Catalog 6
Foreword S challtechnik Dr.-Ing. SCHOEPS GmbH was founded in Karlsruhe in 1948, operating from only a few small, private rooms at first. 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. Ulrich Schoeps, Dr. Helmut Wittek, Christian Langen The present-day leadership Dr. Schoeps Dr.
page Contents Our Product Lines 4 Guidelines for Selection The Colette Modular System 9 Microphone capsules Microphone amplifiers Accessories The Compact System 47 CCM _L and CCM _U microphones Accessories (by application) 55 for the modular and the compact system Special-Purpose Microphones 73 Shotgun microphone Speech capsules / compact speech microphones Headsets Hand-held microphones Stereo and Surround 81 Stereo microphones and sets Surround sets Stereo preamplifier Other Accessorie
Our Product Lines COLETTE SCHOEPS Microphones ... modular modular Modular Microphones (“COLETTE” System) microphone capsule + microphone amplifier = microphone A microphone capsule may be attached directly to a microphone amplifier to form a complete microphone. Twenty capsule types and six amplifier types offer a large number of possible combinations; special versions also exist for certain amplifier types. Microphones of the Colette modular system are described starting on page 13.
Our Product Lines CCM compact ... or compact: Compact Microphones The CCM-series compact microphones are miniature microphones of full professional quality. Their capsules are identical to those of the modular series, while their amplifiers achieve the same high level of performance, with balanced, symmetrical outputs at very low impedance. The capsule and circuitry of a CCM are contained within a single unit, so capsules are not interchangeable.
Guidelines for Selection Choosing a microphone A microphone that offers natural sound quality will be suitable for almost any instrument, voice or ensemble. To achieve this, smooth frequency response at all angles of sound incidence is a fundamental requirement along with excellent transient response, wide dynamic range and low distortion.
Speech / Speakers Guidelines for Selection Applications: Recommendations: On a lectern Conference recording TV speaker’s table Radio announcer Noisy environments TV “round table” discussion Church Stage News reporting MK 4 (cardioid) with close-speech guard B 5 D MK 4 (cardioid) with close-speech guard B 5 D MK 4 (cardioid), no popscreen required at distances greater than around one-half meter MK 4V (cardioid with lateral pickup) with pop filter PR 120 SV MK 4S or MK 40 speech cardioid; MK 41S speech su
Jimmy Haslip and Marcus Baylor of The Yellowjackets photo: Michael Frank 8
Headline Colette Modular System 6 8 16 20 page 23 6 System Overview 11 Microphone Capsules 13 Microphone Amplifiers 31 Accessories for the Modular System 41 9
THE Colette Modular System COLETTE modular Microphone capsule (MK 4 shown here) Microphone amplifier (CMC 6_ shown here) Colette Modular System The Colette modular system has been well proven for over thirty-five years, and is constantly being expanded. Any condenser microphone consists of two main components: a capsule and an amplifier. The capsule converts sound waves into electrical signals; it determines the essential sound quality of a microphone as well as its directional pattern(s).
microphone capsule (pg. 13 ff.) pad (pg. 45) capsule swivel (pg. 45) System Overview MK COLETTE modular optional: electrically Active Accessories microphone amplifier (pg. 31 ff.) DZC GVC KC Active Cable (pg. 42) CUT low-cut filter (pg. 44) CMC 6, P12, P48 CMC 5, P48 TR 200 KCg Adjustable Active Desk Stand (pg. 65) low-cut filter LC, low-pass filter LP (pg. 110) inline attenuator MDZ pg. 111 . . . VMS 5 U, microphone preamplifier with M/S matrix (pg.
Sara K.
page Microphone Capsules Pressure Transducers 14 Boundary-Layer Capsules 18 Wide Cardioids 21 Cardioids 23 Supercardioids 25 Figure-8 27 Switchable Capsules 28 13
Pressure Transducers COLETTE Microphone Capsule MK 2 omni modular – omnidirectional pattern – very flat frequency response – for use close to the sound source (frontal sound incidence) – often preferred for relatively close miking of instruments, vocalists, etc. As can be seen from the frequency response curve, this capsule type has flat frequency response for frontal sound incidence. This yields a very natural quality when picking up sound that is predominantly direct, i.e.
Pressure Transducers Microphone Capsule MK 2H COLETTE omni modular – omnidirectional pattern – mild high-frequency rise to compensate for losses at medium recording distance – often chosen for “spaced microphone” stereo pickup and “Decca Tree” arrangements If this microphone capsule is used indoors at medium recording distances (i.e. where direct sound energy is similar in amount to reflected sound energy), its overall response will be linear.
Pressure Transducers COLETTE Microphone Capsule MK 2S omni modular – omnidirectional pattern – slight high-frequency rise to compensate for losses at moderate recording distances – for a very wide range of recording applications – often preferred for “spaced microphone” stereo pickup and “Decca Tree” arrangements The MK 2S exhibits a slight high-frequency emphasis for frontal sound incidence, with only a slight rolloff of high frequencies off axis and in the reverberant sound field.
Pressure Transducers Microphone Capsule MK 3 COLETTE omni modular – omnidirectional pattern – diffuse-field capsule, for miking distances at which the predominant sound is no longer direct – useful for relatively distant placement in reverberant environments – as a room microphone, for “spaced microphone” stereo pickup and in “Decca Tree” arrangements The MK 3 is designed for placement in a diffuse sound field, i.e.
Boundary-Layer Capsules COLETTE hemisphere modular Boundary-Layer Capsule BLM 3g – microphone capsule (pressure transducer) designed for placement at an acoustic boundary – when the pickup angle changes, the sound color does not change – excellent reproduction of low frequencies – often preferred for orchestral recording BLM 3g with CMC 6 microphone amplifier +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k Frequency response curve BLM 3g + CMC 6 from outer to inner: up to 2 kHz 4 kHz 8 kHz 1
Boundary-Layer Capsules diffuse sound field cause the boundary-layer microphone's sensitivity to increase by only 3 dB. Thus a boundary-layer microphone will suppress diffuse sound somewhat, even though it is not directional. It will pick up less “room sound“ and the recording will be slightly “drier“ than it would be with an omnidirectional microphone.
Boundary-Layer Capsules COLETTE hemishpere modular Miniature Boundary-Layer Capsule BLM 03 Cg – pressure transducer with hemispherical pattern – active miniature version of the BLM 3g – unobtrusive, for a very wide range of recording applications – often preferred for room pickup or for placement on podiums or speakers' tables The BLM 03 Cg offers all the recognized advantages of the BLM 3g, while its smaller size permits more unobtrusive microphone placement.
