possible, ratherthan (for example) a cardioid. In addition, alow-cut filter (CUT 1 or LC 60) should be usedto suppress the wind noise even further. Anomnidirectional microphone with this type oflow-frequency cut can still have better low-fre-quency response than a cardioid; any cardioidhas an inherent low-frequency response rolloff,and that rolloff is only accentuated by the useof a windscreen.

CMC 641 / CCM 41 * CMC 68 / CCM 8Attenuation Attenuation

WB – 21 dB-AWMS 32 dB-A 27 / 36 dB-A

(side / end face)

WKFM: attenuation of 12/ 22 dB-A on the capsule’s axis / stereo main axis

Compatibility chart

111


PR 120 S

B 1

B 20

B 5 D

WMS WKFM WB

W 5 D

WSR MS

Windjammer forWSR MS

for CCM-L;page 56

BBG with Windjammer

B 20 S W 20 W 20 R1

WSR 100 LU

B 5 W 5

Popscreens

Basket-typeWindscreens

Foam-TypeWindscreens

Hollow Foam-type Windscreens

Special Foam-typeWindscreens

for M/S stereo;for mild wind;

page 115

close-speech guard;for mild wind;

page 114windscreen forstronger wind;

page 115

for strong wind;page 113

light close-speech guard;protection against rosin

deposit (see violin adapter);page 112

close-speech guardfor mild wind;

page 112

windscreenfor strong wind;

page 112

close-speech guard;page 113

close-speech guard;page 113

windscreenfor medium wind;

page 113

windscreenfor strong wind;

page 113

for microphones with axial pickup; page 112

for strong wind;for mono and M/S stereo;

page 114

for sphere micro-phone KFM 6;

page 63for Blumlein stereo;

for mild wind; page 115

PR 120 SV

for microphones with lateral pickup; page 112

for:

for:

for:

for:

BBG

112

Pop ScreensPR 120 S and PR 120 SV

These popscreens are a patented product of Ton-studio Pauly. They guard against the popping noisegenerated by plosives such as “P” and “T” during close-miking. The popping noise is caused by an airstreamwhich accompanies these consonants. The PR 120 Sdamps this stream with two layers of a lightweightfabric attached to a rugged aluminum frame.

Mounting is accomplished simply by clipping this unitonto the microphone body.

Despite its high efficiency, the PR 120 S has no audi-ble effect on the sound image.

Dimensions: diameter: 120 mm, height: 11 mmThe surface is gray/ matte gray.

Close-speech Guard B 5

Acoustic foam close-speech popscreen; provides sufficient protection at normal speaking distances forcardioids and other directional capsules, especiallywhen speech capsules are used. With omnidirectionalcapsules it may even be used outdoors in light wind.Minimal effect on sound quality.

Dimensions: 70 mm × diameter 45 mm (max.)Available colors: gray, black


Very thin foam cover for CCM COMPACT MICROPHONES.When picking up violins with the VA 1 violin adapter,it serves as a protection of the microphone againstrosin deposit.

Dimensions: diameter 28 mm × 41 mmColor: dark-gray

Windscreen W 5

Acoustic foam windscreen, especially for use withomnidirectional microphones in wind. Usable as a low-cost alternative to popscreens when greater efficiency isneeded. With pressure-gradient transducers it can beused in light wind only, but it offers the advantagethat its influence on sound and polar pattern is mini-mal, especially at low frequencies.

Dimensions: sphere with 90 mm diameterColor: gray

PR 120 S

PR 120 SV

A 20 S

SG 20


113


Windscreen BBG

This sturdy, highly effective “basket-type” wind-screen has two separable halves. It is intended for usewith microphones of the Colette MODULAR SYSTEM, par-ticularly the ORTF microphone MSTC 64. The frontsound inlet of each capsule should be positioned inthe center of its respective basket.

Due to its high efficiency, some audible effect onsound quality may occur.

For maximum effectiveness this windscreen can beused with the “Windjammer” overcoat, which will helpsuppress wind noise by a further 13 dB-A.

Diameter (without Windjammer): ca. 10 cm

with Windjammer


Small close-speech guard with plastic basket andwashable nylon fabric.

Cannot be used with MK 4V, MK 41V, MK 4VXS,MK 6, MK 8 microphone capsules or correspondingCCM COMPACT MICROPHONES.

Diameter: 50 mm; color: gray/ light gray

Windscreen W 20

Basket windscreen with nylon fabric, made of twoseparable halves. It is rain-resistant and less unusual-looking than a fur-like windscreen. The capsule frontmust be positioned approximately at its center.

Diameter: 80 mm; color: light gray

Close-speech Guard B 20 S

Similar to the B 20 but with a double layer of nylonfabric. More effective than the B 20 but causes greatersound coloration. Cannot be used with MK 4V, MK 41V, MK 4VXS, MK 6 or MK 8 microphone cap-sules or corresponding COMPACT MICROPHONES.

Diameter: 50 mm; color: light gray

Windscreen W 20 R1

Comprises a basket (W 20 R) and a fur-like overcoat(R1). It is ca. 13 dB more effective than the W 20, withno greater impairment of the sound quality. It is usedlike the W 20 with the capsule front positioned in thecenter.

Diameter: ca. 90 mm; color: tinged with gray

114

Windscreen WSR MSWSR MS CI, WSR MS LI, WSR MS LU(see miniature stereo on pages 60 and 68)

This is the most effective windscreen that we offer. It can be used with one or a pair of miniature micro-phones – either MK capsules on KC Active Cables, orCCM-L or CCM-U COMPACT MICROPHONES.

It contains an AMS double elastic suspension (seepage 67) for M/S stereo recording.

The following versions are available:

Windjammer


WSR MS: without cable

WSR MS CI: for MK microphone capsules,with KCY 115/0,25Ig Y-cable; specialminiature output plug for VMS 5 Umicrophone preamplifier or VST 62 IUgstereo microphone amplifier

WSR MS LI: for CCM-L microphones,with KLY 115/0,25I Y-cableinput connector: Lemooutput connector: female miniature

Binderextension: KS 5 I (5 m long)

WSR MS LU: with KLY 115/0,25I Y-cableinput connector: Lemooutput connector: XLR-5M

The microphone side of the above Y-cablesis 115 mm long; the output side is 250 mm.

Close-speech Guard B 5 D

– for use especially on pressure-gradient transducersin light wind and as a close-speech guard

– good efficiency, yet has only a slight influence onthe sound

The foam encloses an air chamber around the micro-phone capsule, similar to a basket windscreen. Themicrophone must be inserted up to the stop. Althoughit has not been designed for that purpose, it is possibleto use it on the MK 4V, MK 41V or MK 4VXS micro-phone capsules and the corresponding CCM COMPACT

CONDENSER MICROPHONES. The microphone’s slight inherenthigh-frequency emphasis is then compensated for.

The B 5 D cannot be used with MK 6 or MK 8 cap-sules, or the corresponding CCM COMPACT MICROPHONES.

