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powering which the user expects to encounter.
Variants of these types are also available, offer-
ing different output levels and/or extended
frequency range. Each amplifier works only with
the specific type and voltage(s) of power ing
for which it is designed. 

Please note: 

The two amplifiers in a stereo pair

of CMC microphones should be of the same
type. For critical applications, pairs of capsules
can be selected at the factory for pre cisely
matched sensitivity and frequency response.
(A small extra fee is charged for this service.)

Most modern, solid-state professional micro -
phones use a standardized powering scheme
known as ”phantom powering,” and most
recording equipment offers a 48-Volt supply
for such microphones. Some equipment, how-
ever, provides a 12-Volt supply for phantom
powering, or can be readily modified to provide
such a supply. The 

SCHOEPS

CMC 6 amplifier

series can work with either voltage, switching
its circuitry automatically to the corresponding
mode of operation. It maintains the same level
of performance in either mode, while drawing
only the necessary amount of current from the
phantom supply.

Note that the CMC 6 is designed to work

with standard 12-Volt or standard 48-Volt
phantom powering, but it is not a ”12-to-48
Volt” microphone. Any input to which it is
connected must implement one of those two
standard phantom powering methods. Not
only must the supply voltage meet the stan-
dard; the resistors must be correct as well.

For applications in which it is certain that only

48-Volt or only 12-Volt phantom powering
will be used, the CMC 5 and CMC 3 (respec -
tively) remain available at slightly lower cost.
The CMC 6 offers greater flexibility in powering
as well as superior immunity to radio-frequency
interference; it is also the only amplifier model
which can be delivered in the special ”xt” ver-
sion (see description under ”Special Versions”
below). 

From an audio standpoint, the most signifi-

cant difference between the CMC 6 and the
CMC 3 or 5 is the response at the very lowest
audio frequencies: The standard version of the

CMC 6 has a 12 dB/octave rolloff below 20 Hz
as a protection against infrasonics, while the
stan dard version of the CMC 3 or 5 has a 6 dB/ 
 octave rolloff below 30 Hz. Any CMC amplifier
can be specially ordered, or modified after
delivery, for any desired rolloff frequency within
reason; please see the description of the CMC
”linear” version for further details. 

In general if a 48-Volt microphone is con-

nected to 12-Volt phantom powering, no dam-
age will occur but the microphone will not work
properly. On the other hand a CMC 3 could
be powered safely and effectively by a 48-Volt
phantom supply if it can provide 11 mA per
microphone. But that current exceeds what is
required for standard 48-Volt phantom power-
ing, and unfortunately many existing supplies
do not even meet the standard. Therefore this
mode of operation should not normally be
relied upon.

In the realm of film and video sound an

older system called ”parallel powering” or ”T”
powering (”Ton ader spei sung”) at 12 ± 1 Volts
is sometimes still used, particularly with Nagra
tape recorders; the CMC 4 amplifier model
works with that system. See Fig. 3, p. 6 for a
schematic diagram; since this method of pow-
ering has been in decline for some time now,
it is not described in detail in this manual.
Please contact your 

SCHOEPS

dealer or 

SCHOEPS

GmbH with any questions concerning its use.

Special Versions

CMC 6 U”xt” – the 40 kHz version

This variant is indicated by the letters ”xt”
engraved on the output socket. When an ”xt”
amplifier is used with any axially-addressed
Colette capsule, the response range of the
microphone will extend beyond 40 kHz. The
response above 10 kHz will also be elevated
slightly. Specific frequency response curves
can be seen in our main catalog or on our
Web site, www.schoeps.de .

CMC “+5 dB” 

The sensitivity of a microphone with this ampli -
fier variant is 5 dB above the normal type,
while the equivalent noise level is somewhat

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

www.schoeps.de · [email protected]

Types of Microphone Amplifiers

Microphone Amplifiers

4

Содержание CMC 3U

Страница 1: ...ications 7 Notes on Electromagnetic Compatibility 7 Block Diagram 8 MK Microphone Capsules 9 Capsule Selection 9 Attaching a Capsule 9 Basic Characteristics of Transducers 10 Suggested Capsules for Sp...

Страница 2: ...uator swivel low cut filter microphone amplifiers 20 capsules in all RC KC Active Tube special version MK DZC GVC KC Active Cable CUT Signal balanced unbalanced TR 200 KCg Active Table Stand RC Active...