Wide Cardioids Microphone Capsule MK 21 COLETTE wide cardioid modular – wide cardioid with especially consistent directionality throughout its frequency range – pleasant sonic impression, often described as “warm” – often preferred for use as a spot microphone, or as the main pair for overall stereo pickup This type of capsule has a directional pattern between omni and cardioid. The basic idea in designing this capsule was to combine the advantages of the cardioid with those of the omni.
Wide Cardioids COLETTE wide cardioid modular Microphone Capsule MK 21H – wide cardioid pattern with especially consistent directionality throughout its frequency range – high-frequency elevation for brilliance of sound – often preferred for use when recording vocals, acoustic guitar or percussion This capsule type is an outgrowth of our field experience with the MK 21.
Cardioids Microphone Capsule MK 4 COLETTE cardioid modular – classic cardioid, with consistent directionality throughout its frequency range – suitable for the widest range of applications, either as a spot microphone or for stereo recording with coincident, ORTF or M/S microphone arrangements – often preferred for singing or speaking voices and most instruments The MK 4 is our best-selling capsule.
Cardioids COLETTE Microphone Capsule MK 4V cardioid modular – – – – “vertical” (side-addressed) cardioid capsule for a very wide range of recording applications slight high-frequency emphasis often preferred for singing or speaking voices and most instruments The MK 4V was created in answer to requests for a cardioid with its main axis along the side.
Supercardioids Microphone Capsule MK 41 COLETTE supercardioid modular – supercardioid with highly consistent directionality throughout its frequency range – for music and speech – high directivity, comparable to that of a short “shotgun“ microphone up through midrange frequencies – often preferred for use in film sound recording and as a spot microphone in orchestras The MK 41 is strongly directional. Sound arriving from off axis is attenuated even more than with a cardioid.
Supercardioids COLETTE supercardioid modular Microphone Capsule MK 41V – supercardioid with especially consistent directionality throughout its frequency range – “vertical” (side-addressed) supercardioid capsule – for a very wide range of recording applications – high directivity, comparable to that of a short “shotgun“ microphone up through midrange frequencies – often preferred for use in music and speech recording, as a spot microphone and also as a main microphone, especially when using the OCT recor
Figure-8 Microphone Capsule MK 8 COLETTE figure-8 modular – pure pressure-gradient transducer – figure-8 pattern with near-ideal consistency across the frequency range – side-addressed (pickup perpendicular to the microphone body) – optimal for use in M/S and Blumlein stereo recording This capsule type is a true dipole (bidirectional) transducer, operating with a single diaphragm. Its main axis is at a right angle to the capsule, and is marked at 0° and 180° with a red and a black dot respectively.
Switchable Capsules COLETTE switchable modular Microphone Capsule MK 5 – – – – omni +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz Frequency response curve MK 5 + CMC 6 from outer to inner: up to 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz omni and cardioid patterns, mechanically switchable slight emphasis of the high frequencies broad range of applications preferred uses similar to those of the MK 2 or MK 2S and the MK 4: In the cardioid setting: for use with singing or speaking voices or most i
Switchable Capsule Microphone Capsule MK 6 COLETTE switchable modular – omni, cardioid and figure-8, mechanically switchable – very broad range of applications – main axis: lateral (perpendicular to the microphone body) – the most nearly “universal” capsule in the Colette modular system The MK 6 operates with a single diaphragm.
Jazz saxophonist Jan Garbarek with CMC 64 microphone and B 5 D windscreen Photo: Gert Rickmann-Wunderlich 30
page Microphone Amplifiers ## ... phantom-powered 32 ...
Microphone Amplifiers COLETTE Microphone Amplifier CMC _ modular – – – – MK _ microphone capsule CMC 6Ug microphone amplifier Type designation of a complete microphone: CMC 64 Ug 6 powering 12 V ± 1 V and 48 V ± 4 V phantom 4 capsule type MK 4 U connector XLR-3M g surface finish matte gray, non-reflective surface finish CMC 5Ug for 48 V phantom powering 32 flat frequency response extremely low noise and distortion balanced, very low-impedance output can be used with very long cables (several hundre
Microphone Amplifier COLETTE has input transformers. The filter in the standard version of the CMC 6 has a corner frequency of 20 Hz and a slope of 12 dB/octave, while in the standard version of the CMC 5 this filter has a corner frequency of 30 Hz and a slope of 6 dB/octave (but please see the following section on variant versions). modular Variant Amplifier Versions Special versions of the CMC 5 and / or CMC 6 are available with different gain (amplification factor) or extended frequency range.
Microphone Amplifiers amplifier version with extended high-frequency response) are shown on page 135. CMC ”+5 dB” The sensitivity of a microphone using this type of amplifier is 5 dB higher than with the standard version, but the equivalent noise level and maximum output voltage are not materially affected.
Digital Microphone Amplifier COLETTE Digital Microphone Amplifier CMD 2U modular – for digital inputs that implement the AES 42-2006 standard – for use with any and all microphone capsules of the SCHOEPS ”Colette” system – can be used with all SCHOEPS Active Accessories (extension tubes, cables, goosenecks and CUT filters) – offers freedom from analog interference – designed for highest-quality music recording, but also ideal for ENG and conference applications – only 100 mA current consumption (digital
Tube Microphone Amplifier COLETTE M 222 with MK 4 microphone capsule modular Tube Microphone M 222 Powering Units NT 222 DC and NT 222 AC – made exclusively for SCHOEPS by The model M 222 is based on the name of the legendary SCHOEPS tube microphone M 221 B. However, its circuit design does not merely recycle techniques from the sixties; rather, it unites a first-quality tube with fully up-to-date circuitry.
Battery-powered Microphone Amplifier Battery-powered Microphone Amplifier CMBI COLETTE modular – unbalanced, medium-impedance output – for mobile recording applications with short cables (a few meters) – for connection to any desired microphone input, e.g.
Battery-powered Microphone Amplifier COLETTE modular Battery-powered Microphone Amplifier CMBI Technical Specifications: Instead of a large XLR connector, the CMBI has a flush-mounted 5-pin miniature connector at the output which also allows for external powering. For normal connection of the CMBI to a DAT recorder, etc., a 5 m cable with a 3.5 mm mini stereo plug is included (see Fig. 1 below).