Dimensions: 70 mm x diameter 50 mm (max.)Color: gray, with additional gray, porous velvet-like

surface treatment

cable in WSR MS CI

cable in WSR MS LI

cable in WSR MS LU

2× 115mm

250mm

115


Windscreen for Blumlein Setups WB

The WB is suitable for CMC microphones with UMS 20, as well as miniature microphones, in a Blum-lein arrangement (two crossed figure-8 microphones)and M/S arrangements using an MK 8 (figure-8) andan MK 4V (cardioid) or MK 41V (supercardioid).

Dimensions: diameter 50 mm × 95 mmColor: gray

Windscreen WMS

– close-speech guard and windscreen for M/S stereo

This windscreen has a gray porous velvet-like surfacetreatment. It is designed so that conventional M/S set-ups (AMS 22, UMS 20) as well as most miniature micro-phone arrangements for M/S (RCY, SGMSC, HSGMSC)and also the X/Y microphone CMXY can be protectedfrom mild wind.

For its small dimensions, the WMS offers remarkableeffectiveness with relatively little adverse effect on thesound quality.

Dimensions: sphere with 68 mm diameterColor: gray, with additional gray, velvet-like surface

treatment

Windscreen W 5 D

– for use on pressure-gradient and pressure transducersin wind.

The foam encloses an air chamber around the cap-sule, similar to a basket windscreen. It is highly efficient,yet it has only a slight influence on the sound.

When using CCM-L COMPACT MICROPHONE, please becareful to place the W 5 D all the way onto it.

The W 5 D cannot be used with the KC Active Cable,CCM-U COMPACT MICROPHONES and microphone capsulesfor lateral pickup (MK 6, MK 4V, MK 41V, MK 4VXS,or MK 8), or the corresponding CCM COMPACT MICRO-PHONES.

Dimensions: sphere with diameter 90 mmColor: black, with additional black, porous velvet-like

surface treatment

117

Technical Appendix

118

120

121

122

125

126

page

Principal Microphone Characteristics

Overview of Capsule Specifications

Stereo Techniques

Surround Techniques

CMBI, KFM 360

Cable Specifications, XLR

118


...are characterized by an omnidirectional polar pat-tern, i.e. they pick up sound from all directions to an(ideally) equal degree. Microphones of this type do nothave “proximity effect“ (low-frequency emphasis withclose placement to a sound source). But condensermicrophones operating on this principle can have flatfrequency response down to the lowest audible fre-quencies, permitting full, impressive low frequencysound reproduction. Unlike a loudspeaker, a micro-phone's membrane size has no effect on its low-fre-quency capabilities since it operates purely as a sensor,like an eardrum; it doesn't have to move large volumesof air at low frequencies as a loudspeaker must do.

For reasons of physics (capsule dimensions), the omni-directional pattern can be maintained in its ideal formonly up through the midrange frequencies. At higherfrequencies, sounds arriving on axis are progressivelyemphasized by the interaction of the capsule housingwith the shorter wavelengths. The larger the diameterof the housing, the greater the difference in high-fre-quency response between on-axis and off-axis sound.This effect can be seen clearly in the capsules’ polardiagrams. It is the reason for their differing frequencyresponse in the direct versus the diffuse sound field.

When the high-frequency emphasis is corrected sothat the response measures flat on axis, the result is apressure transducer type such as the MK 2 or CCM 2.These microphones are ideally suited to picking upacoustic sources in the near field. But if a microphoneof this type is placed in the reverberant sound field,where reflections from walls, ceiling, floor, etc. predomi-nate, there will be a loss of overall brilliance. Thesereflections, with their high-frequency content attenu-ated by surface absorption, reach the microphone atoblique angles of incidence and suffer additional lossesas compared with sounds picked up directly. Here (inthe diffuse sound field, beyond the reverberationradius*) a microphone with some high-frequencyemphasis (MK 2H, MK 2S, MK 3 or the correspondingCCM COMPACT MICROPHONES) is required so that at highfrequencies there will be balanced sound rather than arolloff. This, of course, adds brilliance to sounds pickedup at close range and on axis – an effect which maybe desired in some circumstances.

A pressure transducer with ideal response in all situ-ations does not exist. A very small capsule could allowthe high-frequency response to be flat regardless ofdirect- or diffuse-field placement, but such small cap-sules are quite noisy. The user must therefore considerthe nature of the pickup and make an appropriatechoice. Please note that the design of of the MK 2S orCCM 2S achieves a technically sophisticated compro-mise between the requirements of working in the directand the reverberant sound fields (in the region of the

reverberation radius).Particularly for two- and three-microphone stereo

pickups, which are usually made near the reverberationradius (where the direct and reverberant sound fieldsare of equal level), the MK 2S and CCM 2S have becomefavorites of many sound engineers. This is also true forthe MK 2H and CCM 2H, whose characteristics aresomewhat closer to those of the free-field models MK 2and CCM 2.

Principal Characteristics of the DifferentMicrophone Types

Principal Microphone Characteristics

Pressure-Gradient Transducers

Note: Usually, any directional microphone is referredto as a “pressure-gradient transducer” even when ithas only a limited pressure-gradient component (e.g.a cardioid). This usage is technically not quite correct,since a true pressure gradient transducer always has abidirectional (figure-8) pattern. Nevertheless, we haveadopted this nearly universal practice.

SCHOEPS makes many different types of directionalcapsules and microphones, each having specific fea-tures and a range of typical applications.

What they all have in common, as you can see fromtheir polar response diagrams, is that their sensitivityto any sound depends on the angle of incidence of thatsound; they “favor” sound that arrives from particulardirections. This allows them to maintain the same bal-ance of direct to diffuse (reverberant) sound whenplaced at a greater distance from the sound sourcethan an equally sensitive omnidirectional microphone.

The bidirectional MK 8 and CCM 8 (see pages 27and 126) are pure pressure-gradient transducers. Ourother directional microphones use combinations of thepressure and pressure-gradient principles; their variousdirectional characteristics result from differing propor-tions of these ingredients.

All our microphones, including the multi-pattern ones,are single-diaphragm – a feature unique to SCHOEPS.This results in polar patterns that are less frequency-dependent than any dual-diaphragm design can offer,a high-frequency response that is distinctly moreextended, and low-frequency response (with our single-pattern omnidirectional microphones or in the omni-directional setting of our multi-pattern microphones)that is essentially perfect.

One advantage of small pressure-gradient transduc-ers such as SCHOEPS microphones is that their direc-tional pattern can be kept constant across a wider fre-quency range than with a pressure transducer. On theother hand, their low-frequency response in a freesound field is not as extended as that of a pressuretransducer. Placement in the near field can compensatefor this bass rolloff via proximity effect, but there isalso a risk of overcompensation.

Proximity effect may also be used to suppressenvironmental noise by choosing a microphone typehaving a large bass rolloff and/or by the use of a cor-

119

angles and frequencies. The result is a much morecomplex directional characteristic than ordinary polardiagrams (drawn only at certain “spot” frequencies)can indicate directly.