Страница 3: ...ly as if it were a miniature micro phone Colette Active Cables are often used to help conceal microphones for film and video production while Colette Active Extension Tubes have become a mainstay of c...

Страница 4: ...3 or 5 is the response at the very lowest audio frequencies The standard version of the CMC 6 has a 12 dB octave rolloff below 20 Hz as a protection against infrasonics while the standard version of...

Страница 5: ...connector or adapter is defective or wired in a non standard way such that one modulation lead of the micro phone is shorted to ground at DC while the powering is on If a microphone is connected to su...

Страница 6: ...ut RS R R C C see note in the text concerning tolerances with XLR 5 stereo microphones Fig 2 To add phantom powering to a balanced grounded transformerless input capa citors must be inserted into the...

Страница 7: ...suggestions can help to reduce the likelihood of picking up noise 1 Keep both the microphone and the cable away from sources of interference such as monitors digital equipment computers RF emitters m...

Страница 8: ...or pin 3 of the XLR input Given the permitted tolerances this voltage should be between 44 and 52 VDC for P48 and between 11 and 13 VDC for P12 Then measure the short circuit current between ground pi...

Страница 9: ...specially true when miking instruments For voice try the MK 4S or MK 4VXS For instruments the omnidirectional MK 2 may be of interest no proximity effect low sen sitivity to popping or solid borne noi...

Страница 10: ...ithout exception are single diaphragm electrostatic trans ducers They fall into two general categories pressure transducers and pressure gradient transducers Many of our capsules combine the two princ...

Страница 11: ...5 D vocalist microphone CMH 64 cardioid Studio MK 4 MK 4V cardioids MK 22 Open Cardioid with pop filter PR 120 S PR 120 SV All instr incl percussion MK 4 cardioid to pick up room sound as well especia...

Страница 12: ...spect to the sound source even though they are omnidirectional With the microphone amplifier CMC 6xt the frequency range of these capsules can be extended to 40 kHz 10 0dB 10 20 10 0dB 10 20 reverbera...

Страница 13: ...dary layer capsules hemispheric directional pattern no coloration of off axis sound Suggested applications Music orchestra including pit orches tra on stage speech BLM 03C Round table discussions Note...

Страница 14: ...mpromise between omni good low frequency response and cardioid consistent directional pattern at all frequencies Suggested applications MK 21 music orchestras spot micro phone vocals speech MK 21H whe...

Страница 15: ...le for music and speech highly consistent polar response 0 axis is at the side of the capsule marked by a red dot Note Though not specifically designed for such use the MK 4V capsule can also be used...

Страница 16: ...consistent polar response 0 axis is at the tip of the capsule Note Though not specifically designed for such use the MK 41V capsule can also be used on the RC Active Tube or the variable angle joint...

Страница 17: ...out proximity effect or undue sensitivity to wind or solid borne sound slightly brighter than the MK 2H omni or MK 4 cardioid Intermediate switch positions are mechanically possible but are not reprod...

Страница 18: ...kup ca 50 cm 20 MK 40 for close pickup ca 50 cm 20 high frequency emphasis for better speech intelligibility in reveberant venues e g churches MK 4VXS for extremely close pickup under 10 cm less than...

Страница 19: ...K 41S supercardioid for close pickup under 50 cm considerable low frequency attenuation compensates for proximity effect suggested application speech in a loud environment Capsules 19 MK 4A for extrem...

Страница 20: ...close pickup 3 mV Pa 29 dB 18 dB 76 dB 144 dB MK 4VXS cardioid close pickup 10 mV Pa 24 dB 14 dB 80 dB 134 dB MK 41S supercardioid 80 Hz 20 kHz 13 mV Pa 24 dB 15 dB 79 dB 132 dB Specifications for Com...

Страница 21: ...y or dusty environments in order to avoid problems of the kind described above Possible Problems Wind Noise and Polar Pattern Noise problems may be a consideration when choosing a microphone pattern d...

Страница 22: ...professional equipment is still designed primarily for use with dynamic micro phones or with earlier less sensitive condenser microphones If an input sensitivity control is available it should be set...

Страница 23: ...sending 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...

Страница 24: ...e without notice Not responsible for errors or omissions 131203 Technik Schall SCHOEPS GmbH Spitalstrasse 20 D 76227 Karlsruhe Durlach Germany Tel 49 721 943 20 0 Fax 49 721 943 2050 www schoeps de ma...

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