Microphone Amplifier for Pocket Transmitters Microphone Amplifier for Pocket Transmitters CMR COLETTE modular – specially designed for using SCHOEPS ”Colette”series microphone capsules with pocket transmitters – low power consumption: only about 1/20 to 1/50 that of a phantom-powered microphone – low-impedance, unbalanced output A SCHOEPS Colette-series condenser microphone normally consists of a CMC microphone amplifier plus one of the many available types of SCHOEPS Coletteseries microphone capsule, ope
By gracious permission of Maier Sound Design GmbH, Kamen 40
Headline page Accessories for the Modular System ## Active Accessories 42 Other Accessories 45 41
Active Accessories for the Modular System Active Colette Cables KC, WKC COLETTE modular Active Colette Cables may be inserted between any capsule of the Colette modular system and the microphone amplifiers CMC, CMD 2U and M 222. We recommend that the length not be excessive for the anticipated use, to avoid radio-frequency interference from sources such as SCR-equipped lighting boards.
Active Accessories for the Modular System Active Stereo Cable KCY for MK Capsules COLETTE for stereo microphone amplifier VST 62 IUg or stereo microphone preamplifier VMS 5 U modular 250 mm Due to its unbalanced signal arrangement, the output cable should be no longer than necessary.
Other Accessories for the Modular System Variable Low-Cut Filters CUT 1, CUT 2 COLETTE modular Frequency response of the CUT 1 at various settings of the control – can be screwed onto the CMC, CMD or M 222 microphone amplifiers – very effective suppression of low-frequency and infrasonic effects of wind and vibration: 24 dB/oct below 60 Hz (CUT 1) or below 30 Hz (CUT 2) – user-adjustable variable rolloff – offsets proximity effect The CUT 1 or CUT 2 is inserted between the capsule and the microphone ampl
Other Accessories for the Modular System Capsule Swivel GVC COLETTE modular – allows the angle of a capsule to be adjusted on all microphone amplifiers of the Colette modular system – adjustable from 0° through 120° in either direction The electrically passive GVC capsule swivel may be inserted between any capsule and microphone amplifier of the Colette modular system, or before an Active Cable, Active Extension Tube, or the CUT 1.
Other Accessories for the Modular System COLETTE Accessories for Stereo Recording: modular MAB 1000 Microphone bar for spaced microphone stereo recording (see page 84) STCg for ORTF stereo recording (see page 92) UMS 20 for M/S, X/Y and ORTF stereo recording methods (see page 114) AMS CI and WSR MS CI for M/S stereo recordings (see page 88) 46
Headline COMPACT SYSTEM 12 14 16 20 23 25 27 page 29 42 System Overview 49 CCM Compact Microphones 50 47
THE Compact System CCM COMPACT MICROPHONES CCM-L, CCM-U compact CCM _L CCM _U (special version) – 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) The CCM series offers a simpler alternative to the Colette series when there is no need to exchange capsules on a single amplifier.
System Overview CCM CCM _L compact Compact microphone (pg. 48 ff., 76 ff.) adjustableheight stand STV 900/1400 L3Ug, (pg. 58) straight extension tube, e.g. RL 700g (pg. 59) straight extension tube for mounting in table surface RLG 350 Ug (pg. 62) Stereo see page 83 ff. gooseneck for mounting in table surface S 250 L5Ug (pg. 62) Compact microphone with permanently attached cable; (special version, pg. 48 and 76 ff.) T2 CCM 4 movable twin table microphone, pg. 66 desk stand TSR 200 Lg, (pg.
CCM Compact Microphones CCM omni compact CCM 2 Compact Microphone – omnidirectional pattern – flat frequency response – for use close to the sound source (frontal sound incidence) – often preferred for relatively close miking of instruments, vocalists, etc.
CCM Compact Microphones CCM 3 Compact Microphone CCM omni compact – omnidirectional pattern – diffuse-field capsule, for miking distances at which the predominant sound is no longer direct – useful for relatively distant placement in reverberant environments – as a room microphone, for “spaced microphone” stereo pickup and in “Decca Tree” arrangements Technical specifications: pages 54 and 132 CCM 21 Compact Microphone wide cardioid – wide cardioid with especially consistent directionality throughout
CCM Compact Microphones CCM cardioid compact CCM 4 Compact Microphone – classic cardioid, with consistent directionality throughout its frequency range – suitable for the widest range of applications, either as a spot microphone or for stereo recording with coincident, ORTF or M/S microphone arrangements – often preferred for singing or speaking voices and most instruments Technical specifications: pages 54 and 132 cardioid CCM 4V Compact Microphone – – – – supercardioid “vertical” (side-addressed) c
CCM Compact Microphones CCM 41V Compact Microphone CCM supercardioid compact – supercardioid with especially consistent directionality throughout its frequency range – “vertical” (side-addressed) supercardioid capsule – for a very wide range of recording applications – high directivity, comparable to that of a short “shotgun“ microphone up through midrange frequencies – often preferred for use in music and speech recording, as a spot microphone and also as a main microphone, especially when using the OC
CCM Compact Microphones CCM hemisphere compact New! Boundary-Layer Microphone for fixed Installations BL CCM 3Lg – unobtrusive – avoids “comb filter” effect This special version of the CCM 3L compact microphone is equipped with a flange enabling it to be built into the surface of a table or speaker's rostrum. This makes the microphone nearly invisible, and at the same time improves the sound quality by eliminating comb filter effects.
page Accessories by Application Microphones on Stands 56 Microphone Stand 58 Extension Tubes 59 Table Mounting 61 Desk Stands and Boundary-Layer 66 Cable Hangers 67 Mounting on a Boom 68 Instrument Adapters 69 55
Microphones on Stands COLETTE Stand Clamp with Swivel SG 20 modular – for a microphone of 20 or 21 mm diameter (e.g. CMC, CMD, CMIT or CMBI) The base of the SG 20 has a 5/8"-27 NS internal thread. A threaded adapter is supplied for 3/8" and 1/2" mounting. The angle can be varied continuously in the vertical plane. Color: gray Dual Stand Clamp SG 22 COLETTE modular The angle between the microphones can be varied as well as the angle of inclination for the pair.