A shotgun microphone must therefore be well aimedat the intended sound source, and that source mustfit within the microphone’s front pickup angle. Other-wise, comb-filter-like effects will result from anyreflected sound, off-axis sound sources, or motion ofthe direct sound source (or of the microphone itself, if it is used in a reverberant space). If an actor movesacross a room while speaking or singing, his or hermotions can no doubt be followed – but sound fromany other actors nearby, and any sound reflectionswithin the room, will be picked up with varying colora-tion. Conditions in which there is little reflected soundenergy (e.g. outdoor recording) and limited off-axissound in general are thus best for shotgun micro-phones. In a diffuse sound field (i.e. at significant dis-tances indoors) they are less effective than one mightwish, and they tend toward a harsher sound quality.

Stereophonic recording with shotgun microphonescan be awkward (how does one set up an X/Y pair ofshotguns?) and fraught with compromise because oftheir irregular polar patterns. However, M/S recordingis possible with a shotgun “M” microphone (see theColette accessory KMSC, page 66) for sound sourcesthat are not too wide.

A small directional microphone with smooth off-axisresponse, such as the SCHOEPS CCM 41 supercardioid,can often be placed closer to a sound source than ashotgun microphone and still stay outside the framefor film or video production. It is also simpler to provideany needed shock mounting or wind screens for smallmicrophones. A trial comparison between a good smallsupercardioid and a shotgun can be surprising andenlightening; the pickup quality can be substantiallyimproved in many cases. Thus we propose that in anygiven situation, users should consider carefully whetherusing a supercardioid rather than a shotgun mightyield equal or better results.

responding electronic filter. A cardioid microphone ata distance of less than 40 cm, for example, will pickup a speaking voice quite clearly, while environmentalnoise will be suppressed due to the directivity of thecardioid pattern and its bass rolloff. At the same time,the lower frequencies in a person’s voice will be restoredto normal by virtue of proximity effect, resulting in aclear and full sound.

By choosing a microphone of high directivity it is alsopossible to avoid acoustic feedback. If a loudspeakeris set up within the reverberation radius*, it should,for obvious reasons, be positioned where the micro-phone has its minimum sensitivity. If the loudspeakeris beyond the reverberation radius, its radiated soundwill reach the microphone after being reflected by thewalls, floor and ceiling of the room, arriving as rever-berant sound from many directions. The microphonewill pick this up less strongly than the direct soundfrom the source on the main axis.

Off-axis attenuation increases with greater micro-phone directivity. The greater this is, the less dangerthere will be of acoustic feedback. This is true only inthe direct sound field, however; in a diffuse soundfield (beyond the reverberation radius*), a directionalmicrophone will offer no help for this problem.

When dealing with pressure-gradient transducers,their greater sensitivity to wind and vibration shouldbe kept in mind. Suspensions that damp solid-bornenoise (elastic suspensions and/or sound-isolated stands)are highly recommended, as well as popscreens andwindscreens wherever appropriate.

Shotgun Microphones

Certain types of recording are frequently made withshotgun microphones. SCHOEPS has never offered thistype of microphone, and we are often asked why not.We agree that good shotgun microphones have theiruses, but we suggest that their peculiarities be wellunderstood; shotguns may not be the optimal choiceas often as people suppose.

A shotgun microphone contains a directional trans-ducer (e.g. a supercardioid capsule) and an “interfer-ence tube.” The tube causes any sound energy arrivingfrom the sides to undergo partial cancellation beforeit can reach the capsule. The exact degree of this can-cellation depends greatly on the wavelength of thesound. For wavelengths longer than the tube – at lowand midrange frequencies – the tube has little effectexcept, unfortunately, to distance the capsule furtherfrom the sound source than it would otherwise be.(The transducer is located behind the tube – not atthe front end of the microphone.)

Thus throughout much of the audio range, a shot-gun microphone has no greater rejection of off-axissound than the capsule on which it is based. At higherfrequencies the pickup pattern becomes narrower,but with great variations in response for different

* reverberation radius: the distance from the sound source at whichthe levels of direct and diffuse sound are equal.

Technical Appendix

Room as seen from above

Distance at which the directsound and the reflected soundare of equal level (reverbera-tion radius

Decreasing energy of direct soundsound source

120

Overview of Capsule Specifications

microphone type polar frequency sensitivity equivalent noise level signal-to-noise max. SPL(MK/ CCM) pattern range CCIR A-weighted ratio (0.5%THD)

A-weighted

MK/ CCM 2* omni 20 Hz – 20 kHz* 15 mV/Pa 23 dB 11 dB-A 83 dB-A 130 dB-SPL

MK/ CCM 2H* omni 20 Hz – 20 kHz* 15 mV/Pa 23 dB 12 dB-A 82 dB-A 130 dB-SPL

MK/ CCM 2S* omni 20 Hz – 20 kHz* 12 mV/Pa 24 dB 12 dB-A 82 dB-A 132 dB-SPL

MK/ CCM 3* omni 20 Hz – 20 kHz* 10 mV/Pa 26 dB 14 dB-A 80 dB-A 134 dB-SPL

BLM 3g hemisphere 20 Hz – 20 kHz 19 mV/Pa 23 dB 12 dB-A 82 dB-A 128 dB-SPL

BLM 03 Cg hemisphere 20 Hz – 20 kHz 19 mV/Pa 23 dB 12 dB-A 82 dB-A 128 dB-SPL

MK/ CCM 21* wide cardioid 30 Hz – 20 kHz* 13 mV/Pa 25 dB 15 dB-A 79 dB-A 132 dB-SPL

MK/ CCM 21H* wide cardioid 30 Hz – 20 kHz* 10 mV/Pa 26 dB 16 dB-A 78 dB-A 134 dB-SPL

MK/ CCM 4* cardioid 40 Hz – 20 kHz* 13 mV/Pa 24 dB 15 dB-A 79 dB-A 132 dB-SPL

MK/ CCM 4V cardioid 40 Hz – 20 kHz 13 mV/Pa 24 dB 14 dB-A 80 dB-A 132 dB-SPL

MK/ CCM 41* supercardioid 40 Hz – 20 kHz 13 mV/Pa 24 dB 16 dB-A 78 dB-A 132 dB-SPL

MK/ CCM 41V supercardioid 40 Hz – 20 kHz 13 mV/Pa 24 dB 15 dB-A 79 dB-A 132 dB-SPL

MK/ CCM 8 figure-8 40 Hz – 16 kHz 10 mV/Pa 26 dB 18 dB-A 76 dB-A 134 dB-SPL

MK/ CCM 5* omni 20 Hz – 20 kHz* 11 mV/Pa 26 dB 14 dB-A 80 dB-A 133 dB-SPLcardioid 40 Hz – 20 kHz* 13 mV/Pa 25 dB 16 dB-A 78 dB-A 132 dB-SPL

MK 6 omni 20 Hz – 16 kHz 9 mV/Pa 26 dB 15 dB-A 79 dB-A 135 dB-SPLcardioid 40 Hz – 16 kHz 10 mV/Pa 27 dB 17 dB-A 77 dB-A 134 dB-SPLfigure-8 40 Hz – 16 kHz 10 mV/Pa 28 dB 19 dB-A 75 dB-A 134 dB-SPL

MK/ CCM 4S cardioid 80 Hz – 20 kHz 13 mV/Pa 24 dB 15 dB-A 79 dB-A 132 dB-SPL

MK/ CCM 40 cardioid 80 Hz – 20 kHz 18 mV/Pa 22 dB 13 dB-A 81 dB-A 129 dB-SPL

MK/ CCM 4A cardioid close pickup 3 mV/Pa 29 dB 18 dB-A 76 dB-A 144 dB-SPL

MK/ CCM 4VXS cardioid close pickup 10 mV/Pa 24 dB 14 dB-A 80 dB-A 134 dB-SPL

MK/ CCM 41S supercardioid 80 Hz – 20 kHz 13 mV/Pa 24 dB 15 dB-A 79 dB-A 132 dB-SPL

Specifications for MK capsules with CMC 6 microphone amplifier, and CCM(When the CMC 6 xt microphone amplifier is used with axially addressed capsules (*) the frequency response extends beyond 40 kHz).

