Schoeps

This capsule type has a flat frequency response for frontal sound incidence. This yields a very natural sound when recordings are made within the reverberation radius, where the direct sound (frontal incidence) predominates over the reverberant sound (random angles of incidence).

This type of microphone can and should be used very close to the sound source. The sound image never becomes overly brilliant or sharp. Care must be taken to ensure that the microphone axis is aligned with the sound source, as a loss of treble would result from lateral incidence.

The MK 2 capsule has qualities of a measuring microphone, which is why it has been used for a long time also for measuring purposes.

For calibration with B&K devices, a mechanical adapter of 20 mm diameter is available in inch dimensions, of type AMBK1.

• Omnidirectional capsule (genuine pressure receiver)
• Constant frequency response
• Corrected for a free sound field
• For use close to the sound source
• Frequency range: 20 Hz - 20 kHz
• Sensitivity: 15 mV/Pa
• Equivalent noise level: 11 dBA
• Signal-to-noise ratio: 83 dBA
• Peak sound pressure level (at 0.5% THD): 130 dB
• Colour: Grey

The MK 4 is optimised with regard to insensitivity to rear-incident sound. As is typical for the classic cardioid, the attenuation is 6 dB at 90° lateral incidence, up to 30 dB with incidence from the rear - depending on the frequency and the distance. Diffuse incident sound is reproduced 4.8 dB weaker than frontal, a value which corresponds to the bundling measure. The larger this is, the less "space" a microphone transmits and the lower its susceptibility to acoustic feedback.

With its polar pattern, at the same reverb balance, the MK 4 can be positioned approximately 1.7 times as far away from the sound source as a pressure receiver of the same sensitivity. Even in the diffuse sound field, i.e. at a great distance from the sound source in the room, this microphone type has a constant frequency response - except for a slight increase at 10 kHz.

The sound image is present and free from discolouration. This microphone type is equally suitable for voice and music recordings, which is why it is used in the ORTF stereo microphone (MSTC 64 Ug, or STCg). As an XY pair as well as a mid-microphone in an MS arrangement, it also delivers excellent results.

This microphone type is very versatile and is therefore used most frequently.

• Cardioid
• For speech and singing at a short distance
• For universal use
• High frequency independence of the polar pattern
• Frequency range: 40 Hz - 20 kHz
• Sensitivity: 13 mV/Pa
• Equivalent noise level: A-rated: 15 dB-A
• CCIR: 24 dB
• Noise ratio, A-weighted: 79 dB (A)
• Peak sound pressure level (at 0.5% THD): 132 dB
• Surface: Matt grey

• For Colette/CMC series
• Vertical collusion
• Characteristic: Kidney
• Frequency range: 40 - 20,000 Hz
• Slight treble boost
• 13mV/Pa
• 132dB max SPL
• Signal to noise ratio 80dB-A
• Colour: Grey

• Consistsof 1x SCHOEPS CMC 1, microphone amplifier and 1x MK 41 capsule
• Polar pattern: Supercardioid
• Frequency range: 40 - 20.000 Hz
• Sensitivity: 13mV/Pa
• Max. sound pressure level: 135 dB
• Signal-to-noise : 80dB-A
• Colour: Grey
• Includes 1x SG20 microphone clip, 1x B5 windscreen and 1x cable tie in an elegant wooden case

The basic idea in designing this capsule was to combine the advantages of the cardioid with those of the omni. This results in a pickup pattern which blends the two sets of characteristics. It has fuller and more extended low-frequency response than a cardioid, with less proximity effect, while picking up more room sound than a cardioid.

The polar diagram shows the directivity of the MK 21 to be only slightly dependent on frequency. This contrasts with omnidirectional capsules, whose directivity increases with rising frequency, and with cardioids (at least smaller ones), which tend to accentuate high frequencies that arrive at oblique angles.

The polar diagram shows the directivity of the MK 21 to be only slightly dependent on frequency. This contrasts with omnidirectional capsules, whose directivity increases with rising frequency, and with cardioids (at least smaller ones), which tend to accentuate high frequencies that arrive at oblique angles.

The MK 21’s orientation is less critical than with a cardioid, since direct sound arriving on axis and reverberant or other sounds off axis are both reproduced accurately. This lack of coloration in the off-axis pickup produces a “warm” and natural sonic impression.

The low directivity of this capsule type prevents it from generating large enough level differences for X/Y use, though M/S and near-coincident spacings are often successful.

Together with the cardioid and supercardioid, this is one of the most preferred types among our capsules.

• Especially consistent directionality throughout its frequency range
• Pleasant sonic impression, often described as “warm”
• Frequency response: 30 Hz - 20 kHz
• Sensitivity: 10mV / Pa
• Equivalent noise level: 16 dBA
• Signal-to-noise ratio: 78 dBA
• Maximum sound pressure level (at 0.5% THD): 134 dB
• Colour: Grey

• For classical vocal applications

Consists of:

• RC 1200g active tube with receptacle for MK capsules
• Length: 1200mm
• MK4g capsule
• Cardioid
• CMC 6 Ug Microphone Preamplifier
• Stand base BF 250
• STR 350g stand rod and windshield B5D
• Colour: Anthracite

• Made of nylon fabric for the CMC series
• Two separable halves
• Wind noise attenuation at 18 km/h with omni-directional microphones 29 dB-A
• Wind noise attenuation at 18 km/h with super-cardioid capsule 38 dB-A
• Diameter: 80 mm
• Colour: Light grey

• Consists of 1x SCHOEPS CMC 1, microphone amplifier and 1x MK 4 capsule
• Polar pattern: Cardioid
• Frequency range: 40 - 20.000 Hz
• Sensitivity: 13mV/Pa
• Max. sound pressure level: 135 dB
• Signal-to-noise ratio: 80dB-A
• Colour: Grey
• Includes 1x SG20 microphone clip, 1x B5 windscreen and 1x cable tie in an elegant wooden case

• Consists of 1x SCHOEPS CMC 1, microphone amplifier and 1x MK 2 capsule
• Polar pattern: Cardioid
• Frequency range: 40 - 20.000 Hz
• Sensitivity: 13mV/Pa
• Max. sound pressure level: 135 dB
• Signal-to-noise ratio: 80dB-A
• Colour: Grey
• Includes 1x SG20 microphone clip, 1x B5 windscreen and 1x cable tie in an elegant wooden case

Highly effective wind shield for pressure gradient and pressure receivers with low sound effects. The foam hollow sphere encloses an air volume around the capsule, similar to a wind protection basket. Particularly when using CCM-L, care must be taken that the W 5 D is inserted as far as possible (not suitable for active cables, MK 6, MK 4 V, MK 4 VXS, MK 41 V, MK 8, as well as the corresponding CCM)

• Dimensions: ball with Ø 90 mm
• Colour: Black
• Additional black flocking

• Simple design
• For 20 mm microphones (CMC with capsule)
• Colour: Grey

It can operate on both 12V and 48V phantom power and has low output impedance (25 ohms to P12 and 35 ohms to P48, respectively). The current consumption is 8 mA (P12) or 4 mA (P48).

Externally, the CMC 6 xt differs from the standard version only in the engraving by an "xt" for "extended" on the back. But the essential thing is its CMC 6-based circuit, which has been extended to continue the high-frequency response up to 40kHz.

• With extended frequency response up to 40 kHz
• For capsules from the MK series
• Powered by 12V - 48V phantom power
• Especially low-impedance output, for long cable lengths (up to 100m)