Microphones on Stands COLETTE Elastic Suspensions with Swivel A 20 S, A 20 modular – for a microphone of 20 or 21 mm diameter (e.g. CMC, CMD, CMIT or CMBI) The A 20 is recommended when only the microphone amplifier and a capsule are used, and maximum protection from vibration is desired, for example on a boom. When accessories such as the CUT filters, GVC or S 250 Cg are added to the microphone, the stiffer elastics of the A 20 S are required. A special clamp secures the microphone cable.
Microphone Stand CCM Adjustable-height Microphone Stand with Swivel STV 900/1400 L3Ug compact maximum height: 1400 mm – 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.
Extension Tubes COLETTE Active Extension Tube RC modular Active Extension Tubes are used between a Coletteseries microphone's capsule and amplifier. This provides an unobtrusive way to place a microphone capsule directly in front of a vocalist or announcer without blocking anyone's view. This type of extension tube has become the standard for miking orchestras in television and video productions.
Extension Tubes COLETTE Special Version of the RC Active Extension Tube: RC KC modular This special type of Colette Active Extension Tube terminates in a connector mounted on a flexible, 0.5-meter Colette cable. This connector is screwed onto the microphone amplifier, which may then be mounted on the vertical support rod with a clamp or inserted in the cable path at a hidden position.
Table Mounting Setting up microphones on a table top A good speaker's desk, or a table on which microphones are to be set up, calls either for a rather heavyweight construction or for a perforated metal surface to be used. A heavy tabletop will not flex much; a perforated surface on the other hand will radiate and reflect less sound energy than one which is flat and solid. It is not always necessary to use several directional microphones (e.g. cardioids) when recording roundtable discussions.
Table Mounting CCM Straight Extension Tube with two Swivels RLG 350 Ug compact – elegant table tube for CCM _L – swivel joints at both ends of the tube – tube length: 350 mm CCM _L compact microphone RLG 350Ug straight extension tube 1 or 2 × AF 1 flanged mounting adapter, pg. 116 Special versions (e.g. with permanently attached output cable) are available on request.
Table Mounting CCM Goosenecks RS 420 L5Ug and SRS 420 L5Ug compact New! – special long (420 mm) gooseneck – for use with any microphone of the CCM _L series – output connector: XLR-3M These goosenecks have a miniature Lemo plug for CCM _L compact microphones at the upper end and a short, rigid tube at the bottom. The tubing directly above this rigid part is flexible. In the SRS version the tubing near the upper end is flexible as well, allowing the microphone's angle to be set.
Table Mounting COLETTE Variant 1: modular CCM SGC Further ways of mounting microphones on a table with elastic suspension STR-TC 1. Simple mounting and a relatively restrictive grip. notch compact hole ST 20-3/8 CCM _L or CCM _U compact microphone or MK _ microphone capsule + KC cable SGC miniature stand mount with swivel, pg. 56 STR-TC vertical support rod, pg. 116 ST 20-3/8 mounting cylinder, pg. 116 AF 1 flanged mounting adapter, pg. 116 AF 1 COLETTE 2.
Desk Stands COLETTE Adjustable Active Desk Stand TR 200 KC 2g modular – for use with microphone capsules – elegant design – fully adjustable swivel joints at both ends of the tube This elegant microphone desk stand is easily adjusted in height and angle, thus offering an esthetically pleasing alternative to goosenecks, which are often twisted into awkward shapes. The permanently attached cable is brought out at the base of the TR 200 KC 2g.
Desk Stands CCM Double Tabletop Microphone with integral Desk Stand T2 CCM 4g compact This table microphone consists of two CCM 4 compact microphones (cardioids) rigidly attached to one another and facing in the same direction. They can be tilted forward or backward together. The second channel serves as a fail-safe backup. The permanently attached output cable terminates in an XLR-5M connector.
Boundary-Layer Plate; Cable Hangers COLETTE Boundary-Layer Adapter BLCg modular Turns any directional (e.g. cardioid or supercardioid) CCM compact microphone or capsule with Active Cable into a boundary-layer (“PZM”) microphone. This is especially useful when recording moving singers / actors on a stage, or when a microphone on a stand would be obtrusive. A rubber ring built into the bottom of the plate prevents inadvertent rotation of the plate or marring of the surface on which it is placed.
Operation on Booms (Mono) COLETTE Elastic Suspension for Boom Operation ACA 53 modular – especially for indoor use – small and lightweight – can be used with small, lightweight windscreens (W 20 R1, W 5 D) CCM compact This elastic suspension holds either a CCM compact microphone or the capsule end of a KC Active Cable plus a capsule of the Colette modular system onto the end of a boom. The microphone is held securely by a metal clamp with thumb wheel.
Instrument Adapters Picking Up the Sound of Musical Instruments ... is best accomplished with a normal microphone such as a CMC amplifier with MK 4 capsule. This can be stand-mounted, or an Active Colette Extension Tube can be used. On stage, however, the risk of acoustic feedback may necessitate very close miking – perhaps by means of an adapter that attaches directly to the instrument. That approach may also be necessary in order to get consistent sound despite a player's physical motions.
Instrument Adapters New! Violoncello Mount VA 3 Similar to the VA 1, but the span is adjustable between 80 - 140 mm. The VA 3 is also suitable for being attached to guitars. New! Double Bass Mount VA 4 Similar to the VA 1, but the span is adjustable between 200 mm - 260 mm. Very good results have been noted especially in classical music recording.
Instrument Adapters Adapter for Flute FA 1 – recommended microphones: CCM 8 compact microphone or MK 8 microphone capsule The FA 1 is a double clip made of plastic which fastens to the head joint of a flute. We recommend the MK 8 capsule or CCM 8 compact microphone, with the 0° axis oriented toward the embouchure hole.
The CMIT 5U shotgun microphone received a Pro Audio Review Excellence 2006 Award and was nominated for a 2006 TEC Award in MIX magazine.
Special-Purpose Microphones 40 page 43 44 Shotgun Microphone 74 Speech capsules /compact microphones 76 Headsets 79 Hand-held Microphones 80 73
Shotgun Microphone Shotgun Microphone CMIT 5 U New! – unusually low coloration of off-axis sound – suitable for music recording as well as dialogue – pickup quality remains constant even if the microphone is rotated on its axis – even greater immunity to wind noise than a SCHOEPS supercardioid – very lightweight, robust all-metal housing When making outdoor recordings of dialog, for example, even a supercardioid may pick up too much noise from nearby sources.