Conditions of measurement:

Sensitivity: measured on-axis in the free sound field with a CMC 6microphone amplifier at 1 kHz and with a load resistance of 1 kOhmwith standardized powering

Equivalent noise level and signal-to-noise ratio are measuredaccording to CCIR 468 (qps) and also DIN 45405 or A-weighted.

Maximum sound pressure level (max. SPL): SPL at which the totalharmonic distortion (THD) at the output of the microphone is 0.5%.

The data for boundary-layer capsules (BLM 3g, BLM 03 Cg) assumean adequately large sound-reflecting area.

Signal-to-noise specifications that follow these standards are intendedto allow comparison of noise floor levels for different microphones.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),these values do not indicate a microphone's entire available dynamic

range. Instead, the values are measured with reference to a standardsound pressure level of 1 Pascal (1 Pa = 94 dB SPL) even though theactual maximum SPL capability of any usable microphone must exceedthat reference level substantially. (SCHOEPS microphones when properlypowered can typically handle levels some 40 dB above 1 Pa, for example.)

As a result of this approach, professional microphones can seem tohave rather modest signal-to-noise values even when they have extremelylow noise and very high SPL capability in fact. Ultimately the two othervalues mentioned (equivalent noise and maximum SPL) both affect amicrophone's suitability for a given application.

The use of "A" weighting when specifying the equivalent noiselevel of microphones is another often-misunderstood aspect of thestandards. "A" weighting yields a distinctly lower noise specification – often by 10 dB or thereabouts – and this figure, of course, becomesthe one most often cited in advertising. But the CCIR weighted noiselevel may well be a more accurate indicator of a microphone's per-ceived noise level in practice.

* Axially-addressed capsule; when used with the CMC 6 xt amplifier,the frequency range extends beyond 20 kHz.

121

Stereo Techniques

Overview of Stereophonic Recording Techniques

Overview of surround recording techniques: see page 122 ff.

Stereo recording coincident level differences + microphones sepa- major arrival-principle microphone placement minor arrival-time rated by an acousti- time differences

differences cally opaque object

Name X/Y M/S ORTF (for example) Jecklin disk (for ex.) A/B

Geometry

Distance (d) 0 cm 5 cm – 30 cm depends on the 40 cm – 80 cmbetween micro- usually vertically aligned object between or greater (up tophones distance and angle them several meters)

are interdependentAngle betweenthe main axes of 70° – 180° 90° 0° – 180° typically 20° 0° – 90°the microphones

Acoustic oper- pressure-gradient transducer usually pressure transducers*ating principle of (e.g. SCHOEPS cardioid MK 4 (e.g. SCHOEPS MK 2S or CCM 2S)the microphone or CCM 4)

Sonic impression depending on the microphones usedclean, clear, often bright big, spacious; especially good low-fre-

quency reproduction when omnidirec-tional condenser microphones are used

Spaciousness often rather limited satisfactory good very good

Localization good adequate indistinct(potentiallyunstable)

* These recording methods can also employpressure gradient microphones, though thisis not often done.

**The appropriate angle between microphonesdepends on their directional pattern and therecording angle (the range within which thesound sources should be placed, as “seen“by the microphone.)

potentially very good,except that the center of the stereo image can beover-emphasized (not aproblem with figure 8s)

122

Surround Techniques

tern attenuation for this will be 10 dB and the polaritywill be inverted. These factors prevent the formationof annoying “phantom images“ of sound sources inthe wrong sector during playback.

A clean center channel is conveyed by this system,since front-incident sound is picked up mainly by thecardioid in the center. Because of their high directivity,the left and right microphones pick up front-incidentsound only at a much lower level.

If the cardioid is placed 8 cm forward, the followingrecording angles* will result, depending on the dis-tance 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,

so that one can be sure to avoid center-heavy images. The fact that the supercardioids receive so much of

their sound from off axis necessitates the use of small-diaphragm condenser microphones, as only this typeof microphone has the requisite independence of fre-quency response from the angle of sound incidence.The CCM 41V and the MK 41V are particularly wellsuited for this application but the CCM 41 or MK 41can also be used.

OCT is a method for picking up the three front chan-nels of a surround recording. It can be combined withany of several possible methods for obtaining the rearchannels (and thus OCT surround), as will be shownon the following pages.

The preferred setup for OCT uses a forward-facingcardioid for the center channel. For the front L and Rchannels two supercardioid microphones are placed atopposite ends of an imaginary line running about 8 cmbehind the center microphone. These two microphonesshould be 40 – 90 cm apart, depending on the requiredrecording angle*, and must face squarely outward,away from center (see diagrams below and on the fol-lowing pages).

Good separation between the center-to-left sectorand the center-to-right sector is obtained with thismethod. For example, sound originating from half rightis picked up only very weakly by the left microphone.Sound from the extreme right will be picked up directlyon-axis by the right-facing supercardioid (0 dB) and bythe forward-facing cardioid (attenuated by 6 dB dueto its directional pattern). Finally it will be picked up,with a delay caused by the increased distance, on therear lobe of the left-facing supercardioid. The polar pat-

CCM 41VL orCCM 41L

8 cm40 – 90 cm, dependent on the intended recording angle*

CCM 41VL orCCM 41L

CCM 4L (an omni, e.g. CCM 2SL,

can be substituted)

CCM 41VL orCCM 41L

8 cm40 – 90 cm, dependent on the intended recording angle*

CCM 41VL orCCM 41L

CCM 4L

low-pass filter,e.g. LP 40 U, see pg. 100

40 Hz

CCM 2L or2HL, 2SL, 3L

C

C

L,R

L

L

R

R

It is possible to improve the extreme bass response ofthe supercardioids by adding signals from one (see 1.2)or two (see 1.3) omnis to L and R. Using an LP 40

low-pass filter (page 100, cutoff frequency 40 Hz) andSCHOEPS omnis, the response curve below 100 Hzbecomes substantially flat.

1.1 OCT Front Systembasic version

1.2 OCT Front Systemplus omni for optimizedbass pickup

1. OCT Front System OCT=Optimized Cardioid Triangle by Dr. Theile see AES 19th International Conference, pages 210 – 229and also www.hauptmikrofon.de

FRONT

FRONT

The low-frequency signal fromthe omni is sent to both the leftand right channels.


123

Surround Techniques

David Griesinger (Lexicon) has proposed that L and Rbass signals be decorrelated by using additional widely-spaced pressure transducers. At low frequencies these

not only increase the low-frequency pickup but alsoaccentuate the difference between R and L. This resultsin an increased sense of spaciousness.

