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power supplies below.

Phan tom  po we ring  to  stan dard 
DIN EN 61938

Correct powering is essential. There have
been various myths and misunderstandings
about it. Authoritative information is con-
tained in the standards documents, but few
people have access to them which is why we
are offering this detailed explanation.

Phantom powering is designed to be ”invis-

ible” and harmless to balanced microphones
which were not specifically designed to use it;
this includes most balanced, professional
dynamic and ribbon microphones, as well as
condenser microphones that use vacuum-tube
circuitry. Exceptions are quite rare. The only
likely cases in which standard phantom power-
ing will endanger a balanced microphone (e.g.
a ribbon) are if a microphone cable, con nector
or adapter is defective or wired in a non-stan-
dard way, such that one modulation lead of the
microphone is shorted to ground at DC while
the powering is on. If a microphone is con-
nected to such a cable with the powering
turned on, impulse current will flow through
its coil or ribbon, possibly causing damage. 

Fig. 1

shows the only valid 48 V and 12 V

phan  tom powering circuit (abbreviations: P48
and P12) that can be realized with resistors as
opposed to a center-tapped input transformer.
This illustration is based on the international
standard document EN 61938 of 1997. 

The permissible tolerance of the feed resistor

values as such is ±20%. However, the difference
between the resistors of any one pair should
be less than 0.4% (i.e. 27 Ohms for 48-Volt
phantom powering  with 6.8 kOhm). This
close matching is necessary to maintain ade-
quate impedance balance for the sake of com-
mon mode rejection. It also avoids the flow of
DC in an input transformer should one be
present, which could lead to distortion or a
reduced dynamic range.

A microphone designed for 48 V phantom

powering could draw as much as 10 mA
according to the standard; a 

SCHOEPS

CCM

will draw about 4 mA. This falls well within
the limit set by the prevailing standard.  There
are certain commercially available power sup-
plies, preamplifiers, and mixing desks – mostly
older, but some more recent – which fail to
meet this standard and hence may not be able
to power 

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microphones adequately. 

If in doubt, equipment should be checked to
verify its suitability for professional work with

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microphones. On page 7 a method is

described for checking a phantom supply
quickly and easily.

For P12 the standard allows a current of 

15 mA. A

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CCM will draw 8 mA. 

Fig. 2

shows a bal an ced but groun ded am -

pli fier in put. In this case eit her a trans for mer
(see fig. 1) or ad di tio nal ca pa ci tors ha ve to be
in ser ted into the au dio li ne.

Unbalanced Operation

Our microphones are intended for balanced
operation such as with the VMS 5 U preampli-
fier from 

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, which is why they should

be operated with balanced inputs. Otherwise
the vulnerability to interference would be
increased. However some equipment only has
unbalanced inputs in which case an unbalanced
input should be balanced with a high-quality
microphone input transformer. This will allow
the signal leads from the microphone to be
kept balanced, for best rejection of interference. 

If such an arrangement is not possible, how-

ever, a CCM microphone may be operated in
unbalanced mode by taking the signal from
pin 2 via a coupling condenser with a value as
shown in Figure 2 above. The signal from pin 3
should be left unconnected; do not short it to
ground. This ”unbalancing act” must occur
between the power supply and the preampli-
fier input, however, since naturally all three
pins of the microphone must still connect to
its phantom or parallel power supply. 

Simultaneous Connection to Multiple Inputs

If a microphone has to be connected to multi-
ple inputs simultaneously, an active micro phone
splitter should be used in order to preserve
the loading and powering conditions for the

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GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: +49 (0)721 943 20-0 · Fax: +49 (0)721 943 2050

www.schoeps.de · [email protected]

Phantom Powering (continued)

5

Technology

Summary of Contents for CCM 2

Page 1: ...election 8 Basic microphone characteristics 9 Suggested microphones for specific applications 10 Pressure transducers 11 Pressure gradient transducers 12 Switchable microphone 16 Microphones for close...

Page 2: ...adjustable height stand STV 900 1400 L3Ug Stereo COMPACT MICROPHONE microphone tubes e g RL 700g gooseneck for table mounting SRS 420 L5Ug Y cable KLY I Y cable KLY SU KS 5IU adapter cable to XLR 5M A...

Page 3: ...e charge the capacitive capsule obtain the audio signal from it and convert that signal into one which is balanced and low impedance The circuitry of the Compact Microphones features a balanced class...