Shotgun Microphone Technical Specifications: Directional pattern: supercardioid / lobeshaped Frequency range: 40 Hz – 20 kHz Switchable filters: 80 Hz with 18 dB/Okt., 300 Hz with 6 dB/Okt., 5 dB lift at 10 kHz (shelving) Sensitivity: 17 mV/Pa Equivalent noise level (filters off): 14 dB-A**, 24 dB CCIR*** Maximum sound pressure level: 132 dB SPL at 0.5% THD Powering: 48 V ± 4 V phantom Current consumption: 4.4 mA Maximum output voltage: 1.
Microphones for Close Pickup COLETTE modular The microphones and capsules presented on the following pages are directional (cardioid or supercardioid). Each has a distinct low-frequency rolloff built in, to compensate for proximity effect and to reduce pickup of room noise. They are mainly used for speech at close range (e.g. 20 cm or less) when clarity and intelligibility of the spoken word is the primary requirement.
Microphones for Close Pickup COLETTE MK 40, CCM 40 modular +10 – for pickup of speech or music at close range (under 50 cm) – cardioid pattern – considerable attenuation of low frequencies – emphasis of high frequencies – for severe acoustic conditions 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz 10k 20kHz Frequency response MK 40 + CMC 6 This microphone type has the same features as the MK 4 S, but in addition emphasizes the frequency response in the 9 kHz region by 4 dB.
Microphones for Close Pickup MK 4A, CCM 4A +10 0dB -10 -20 20 50 100 200 500 1k 2k 5k 10k 20kHz Frequenzgang MK 4A + CMC 6 When cardioids are used in some situations, e.g. as hand-held microphones for vocalists or announcers, proximity effect can become quite prominent. In addition, the output level can become much higher than that of the other microphones being used at the same time, which may be more distant and / or of dynamic type. Neither characteristic is desirable.
Headsets 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 surroundings – excellent protection from vocal “popping” sounds – The earpiece on the opposite side can be folded out of the way of the ear.
Microphones for Close Pickup COLETTE Handheld Microphones CMH 64 U, CMH 641 U modular – built-in protection from plosive sounds (“popping”) and handling noises With public address systems, acoustic feedback and ”popping” noise are among the most common problems. Acoustic feedback The directionality of the SCHOEPS CMH microphones reduces the risk of feedback. Using a close-up microphone increases the proportion of direct sound, thus reducing the risk of feedback.
page Stereo and Surround Stereo microphones and Sets 82 Surround Sets 97 Stereo Preamplififer 105 81
Miniature Stereo – Modular System COLETTE M/S-, ORTF-, X/Y-Stereo M/S-Stereo ORTF-Stereo modular page 92 MK _ microphone capsules RCY page 87 2 × 250mm cable M/S-Stereo page 87 ff. KCY 250/0Ig Active Y-Cable page 43 0.
Miniature Stereo – Compact System M/S-, ORTF-, X/Y-Stereo ORTF-Stereo CCM _L compact microphones page 92 2 × 250 mm cable CCM compact M/S-Stereo page 87 ff. KLY 250/0I Y-cable page 113 X/Y-Stereo 0.
A/B and Blumlein Stereo COLETTE A/B Stereo modular A/B and OCT Stereo Mounting Bar MAB 1000 CCM compact – for two microphones in an A/B arrangement (can be used for ORTF) – with extension bar for a third, central microphone offset slightly in front of the other two (see pages 100 or 134); this is especially useful for OCT pickup – can be expanded for five-channel OCT surround MC-MAB microphone carriage 3/8" threaded stud MAB 1000 (as delivered) KMAB 1000 carrying case (included) This 1-meter-long
Sphere Stereo Stereo Sphere Microphone KFM 6 smaller version: KFM 360 – head-related stereo microphone for loudspeaker reproduction – very good imaging and sense of depth; good localization, very natural sound – with qualities of a dummy head when headphones are used for listening – natural sound with superior low-frequency performance – for phantom powering (12 V or 48 V) Stereo microphones such as the KFM 6 are distinguished by the simplicity of the recording technique and of the setup.
Sphere Stereo quencies, are responsible for the remarkably natural impression of space, depth and image typical of the KFM 6. Some practical information about the KFM 6: – The recording room should have a good sound. – In practice, the recording angle+ of the KFM 6 has a fixed value of 90°. – A LED pinpoints the stereo main axis. This is especially useful when the KFM 6 is positioned at some distance.
M/S Stereo COLETTE Active M/S Stereo Extension Tube RCY modular – 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 omnidirectional microphone are blended together, e.g. to obtain a “wide cardioid“ pattern CCM compact Tube lengths: 350 mm, 700 mm, 1200 mm Standard cable length: 2 m Special lengths of tube and cable are available.
M/S Stereo COLETTE KMSC modular CCM Double Clamp for Upgrading from Mono to M/S Stereo KMSC – for adapting a microphone of any directionality (including shotgun microphones) to M/S stereo, by the use of a CCM 8 (figure-8) compact No further parts are needed beyond the clamp and microphone. Existing windscreens can still be used. The small CCM 8 adds hardly any weight to that of the setup as a whole. CCM 8 compact microphone, pg. 27 CMIT 5 U shotgun microphone, pg.
M/S Stereo AMS LU = indoor version for CCM microphones; with KLY 115/0,25 SU cable CCM _L compact microphones AMS LI = indoor version for CCM microphones; with KLY 115/0,25 I cable Lemo miniature plug (L) CCM CCM _L compact microphones compact Lemo miniature plug (L) 115 mm 115 mm KLY 115/0,25 SU KLY 115/0,25 I 250 mm 250 mm XLR-5M 5-pin “female” Binder miniature connector (I) extension cable, for example KS 5 U, 5 m long extension / adapter cable, for example KS 5 IU, 5 m long AK SU/2U ad
M/S Outdoors COLETTE modular ... with the Modular System 115 mm MK 8g capsule (figure-8) MK _, e.g. MK 4g (cardioid) WSR MS CI 150 mm dia. AMS CI = elastic suspension with Active Y-Cable KCY 115/0,25Ig extension e.g. KS 5 I (5m) This approach to M/S recording takes advantage of the modular nature of the Colette System, and might be preferred by those who already own one or more of the Colette capsules involved.
M/S Outdoors CCM compact WSR MS LI, 150 mm dia. ... with CCM _L Compact Microphones This version is the one which we recommend particularly to our newer customers since the Y-cable is the only component specially required for this application. The microphones themselves are in no way limited to use only for M/S recording. WSR MS LI basket windscreen for M/S with AMS LI elastic suspension (premounted Y-cable KLY 115/0,25U is included), without microphones.