Just as there are many possible arrangements for front channels in surround recording, so there are several ways torecord the rear channels.

The surround cardioids face rearward to avoid pickingup direct sound. Time-of-arrival and level differencesbetween each side's cardioid and hypercardioid pairproduce a stereophonic representation of lateral sounds

to match the forward image. Imaging will thereforeremain correct for listeners who turn towards the L/LSor R /RS sectors. This produces a convincing spatialperspective.

2. OCT Surroundthe simplest array for surround soundusing OCT (viewed from top)

1.3 OCT Front Systemplus 2 omnis for optimized bass pickup

CCM 41VL orCCM 41L

8 cm

20 cm wider than at the front, max. 100 cm

CCM 41VL orCCM 41L

40 cm

CCM 4L

CCM 4L CCM 4L

C

L

LS RS

R40 – 90 cm, dependent on the intended recording angle*

FRONT

CCM 41VL orCCM 41L

8 cm

several meters

CCM 41VL orCCM 41L

CCM 4L

40 Hz40 Hz

omni or boundary-layer microphone

C

Romni (CCM 2L or 2HL, 2SL, 3L) orboundary-layer microphone BLM 3g

L

L R40 – 90 cm, dependent onthe intended recording angle*

if separated, distance is not critical

FRONT




124

Surround Techniques

+

+

+

+

– –

––

3. OCT Front Systemplus 4-channel ambience array

In the following two microphone arrangements, agroup of four additional directional microphones isplaced several meters behind the front OCT system. Ineach case, signals from the front two microphones ofthe additional group are blended into the main L and

The figure-8s have their nullsturned to the front so that thisarray is relatively insensitive todirect sound.

3.1 OCT Front System+ IRT cross

3.2 OCT Front System + Hamasaki Square

CCM 41VL orCCM 41L

8 cm

CCM 41VL orCCM 41L

CCM 4L

IRT cross CB 250 (see page 80)microphones: e.g. 4× COMPACT

MICROPHONE CCM 4L

C

L

L

LS RS

R

R

length of side:20 – 25 cm

40 – 90 cm, dependent on the intended recording angle*

severalmeters

FRONT

CCM 41VL orCCM 41L

8 cm

severalmeters

CCM 41VL orCCM 41L

CCM 4L

C

L

RS

R

R

length of side:2 m – 3 m

4× CCM 8L

HamasakiSquare

40 – 90 cm, dependent on the intended recording angle*

FRONT

R front signals without further processing. This helpsto prevent dissociation between the front and rearimages, while the separation between the arraysallows optimal placement of each, for direct and forambient pickup respectively.

L

LS


125

Battery-powered Microphone Amplifier CMBI

Instead of a large XLR connector, the CMBI has aflush-mounted 5-pin miniature connector at the outputwhich also allows for external powering. For normalconnection of the CMBI to a DAT recorder, etc., a 5 mcable with a 3.5 mm mini stereo plug is included (Fig. 1).

This cable can be extended with a standard 3.5 mmstereo jack to stereo plug cable, or with a miniature-connector extension cable such as SCHOEPS KS 5 I(Fig. 2, see also miniature stereo recording system onpage 60).

For operation with pocket transmitters we have ready-made cables with special connectors on request (Fig. 3).

For stereo recordings there is a Y-shaped cable (KIY 250/0 I) which connects two CMBI to a compactjunction box by means of two pieces of cable, each250 mm in length. The short cable leading out of thisbox has a miniature connector and can be extendedeither with the K 5 ISK cable (Fig. 4) or with the exten-sion cable KS 5 I.

Signal Processing with the DSP-4 KFM 360 Processor (page 76)

CMBI, KFM 360

Pin layout of the 5-pin miniature plug (as seen fromthe soldering side):

1

23

4

5

1: GND2&3: output4: external powering (7...13 V)5: not used

switch up if FrontPanorama = 0

5 m

5 m

0,1 m

5 m

5 m

MKK 5 ISK

K 5 ISK

K 5 ISK

KS 5 I

KIY 250/0I250 mm

250 mm

CMBI

mono

mono

mono

stereo

Fig. 1

Fig. 2

Fig. 3

Fig. 4

mini stereo plug, 3,5 mm (signal ispresent on both tip and ring contacts)

special connectore.g. for pocket transmitters

miniature plug

126

Pin 1: GNDPin 2: +PhasePin 3: –Phase

bottom view (as the pins are seen)

Pin 1: GNDPin 2: +phase channel IPin 3: –phase channel IPin 4: +phase channel IIPin 5: –phase channel II

bottom view (as the pins are seen)

Pin Assignment with XLR-5M Plugs:Pin Assignment with XLR-3M Plugs:

Specifications for SCHOEPS Microphone Cables

– flexible, even in the cold– highly tear-resistant insulation (Kevlar-reinforced)– high bending strength– will not turn with changing temperature, thus ideal for suspending microphones– 100% shield coverage in three- and four-conductor versions

2-conductor 3-conductor 4-conductorconductor diameter: 0.14 mm2 0.14 mm2 0.14 mm2

insulating material: Hytrel Hytrel Hytrelconductor arrangement: 2 braided conductors 3 braided conductors 4 braided conductorsshielding: crossbraided, tinned crossbraided with crossbraided with

copper conductors conductive inner cover- conductive inner cover-ing, 100% coverage ing, 100% coverage

outer covering: Polyurethane Polyurethane Polyurethaneouter diameter: 3 mm 4 mm 4,4 mmweight: 15 g/m (0.16 oz/ft) 22 g/m (0.24 oz/(ft) 25 g/m (0.27 oz/ft)minimum bending radius: 10 mm 13 mm 15 mmresistance: 100 Ohm/km 100 Ohm/km 100 Ohm/kmcapacitance (conductor/conductor): 100 pF/m 100 pF/m 100 pF/minsulation resistance: > 50 MOhm × km > 50 MOhm × km > 50 MOhm × km

XLRs, Cable Specifications

1

345

2

1

3

2

Figure-8 (continued from page 27)The directivity index of a figure-8 pattern is the same

as that of a cardioid; if microphones with these twopatterns are placed at the same distance from a soundsource, a quantitatively similar balance of direct andreverberant sound would be picked up. In practicesuch a comparison would be deceptive, however,since a figure-8 does not respond to sound comingfrom the sides, from above or from beneath its mainaxis as does a cardioid. The figure-8 has a rear lobeequal in sensitivity to its front lobe, and this exactlymakes up the quantitative difference – but in normally

reverberant settings, the sound reaching a figure-8'srear lobe will be delayed and dispersed to a consider-ably greater extent than the reverberant sound energywhich a cardioid picks up from its front and sides; thereflected sound will typically be subject to far morehigh frequency absorption as well. Thus the reverber-ant sound energy picked up by a figure-8, thoughtheoretically equal in amount, is quite different incharacter from that which would be picked up by acardioid in the same position.