Page 4: ...standard 12 Volt or standard 48 Volt phantom power ing They are therefore not 12 to 48 Volt microphones Any input to which it is con nected must implement one of those two standard phantom powering me...

Page 5: ...t 4 mA This falls well within the limit set by the prevailing standard There are certain commercially available power sup plies preamplifiers and mixing desks mostly older but some more recent which f...

Page 6: ...ce Maximum Cable Length Cable lengths of up to 300 meters are possible but the practical limit depends on the electrical capacitance of the cable which is sometimes an unknown quantity The lower this...

Page 7: ...modulation leads with a micro phone connected e g by opening the connector shell of the cable The two voltages from pin 2 and pin 3 to pin 1 must be identical They should be about 34 Volts minimum 30...

Page 8: ...les increased directivity may be required either for the sake of a drier recording or for suppressing sound from adjacent instruments In this case we recommend the supercardioid CCM 41 or shotgun micr...

Page 9: ...idirectional figure 8 The frequency response of our figure 8 is nearly the same in all directions the wide cardioid microphone also offers this advantage Elevation of low frequencies as working distan...

Page 10: ...Cardioid with pop filter In general CCM 4 cardioid CCM 22 Open Cardioid or CCM 21 wide car dioid Organ CCM 2S omni also useful when trying to obtain more room sound especially when the room is less th...

Page 11: ...ll necessary to aim them at the sound source Uses CCM 2 relatively close miking of instruments vocalists etc CCM 2H 2S 3 spaced micro phone stereo pickup and Decca Tree arrangements CCM 3 as CCM 2H ro...

Page 12: ...ood low frequency response and cardioid consistent directional pattern at all frequencies Uses CCM 21 often preferred for use as a spot microphone or as the main pair for overall stereo pickup CCM 21H...

Page 13: ...ration all purpose microphone for music and speech highly consistent frequency response our best selling compact microphone type cardioid pattern is maintained even at low frequencies 0 axis is at the...

Page 14: ...ech same uses and advan tages as the CCM 41 lateral pickup Uses often preferred for use in music and speech recording as a spot micro phone and also as a main microphone especially when using the OCT...

Page 15: ...inner up to 2 kHz 4 kHz 8 kHz 16 kHz 10 0dB 10 20 20 50 100 200 500 1k 2k 5k 10k 20kHz CCM 8 figure 8 bidirectional pattern clear sound quality free of coloration capsule for M S and Blumlein stereo h...

Page 16: ...CCM 2H omni or CCM 4 cardioid a pure pressure transducer when in the omni setting flat extended low frequency response without proximity effect or undue sensitivity to wind or solid borne sound Uses...

Page 17: ...ed This enables envi ronmental noises to be faded out and compensates for the proximity effect avoiding the voice having a booming artificial quality which would be tiring and reduce speech intelligib...

Page 18: ...m outer to inner up to 2 kHz 4 kHz 8 kHz 16 kHz 10 0dB 10 20 20 50 100 200 500 1k 2k 5k 10k 20kHz CCM 41S supercardioid for a pickup distance under 50 cm CCM 4A cardioid for extremely close pickup und...

Page 19: ...d 80 Hz 20 kHz 18 mV Pa 22 dB 12 dB 82 dB 129 dB CCM 4A cardioid close pickup 3 mV Pa 31 dB 19 dB 75 dB 144 dB CCM 4VXS cardioid close pickup 10 mV Pa 25 dB 14 dB 80 dB 134 dB CCM 41S supercardioid 80...

Page 20: ...an pressure gradient transducers such as cardioids or supercardioids SCHOEPS omnidirectional microphones are pres sure transducers as is our switchable pattern compact microphone CCM 5 in its omnidire...

Page 21: ...ater stages in the circuitry If a preamp or mixer has an input sensitivity control it should be set for a good compromise between avoiding input overload on the one hand sensitivity too high and avoid...

Page 22: ...nding your defective product for repair please contact your local dealer or dis tributor for instructions In exceptional cases you can by prior arrangement with SCHOEPS send the product directly to us...

Page 23: ...SCHOEPS GmbH Spitalstr 20 D 76227 Karlsruhe Durlach Tel 49 0 721 943 20 0 Fax 49 0 721 943 2050 www schoeps de mailbox schoeps de For your notes 23...

Page 24: ...Errors and omissions excepted 131202 Technik Schall SCHOEPS GmbH Spitalstra e 20 D 76227 Karlsruhe Durlach Tel 49 0 721 943 20 0 Fax 49 0 721 943 2050 www schoeps de mailbox schoeps de...

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