M/S and ORTF Stereo COLETTE Adapter for M/S using Boundary-Layer Technique MS-BLM modular For the BLM 3g boundary-layer capsule and MK 8 microphone capsule with Active KC Cable or CCM 8U compact microphone COLETTE Universal Stereo Bracket UMS 20 modular – for two microphones of the Colette modular system (e.g.
ORTF Stereo COLETTE ORTF Stereo Microphone MSTC 64 – – – – – modular for recordings with ORTF technique placement relatively uncritical good stereo imaging for a very wide range of recording applications for 12 / 48 V phantom powering This microphone consists of a T-shaped body with two built-in microphone amplifiers, and a matched pair of MK 4 cardioid capsules of the Colette modular system which are mounted 170 mm apart with an included angle of 110° (ORTF system).
X/Y Stereo X/Y Stereo Microphone CMXY 4V – – – – CMXY 4V Ug actual size 180° 90° 0° The angle between the microphone’s axes can be adjusted continuously in the range from 0° to 180°. Technical Specifications: Polar pattern: 2 × cardioid with lateral pickup (CCM 4V) Frequency range: 40 Hz – 20 kHz Maximum SPL: 132 dB SPL at 0.5%THD Equivalent noise level: 14 dB-A*, 24 dB (CCIR**) Phantom powering: 12 V ± 1 V (8 mA) or 48 V ± 4 V (4 mA), automatically switched Impedance: 90 Ohms Max. output voltage: ca.
X/Y Stereo CMXY 4V Ig CMXY 4V Ug WMS windscreen A 20 S elastic suspension A 20 S elastic suspension KS 5 IU adapter cable CMXY 4V Ig suspended WSR CMXY basket-type windscreen with A 20 CMXY elastic suspension (modified A 20 S) WSR CMXY Windjammer ; fur-like “overcoat” Notes: If the “basket”-type windscreen WSR CMXY is to be used, the version of the microphone with miniature output connector (“I”) would be preferable.
X/Y Stereo COLETTE Universal Stereo Bracket UMS 20 modular – for two STANDARD Microphones of the Colette modular system (e.g.
Headline page Surround Sets Sphere Surround 97 OCT /OCT Surround 100 “Double M/S“ 101 “IRT Cross“ 103 97
Sphere Surround Surround Microphone System by Bruck with KFM 360 and DSP-4 KFM 360 – compact, highly effective arrangement – extensive capability for post-processing in digital domain (many important parameters can be adjusted after the recording has been made) – digital and analog inputs and outputs – analog-style controls – user preference settings can be stored and recalled SGC-KFM The central unit in this system is the KFM 360 sphere microphone.
Sphere Surround of adapting to a recording situation – to the acoustic conditions in the recording space – and this can even be done during post-production if the unprocessed microphone signals are recorded. The signals from the four “virtual microphones“ comprise a type of surround reproduction which is valid in its own terms but lacks the center channel and lowfrequency channel of the standard 5.1 approach, so these additional facilities are provided by the digital signal processor.
OCT and OCT Surround COLETTE OCT Stereo Bar (by Günther Theile, IRT Munich, Germany) MAB 1000 4 – 100 cm modular – for recording the three front channels for surround – can also be used for A/B stereo (spaced omni recording) – 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 CCM compact FRONT 8 cm OCT stereo bar MAB 1000 Microphones: center: MK 4 cardioid + CMC 6 or CCM 4 sides: 2 ×
Double M/S M/S stereo pair I (FRONT) “Double M/S“ Surround with Double MS Set – requires only three microphones and channels for 5.0 surround – very small, lightweight array – can be well protected against wind (with “fur” Windjammer) – matrixing can be performed during or after recording ”Double M/S” is an improved version of the well-known M/S stereo recording technique.
Double M/S 1. Double M/S Set with Splitter The DMS splitter box is a passive device that simplifies connecting a double M/S microphone array to the phantom-powered inputs of preamplifiers or mixers that contain matrixing circuitry (e.g. 2 × SCHOEPS VMS 5 U). It divides the three signals into five (the center channel plus the front- and rear-facing M/S pairs), and prevents the two microphones which serve dual functions from being powered twice. FRONT WSR DMS LU (150 mm dia.
Double M/S, IRT Cross 3. Double M/S Set with CMIT Instead of a cardioid microphone for the front M channel, our CMIT 5 ”shotgun” microphone can be used, with the other two microphones (the side-facing figure-8 and the rear-facing cardioid) attached to it via two KMSC double microphone clips. A special, longer windscreen is provided. This set works well with the DMS splitter box as described previously.
Headline Microphone Preamplifier 105
Microphone Preamplifier COLETTE Stereo Microphone Preamplifier with Phantom Powering and M/S Matrix VMS 5 U modular CCM compact rear panel, as seen from above underside 106 – 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/S post-production – inputs: XLR-3F (balanced) and
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 applications. This version is not recommended for audio applications because of the possibility of infrasonic noise problems.
Microphone Preamplifier Technical Specifications: Inputs Switchable 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/S dematrixing). Input impedance: 20 kOhms Frequency range: 20 Hz – 80 kHz (-3 dB) Recommended minimum sensitivity of microphones at XLR inputs: 8 mV/Pa Maximum input level for <0.5% THD: at 4 dB gain setting: 14 dBV (5Vrms) at 20 dB gain setting: -2.
page Accessories arranged by Category Electronic Accessories 110 Cables /Adapter Cables 112 Mechanical Accessories 114 Windscreens and Popscreens 119 109
Electronic Accessories COLETTE Active Low-Cut Filters LC 60 U (60 Hz), LC 120 U (120 Hz) modular – active low-cut filters for phantom-powered microphones, in particular CCM COMPACT CONDENSER MICROPHONES and CMC microphones of the Colette modular system – for standard phantom power, 12 V or 48 V CCM compact Technical Specifications: Filter: in-line low-cut, Butterworth, 18 dB/octave Cut-off frequency (-3 dB): LC 60 U: 60 Hz, LC 120 U: 120 Hz A maximum of two filters may be used in series, which would t
Electronic Accessories Technical Specifications: Filter: in-line low-pass, critical damping, 12 dB/octave Cut-off frequency (-3 dB): 40 Hz Output impedance: 40 Ohms @ 1 kHz with SCHOEPS CCM compact microphones and CMC standard Colette microphone amplifiers Gain: 0 dB Maximum output voltage (depends on current drawn by microphone): ca.