127

iIndex

128

pg. 54

pg. 55pg. 55

pg. 56

pg. 20 pg. 18pg. 12

pg. 57

pg. 57

pg. 12pg. 53

pg. 54

pg. 52

pg. 50

pg. 54

pg. 48pg. 44

pg. 63

pg. 63

pg. 76

pg. 76

vocalist microphonespg. 86

pg. 89

pg. 86

pg. 56

pg. 67 ff.

pg. 44

pg. 20

pg. 57pg. 20

pg. 50pg. 49

pg. 46pg. 44

pg. 52

pg. 45

pg. 48

pg. 47

pg. 53

guitar adapteron request

pg. 45

pg. 44

pg. 52

double baffle-derivedmono/ A/B pickup stereoRecording technique:

Recordingsituation:

on a stand

on a table orlectern,(fixed)

on a table(movable)

hanging

on an instrument

on flooror wall

on a boom(outdoors)

miscellaneous

Product Overview

pg. 62

pg. 51

headset

pg. 45

129

pg. 71

pg. 66pg. 66

pg. 104

pg. 76

pg. 76

when perforatedmetal is usedinstead of a solidtable top; pg. 72

when perforatedmetal is usedinstead of a solidtable top; pg. 72

pg. 66

pg. 19

pg. 67 ff., 114

pg. 66

pg. 65

pg. 70

pg. 67

pg. 104

pg. 72

pg. 104

pg. 70

pg. 71

pg. 12

pg. 71

pg. 72pg. 71

pg. 72

Product Overview

pg. 80

ORTF X/Y M/S Blumlein surround

pg. 79

pg. 104pg. 105 pg. 105

130

for speakers/ singers . . . . . . . . . . . . . .86for mounting under table . . . . . . . . . .49for X/Y recordings . . . . . . . . . . . . .23, 72for Blumlein recordings . . . . . . . . .27, 62

Microphone bars . . . . . . . . . . . . . .104, 105Microphone cables . . . . . . . . . . . . . . . . .102Microphone capsules . . . . . . . . . . . . . . . .12

switchable pattern . . . . . . . . . . . . .28, 29Microphone clamps . . . . . . . . . . . . . . . . .46Microphone cross (IRT) . . . . . . . . . . . . . . .80Microphone specifications . . . . . . . . . . . .120Microphone preamplifier . . . . . . . . . . . . . .92Microphone stand . . . . . . . . . . . . . . . . . . .46Microphone tubes . . . . . . . . . . . . . . . . . . .47Miniature accessories . . . . . . . . . . . . . . . . .5Miniature stereo recording system . . . . . .60MODULAR SYSTEM . . . . . . . . . . . . . . . . . . . . .4M/S bar . . . . . . . . . . . . . . . . . . . . . . . . . . .70M/S boundary-layer technique . . . . . . . . .19M/S double clamp . . . . . . . . . . . . . . . . . . .66M/S stereo . . . . . . . . . . . . . . . . . . . . . . . .65OCT system . . . . . . . . . . . . . . . . . . .78, 122OCT surround . . . . . . . . . . . . . . . . . .78, 123Omnidirectional microphones . . . . . .14, 118ORTF microphone . . . . . . . . . . . . . . . . . . .71ORTF stereo . . . . . . . . . . . . . . . . . . . . . . .70Phantom powering tester . . . . . . . . . . . .101PolarFlexTM microphone system . . . . . . . . .82Pop filters . . . . . . . . . . . . . . . . . . . . . . . .111Powering unit . . . . . . . . . . . . . . . . . . . . . .92Pressure transducers . . . . . . . . . . . .14, 118Pressure-gradient transducers . . . . . .21,118PZM microphones . . . . . . . . . . . . . . . .18, 20

directional . . . . . . . . . . . . . . . . . . .12, 13Recording techniques, overview . . . . . . .120Saxophone adapter . . . . . . . . . . . . . . . . . .57Shock mounts

for stands . . . . . . . . . . . . . . . . . . . . . .45miniature for booms . . . . . . . . . . . . . .56miniature for M/S stereo . . . . . . . . . . .66

Shotgun microphones . . . . . . . . . . . . . . .119Special capsules/ microphones for close

pickup . . . . . . . . . . . . . . . . . . . . . . . . .30Sphere attachments . . . . . . . . . . . . . . . .104Sphere microphone for stereo . . . . . . . . . .63

for surround / stereo . . . . . . . . . . . . . .76Stand clamps . . . . . . . . . . . . . . . . . . . . . .44

for M/S stereo . . . . . . . . . . . . . . . . . . .66Stereo microphones . . . . . . . . . . . . . . . . .60Stereo microphone amplifier . . . . . . . . . . .40Stereo recording techniques, overview . .120Supercardioids . . . . . . . . . . . . . . . . . .25, 26Support rods . . . . . . . . . . . . . . . . . . . . . .106Surround front system (OCT) . . . . . . . . .122Surround microphone . . . . . . . . . . . . . . . .76Surround setups . . . . . . . . . . . . . . . . . .78ff.Swivel for capsules . . . . . . . . . . . . . . . . . .97Table microphone (double) . . . . . . . . .52, 54Table mounting . . . . . . . . . . . . . . . . . . . .49Table mounting flange . . . . . . . . . . . . . .107Table stands . . . . . . . . . . . . . . . . . . . .53, 54Tester for phantom powering . . . . . . . . .101Tubes . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

for M/S stereo . . . . . . . . . . . . . . . . . . .65Tube microphone amplifier . . . . . . . . . . . .39Violin adapter . . . . . . . . . . . . . . . . . . . . . .57Vocalist microphones . . . . . . . . . . . . . . . .85Wide cardioids . . . . . . . . . . . . . . . . . .21, 22Windscreens . . . . . . . . . . . . . . . . . . . . . .111Windscreens for M/S . . . . . . . . . . . . . .66 ff.X/Y mounting bar . . . . . . . . . . . . . . .74, 105X/Y stereo . . . . . . . . . . . . . . . . . . . . .72, 120X/Y microphone . . . . . . . . . . . . . . . . . . . .72Y-cable . . . . . . . . . . . . . . . . . . .5, 7, 60, 103

by Product CategoryA/B mounting bar . . . . . . . . . . . . . . . . . . .62Accessories

Active, MODULAR SYSTEM . . . . . . . . . . . . .5electronic . . . . . . . . . . . . . . . . . . . . . .100mechanical . . . . . . . . . . . . . . . . . . . .104

Active Accessories . . . . . . . . . . . . . . . . . . . .5Active Cables . . . . . . . . . . . . . . . . . . . . . .97Active Tubes

mono . . . . . . . . . . . . . . . . . . . . . . . . .47 double version . . . . . . . . . . . . .48, 60, 65M/S stereo . . . . . . . . . . . . . . . . . . . . .64

Adapter cables . . . . . . . . . . . . . . . . . . . .125Attachments . . . . . . . . . . . . . . . . . . . . . .104Attenuators . . . . . . . . . . . . . . . . . . .96, 101Bass filters for MODULAR SYSTEM . . . . . . . . .99Bass filter for CCM and other phantom-

powered microphones . . . . . . . . . . . . .100Battery-powered microphone amplifier . . .38Blumlein mounting bar . . . . . . . . . . . . . . .62Boom operation . . . . . . . . . . . . . .56, 66, 68Boundary-layer capsules . . . . . . . . . . .18, 20Boundary-layer microphones,

directional . . . . . . . . . . . . . . . . . . .12, 13Cable hangers, mono . . . . . . . . . . . . . . . .55