Cables /Adapter Cables SCHOEPS Microphone Cables are ... – particularly thin (4 / 4.4 mm), extremely robust (Kevlar fiber) – hardly visible when suspended – 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 on these two pages.
Cables /Adapter Cables CCM K 5 LU compact This is the adapter cable from the Lemo output connector of the CCM _L COMPACT CONDENSER MICROPHONES to XLR-3M. It is supplied with the CCM _L. Diameter: 3 mm Length: 5 m; other lengths are available on request CCM Stereo Cable KLY compact for CCM _L compact microphones The forward ends of the KLY are 250 mm long (except the WSR MS). The output cable can be any reasonable length desired. The 100 mm version KLY 250/0 I results in a particularly compact unit.
Mechanical Accessories COLETTE Sphere Attachment KA 40 modular This sphere accessory (40 mm diameter) is for use with omnidirectional microphones as shown in the photo at left. It creates the illusion of closer placement so that greater miking distances can be used while maintaining good ”focus” in the sound. This in turn improves the blend and balance when recording orchestras or choruses, for example.
Mechanical Accessories COLETTE Miniature Stereo Mounting Bar M 100 C modular ORTF with two axially addressed capsules or microphones: MK 4 or MK 5 capsules + KC Active Cables or CCM 4 or CCM 5 compact microphones X/Y as above or with laterally addressed capsules or microphones such as the MK 4V or CCM 4V U / L CCM ORTF The M 100 C is the solution for SCHOEPS compact stereo recording rigs. This “T-Bar“ style mount is unobtrusive with a bar length of only six inches and a black anodized finish.
Mechanical Accessories COLETTE modular Flanged Mounting Adapter with Internal Shock Mount AF 1, Mounting Cylinders ST 20-3/8 and STR-TC SGC CCM compact STR-TC notch hole ST 20-3/8 pin with slot – for clamping mechanism AF 1 ST 20-3/8 - extended version for two AF 1 This convenient elastic suspension device accepts any microphone or accessory (such as a gooseneck) with a 20 mm diameter. A clamping arrangement holds the item in place.
Mechanical Accessories Stand Support Clamp for a Microphone Amplifier K 20 STR COLETTE modular With this clamp a CMC microphone amplifier can be mounted onto an STR vertical support rod or any other rod 12 mm in diameter. This is especially useful for RC KC extension tubes of the Colette modular system whose flexible cable attaches to a CMC amplifier. Color: gray 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" internal threads.
Mechanical Accessories STR vertical support rod Heavy Table Stand T 5g – with 3/8" threaded stud, e.g. for STR support rods T 5g Dimensions: diameter: 129 mm, height: 52 mm Weight: 1.5 kg Surface finish: matte gray (g) Heavy Floor Stand BF 250 The BF 250 is supplied with a quick release twist-lock chuck, type SPV 12-3/8, to create a quick connect and disconnect system for an STR vertical support rod. This can simply be plugged into the chuck and tightened by hand with a half turn of the milled cap nut.
Windscreens and Popscreens Which popscreen or windscreen is right for my microphone? Before taking up this question, one should first consider the choice of microphone type. With a SCHOEPS supercardioid, the level of noise in mild to moderate wind will be some 2 to 5 dB higher than with a SCHOEPS cardioid under similar conditions. But the difference in wind noise pickup between pressure transducers and pressure gradient transducers generally (i.e. omnidirectional microphones vs.
Windscreens and Popscreens Attenuation of the A-weighted wind-noise level compared to the unprotected transducer at a wind speed of 18 km/h (ca. 11 mph) ... These results are A-weighted according to IEC 61672-1. ...
Windscreens and Popscreens Popscreens PR 120 S PR 120 SV B1D for microphones with axial pickup; page 122 for microphones with lateral pickup; page 122 for microphones with axial pickup; page 122 B1 B5 W5 light close-speech guard; protection against rosin deposit (see violin adapter); page 123 close-speech guard for mild wind; page 123 windscreen for strong wind; page 123 B 20 B 20 S W 20 W 20 R1 close-speech guard; page 123 close-speech guard; page 123 windscreen for medium wind; page 12
Windscreens and Popscreens Popscreens PR 120 S and PR 120 SV PR 120 S SG 20 A 20 S These popscreens are a patented product of Tonstudio Pauly. They guard against the popping noise generated by plosives such as “P” and “T” during close-miking. The popping noise is caused by an airstream which accompanies these consonants. The PR 120 S damps this stream with two layers of a lightweight fabric attached to a rugged aluminum frame.
Windscreens and Popscreens Solid Foam Popscreen B 5 Acoustic foam close-speech popscreen; provides sufficient protection at normal speaking distances for cardioids and other directional capsules, especially when speech capsules are used. With omnidirectional capsules it may even be used outdoors in light wind. Minimal effect on sound quality. Dimensions: 70 mm × diameter 45 mm (max.
Windscreens and Popscreens Basket W 20 Basket windscreen with nylon fabric, made of two separable halves. It is rain-resistant and less unusuallooking than a fur-like windscreen. The capsule front must be positioned approximately at its center. Diameter: 80 mm; color: light gray Basket Frame with synthetic Fur Cover 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, with no greater impairment of the sound quality.
Windscreens and Popscreens Basket Windscreens WSR MS, WSR MS CI, WSR MS LI, WSR MS LU COLETTE modular (see miniature stereo on pages 82 and 90) CCM This is the most effective windscreen that we offer. It can be used with one or a pair of microphone capsules on KC Active Cables, or CCM _L or CCM_U compact microphones. It contains an AMS double elastic suspension for M/S stereo recording.
Windscreens and Popscreens Hollow Foam Ball W 5 D – for use on pressure-gradient and pressure transducers in wind. The foam encloses an air chamber around the capsule, similar to a basket windscreen. It is highly effective, yet it has only a slight influence on the sound. When using CCM _L compact microphone, please be careful to place the W 5 D all the way onto it.
page Technical Appendix Principal Microphone Characteristics 128 Stereo Techniques 131 Surround Techniques 132 XLR, Cable Specifications 133 Overview of Capsule Specifications 134 Frequency Response Curves for ”xt” Amplifiers, Miscellaneous 135 127
Principal Microphone Characteristics Pressure Transducers ... are characterized by an omnidirectional polar pattern, i.e. they pick up sound from all directions to an (ideally) equal degree. Microphones of this type do not have “proximity effect“ (low-frequency emphasis with close placement to a sound source). But condenser microphones operating on this principle can have flat frequency response down to the lowest audible frequencies, permitting full, impressive low frequency sound reproduction.