M/S stereo . . . . . . . . . . . . . . . . . . . . . .66Cables . . . . . . . . . . . . . . . . . . . . . . . . . .102Capsules . . . . . . . . . . . . . . . . . . . . . . . . . .12

switchable pattern . . . . . . . . . . . . .28, 29Capsule swivel . . . . . . . . . . . . . . . . . .97, 52Cardioids

for music and speech . . . . . . . . . . .23, 24for close speech in noisy surroundings. 30

CCM COMPACT SYSTEM . . . . . . . . . . . . . . . . .7CCM COMPACT MICROPHONES . . . . . . . . . . . .41CCM types, overview . . . . . . . . . . . . . . . .13Clamps . . . . . . . . . . . . . . . . . . . . . . . . . . .44Close-speech microphones . . . . . . . . . . . .30Close-speech guards . . . . . . . . . . . . . . . .111Colette MODULAR SYSTEM . . . . . . . . . . . . . . .6COMPACT MICROPHONES . . . . . . . . . . . . . . .6, 41COMPACT MICROPHONE SYSTEM . . . . . . . . . . . .7Directional microphones . . . . . . . . . .25, 119Double M/S . . . . . . . . . . . . . . . . . . . . . . . .79Double tube . . . . . . . . . . . . . . . . .48, 60, 65Elastic suspensions

for stands . . . . . . . . . . . . . . . . . . . . . .45miniature for booms . . . . . . . . . . . . . .56miniature for M/S stereo . . . . . . . . . . .66

Figure-8 . . . . . . . . . . . . . . . . . . . . . . . . .118Floor stand . . . . . . . . . . . . . . . . . . . . . . .108Flute adapter . . . . . . . . . . . . . . . . . . . . . .57Foam mat . . . . . . . . . . . . . . . . . . . . . . . .108Foam-type windscreens . . . . . . . . . . . . . .112

hollow version . . . . . . . . . . . . . . . . . .115Goosenecks . . . . . . . . . . . . . . . . . . . . . . .50Handheld microphones . . . . . . . . . . . . . . .85Headset . . . . . . . . . . . . . . . . . . . . . . . . . .89High-pass filter . . . . . . . . . . . . . . . . .99, 100Hollow foam-type windscreens . . . . . . . .115Instrument adapters . . . . . . . . . . . . . . . . .57Interference-tube directional microphone 119IRT cross . . . . . . . . . . . . . . . . . . . . . . . . . .80Low-cut filter for MODULAR SYSTEM . . . . . . .99Low-cut filter for CCM and other

phantom-powered microphones . . . .100Low-pass filter . . . . . . . . . . . . . . . . . . . .100Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . .92Measurement microphone . . . . . . . . . . . .14Microphones

battery-powered . . . . . . . . . . . . . . . . .38phantom-powered . . . . . . . . . . . . . . . .36stereo . . . . . . . . . . . . . . . . . . . . . . . . .40with tube microphone amplifier . . . . . .39switchable pattern . . . . . . . . . . . . .28, 29for A/B recordings . . . . . . . . . . . .14 – 20for boundary-layer technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12, 13, 18, 20for M/S recordings . . . . . . . . . . . . . . . .65for close speech . . . . . . . . . . . . . . . . . .28

Index

131

Index

Search by Product NameAC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45ACA 53 . . . . . . . . . . . . . . . . . . . . . . . . . .56AF 1 . . . . . . . . . . . . . . . . . . . . . . .49 ff., 106AK DMS/3U . . . . . . . . . . . . . . . . . . . . . . .79AK I/2C . . . . . . . . . . . . . . . . . . . . . . . . .5, 98AK SU/2U . . . . . . . . . . . . . . . . . . . . . . . .102AK 2U/SU . . . . . . . . . . . . . . . . . . . . . . . .102AMS, -CI, -LI, -LU . . . . . . . . . . . . . . . . .67 ff.AMS 22 . . . . . . . . . . . . . . . . . . . . . . . . . .70A 20, A 20 S . . . . . . . . . . . . . . . . . . . . . . .45A 22, A 22 S . . . . . . . . . . . . . . . . . . . . . . .45A 20 CMXY . . . . . . . . . . . . . . . . . . . . . . .73B-DTM . . . . . . . . . . . . . . . . . . . . . . . . . . .82BBG . . . . . . . . . . . . . . . . . . . . . . . . . . . .113BF 250 . . . . . . . . . . . . . . . . . . . . . . . . . .108BLCg . . . . . . . . . . . . . . . . . . . . . . . . . .12, 55BLM 3g . . . . . . . . . . . . . . . . . . . . . . . . . . .18BLM 03 Cg . . . . . . . . . . . . . . . . . . . . . . . .20B 1 . . . . . . . . . . . . . . . . . . . . . . . . . .57, 112B 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112B 5 D . . . . . . . . . . . . . . . . . . . . . . . . . . .114B 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . .113B 20 S . . . . . . . . . . . . . . . . . . . . . . . . . . .113CB-MAB . . . . . . . . . . . . . . . . . . . . . . . . .105CB 140, CB 200, CB 250 . . . . . . . . . . . . .80C2 CCM 4 Ug . . . . . . . . . . . . . . . . . . . . . .52CCM.. see under MK..CCM specifications . . . . . . . . . . . . . .41, 120CMBI . . . . . . . . . . . . . . . . . . . . . . . . . . . .38CMC . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36CMH . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86CMXY 4V . . . . . . . . . . . . . . . . . . . . . . . . .72CUT 1, CUT 2 . . . . . . . . . . . . . . . . . . . . . .99DMS-Splitter . . . . . . . . . . . . . . . . . . . . . . .79DSP-4 KFM 360 - processor of KFM 360 . .67DSP-4P - processor of PolarFlexTM . . . . . . .82DZC 10, DZC 20 . . . . . . . . . . . . . . . . . . . .96FA 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57F 5g . . . . . . . . . . . . . . . . . . . . . . . . . . . .107GVC . . . . . . . . . . . . . . . . . . . . . . . . . .97, 52HC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55HS 2S . . . . . . . . . . . . . . . . . . . . . . . . . . . .89HS 4VXS . . . . . . . . . . . . . . . . . . . . . . . . . .89HSGMSC . . . . . . . . . . . . . . . . . . . . . . . . .66H 20g . . . . . . . . . . . . . . . . . . . . . . . . . . . .55KA-DTM . . . . . . . . . . . . . . . . . . . . . . . . . .82KA 40, KA 50 . . . . . . . . . . . . . . . . . . . . .104KC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97KCY . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98KFM 360 . . . . . . . . . . . . . . . . . . . . . . . . . .76KFM 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . .63KIY 250/0 I . . . . . . . . . . . . . . . . . . . . . . .125KKFM . . . . . . . . . . . . . . . . . . . . . . . . . . . .64KLY-DTM . . . . . . . . . . . . . . . . . . . . . . . . .82KLY . . . . . . . . . . . . . . . . . . . . . . .7, 61, 103KMAB 1000 . . . . . . . . . . . . . . . . . . . . . .105KMSC . . . . . . . . . . . . . . . . . . . . . . . . . . . .66KS 5 I . . . . . . . . . . . . . . . . . . . . .60, 68, 103KS 5 IU . . . . . . . . . . . . . . . . . . . . . . .61, 103KS 5 U . . . . . . . . . . . . . . . . . . . . . . . . . .102K 5 ISK . . . . . . . . . . . . . . . . . . . . . . . . . .125K 5 LU . . . . . . . . . . . . . . . . . . . . . . . . . .103K 5 U . . . . . . . . . . . . . . . . . . . . . . . . . . .102K 20 STR, K 30 STR . . . . . . . . . . . . . . . . .107LC 60 U, LC 120 U . . . . . . . . . . . . . . . . .100LP 40 U . . . . . . . . . . . . . . . . . . . . . . . . . .100MAB 1000 . . . . . . . . . . . . . . . . . . . . . . .105MC-MAB . . . . . . . . . . . . . . . . . . . . . . . .105MDZ 10U, MDZ 20U . . . . . . . . . . . . . . . .101MK 2 / CCM 2 . . . . . . . . . . . . . . . . . . . . .14MK 2H / CCM 2H . . . . . . . . . . . . . . . . . . .15MK 2S / CCM 2S . . . . . . . . . . . . . . . . . . .16MK 3 / CCM 3 . . . . . . . . . . . . . . . . . . . . .17MK 4 / CCM 4 . . . . . . . . . . . . . . . . . . . . .23MK 4A / CCM 4A . . . . . . . . . . . . . . . . . . .32MK 4S / CCM 4S . . . . . . . . . . . . . . . . . . .30MK 4V / CCM 4V . . . . . . . . . . . . . . . . . . .24MK 4VXS / CCM 4VXS . . . . . . . . . . . . . . .33MK 5 / CCM 5 . . . . . . . . . . . . . . . . . . . . .28MK 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