Principal Microphone Characteristics the lower frequencies in a person’s voice will be restored to normal by virtue of proximity effect, resulting in a clear and full sound. By choosing a microphone of high directivity it is also possible to avoid acoustic feedback. If a loudspeaker is set up within the reverberation radius*, it should, for obvious reasons, be positioned where the microphone has its minimum sensitivity.
Principal Microphone Characteristics a shotgun microphone should generally be kept fairly close to the intended sound source. 5. The usefulness of shotgun microphones for stereophonic recording is limited by the fact that their polar patterns differ at low vs. high frequencies.
Stereo Techniques Overview of Stereophonic Recording Techniques Overview of surround recording techniques: see following page Stereo recording coincident microphone principle placement level differences + minor arrival-time differences microphones separ- major arrivalated by an acousti- time differences cally opaque object Name ORTF (for example) Jecklin disk (for ex.
Surround Techniques Category of microphone arrangement Coincident placement Near-coincident placement Microphones separated by an acoustic baffle Spaced microphones Principle by which the stereo effect is obtained level differences level plus minor arrivaltime differences frequency-dependent level and time differences arrival-time differences primarily Typical setups Double M/S, Firstorder Ambisonics OCT Surround, MMAD, KFM 360 system INA 5, IRT cross Decca Tree, Omni Curtain, Polyhymnia Array
Specification for Cables, XLR Pin Assignment Specifications for SCHOEPS Microphone Cables – flexible, even in the cold – highly tear-resistant insulation (Kevlar-reinforced) – high bending strength conductor diameter: insulating material: conductor arrangement: shielding: outer covering: outer diameter: weight: minimum bending radius: resistance: capacitance (conductor / conductor): insulation resistance: 2-conductor 0.
Overview of Capsule Specifications 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). microphone type polar (MK _ / CCM _) pattern frequency range sensitivity MK / CCM 2* omni 20 Hz – 20 kHz* 16 mV/Pa MK / CCM 2H* omni MK / CCM 2S* MK / CCM 3* equivalent noise level signal-to-noise CCIR*** A-weighted** A-weighted** 83 dB-A max. SPL 0.
Frequeny Response Curves ”xt” Amplifier, KA 40 Frequency response of CMC 6 xt or CMD 2 xt amplifiers with various capsules: +10 +10 0dB 0dB -10 -10 -20 50 100 200 500 1k 2k 5k 10k 20k 50kHz -20 50 Frequency response curve MK 2 + CMD 2 xt or CMC 6 xt +10 0dB 0dB -10 -10 100 200 500 1k 2k 5k 10k 20k 50kHz -20 50 Frequency response curve MK 2H + CMD 2 xt or CMC 6 xt +10 0dB 0dB -10 -10 100 200 500 1k 2k 5k 10k 20k 500 1k 2k 5k 10k 20k 50kHz 100 200 500 1k
Product Finder index 137
Product Overview double pickup Recording technique: mono / A/B baffle-derived stereo Recording situation: on a stand pg. 56 pg. 56 pg. 57 pg. 80 pg. 58 pg. 59 pg. 59 pg. 56 pg. 60 pg. 85 pg. 56 pg. 56 pg. 98 pg. 57 pg. 84 on a table or lectern, (fixed) pg. 54 pg. 64 pg. 64 pg. 66 pg. 65 pg. 20 pg. 67 pg. 67 pg. 67 pg. 62 pg. 62 pg. 61 pg. 64 pg. 65 pg. 66, 62 pg. 63 pg. 66 on a table (movable) pg. 66 hanging on an instrument pg. 85 pg. 71 pg. 71 pg. 69 pg. 71 pg.
Product Overview ORTF pg. 93 pg. 93 pg. 92 pg. 92 X/Y M/S pg. 92 pg. 95 Blumlein pg. 92 pg. 98 pg. 84 pg. 96 pg. 92 surround pg. 75 pg. 96 pg. 87 pg. 103 pg. 101 pg. 88 pg. 103 when perforated metal is used instead of a solid table top; pg. 94 pg. 100 pg. 87 when perforated metal is used instead of a solid table top; pg. 94 pg. 87, 118 pg. 93 pg. 95 pg. 67 pg. 93 pg. 87 pg. 98 pg. 19 pg. 95 pg. 88 pg. 89 pg.
Index by Product Category Accessories Active, modular system 41 ff. electronic 110 mechanical 114 Active Accessories 41 ff. Active Cables 42 ff. Active Extension Tubes, mono 59 double version 60 M/S stereo 43, 87 Adapter cables 112 ff. Attachment 114, 135 Attenuators 45, 111 Base 118 Bass filters for modular system 44 Bass filter for phantom-powered microphones 110 Boundary-layer adapter 67 Boundary-layer capsules 18 ff.
Index Search by Product Name AC ACA 53 AF 1 AK DMS 3U AKI/2C AK SU/2U AK 2U/SU AMS, AMS CI, -LI, -LU AMS 22 A 20 (S) A 20 CMXY A 22 (S) BBG BF 250 BLCg BL CCM 3Lg BLM 03 Cg BLM 3g B1 B1D B5 B 5 D, B 55 D B 20 (S) CB-MAB CB 140, CB 200, CB 250 CCM _, all types CMB-I CMC _Ug CMD 2U CMH 64U, CMH 641U CMIT 5 U CMR CMXY 4V Ig / CMXY 4V Ug CUT 1g, CUT 2g C2 CCM 4 Ug DMS-Splitter Double MS Sets DSP-4 KFM 360 processor DZC 10g, DZC 20g F 5g FA 1 GA 1 GVCg HBL HC HSGMSC HS 2S, HS 4VXS H 20g KA 40 KC _g KCY 250/ _ Ig
Notes 142
Notes 143
Schalltechnik Dr.-Ing. SCHOEPS GmbH Spitalstr. 20 76227 Karlsruhe Germany Tel.: +49 721 / 943 20-0 · Fax: +49 721 / 495 750 mailbox@schoeps.de · www.schoeps.de U.S. editorial consultant / translator: David Satz Not responsible for errors or omissions. © Schalltechnik Dr.-Ing.