MK 8 / CCM 8 . . . . . . . . . . . . . . . . . . . . .27MK 21 / CCM 21 . . . . . . . . . . . . . . . . . . .21MK 21H / CCM 21H . . . . . . . . . . . . . . . . .22MK 40 / CCM 40 . . . . . . . . . . . . . . . . . . .31MK 41 / CCM 41 . . . . . . . . . . . . . . . . . . .25MK 41S / CCM 41S . . . . . . . . . . . . . . . . .34MK 41V / CCM 41V . . . . . . . . . . . . . . . . .26MS-BLM . . . . . . . . . . . . . . . . . . . . . . . . . .19MSTC 64 Ug . . . . . . . . . . . . . . . . . . . . . . .71M 100 C . . . . . . . . . . . . . . . . . . . . . . . . .105M 222 . . . . . . . . . . . . . . . . . . . . . . . . . . .39NT 222 AC, NT 222 DC . . . . . . . . . . . . . .39OCT, OCT surround . . . . . . . . . . . . .78, 105PHS 48 . . . . . . . . . . . . . . . . . . . . . . . . . .101PolarFlexTM . . . . . . . . . . . . . . . . . . . . . . . .82PR 120 S, PR 120 SV . . . . . . . . . . . . . . . .112PS 2, PS 4 . . . . . . . . . . . . . . . . . . . . . . . . .87RC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47RC KC . . . . . . . . . . . . . . . . . . . . . . . . . . . .48RCY . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65RG 8 . . . . . . . . . . . . . . . . . . . . . . . . . .48, 49RG 12 . . . . . . . . . . . . . . . . . . . . . . . . . . .106RL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47RLG . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50R2C KC . . . . . . . . . . . . . . . . . . . . . . . . . . .48S 250 LUg . . . . . . . . . . . . . . . . . . . . . . . . .50S 250 L5Ug . . . . . . . . . . . . . . . . . . . . . . . .50S 420 L5Ug . . . . . . . . . . . . . . . . . . . . . . . .51SA 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57SGC, SGCM . . . . . . . . . . . . . . . . . . . . . . .44SGC-KFM . . . . . . . . . . . . . . . . . . . . . . . . .76SGCM . . . . . . . . . . . . . . . . . . . . . . . . . . . .44SGH . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86SGMSC . . . . . . . . . . . . . . . . . . . . . . . . . . .66SG 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . .44SG 22, SG 22 MOD . . . . . . . . . . . . . . . . .44SKC . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51SM 270 . . . . . . . . . . . . . . . . . . . . . . . . . .108SPV 12-3/8 . . . . . . . . . . . . . . . . . . . . . . .108STCg . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70STR . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106STR-TC . . . . . . . . . . . . . . . . . . . . . . .52, 106STV 900/1400 L3Ug . . . . . . . . . . . . . . . . .46ST 20-3/8 . . . . . . . . . . . . . . . . . . . . . . . .106TA 20g . . . . . . . . . . . . . . . . . . . . . . . . . . .53TCg, TC 2g . . . . . . . . . . . . . . . . . . . . . . . .54TR 200 KC 2g . . . . . . . . . . . . . . . . . . . . . .53TR 200 Lg . . . . . . . . . . . . . . . . . . . . . . . . .53T2 CCM 4g . . . . . . . . . . . . . . . . . . . . . . . .54T 5g . . . . . . . . . . . . . . . . . . . . . . . . . . . .108T 20g . . . . . . . . . . . . . . . . . . . . . . . . . . . .53UMS 20 . . . . . . . . . . . . . . . . . . . . . . . . .104VA 1, VA 2 . . . . . . . . . . . . . . . . . . . . . . . .57VMS 5 DC-W . . . . . . . . . . . . . . . . . . . . . .93VMS 5 U . . . . . . . . . . . . . . . . . . . . . . . . . .92VST 62 IUg . . . . . . . . . . . . . . . . . . . . . . . .40WB . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115Windjammer: see WSR MS CI, -LI, -LUWKC . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97WKFM . . . . . . . . . . . . . . . . . . . . . . . . . . .63WMS . . . . . . . . . . . . . . . . . . . . . . . . . . .115WSR CMXY . . . . . . . . . . . . . . . . . . . . . . .73WSR DMS LU . . . . . . . . . . . . . . . . . . . . . .79WSR MS CI, -LI, -LU . . . . . . . . . . .66 ff., 114WSR 100 LU . . . . . . . . . . . . . . . . . . . . . . .56W 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . .112W 5 D . . . . . . . . . . . . . . . . . . . . . . . . . . .115W 20 . . . . . . . . . . . . . . . . . . . . . . . . . . .113W 20 R1 . . . . . . . . . . . . . . . . . . . . . . . . .113Z 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

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Schalltechnik Dr.-Ing. SCHOEPS GmbHSpitalstrasse 2076227 Karlsruhe – Germany

Not responsible for errors or omissions.Subject to change without notice.

© Schalltechnik Dr.-Ing. SCHOEPS GmbH, Printed in Germany 040106

Layout and text: Dagobert Schäfer, SCHOEPSProduct photos: Bernhard Vollmer, SCHOEPSU.S. editorial consultant / translator / “hairsplitter”: David Satz

Tel.: +49 (0)721/ 943 20-0Fax: +49 (0)721/ 495 [email protected]

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