Schoeps now offers the best-selling modular microphone series Colette in as a matched set in a handy and robust Peli Case.

THIS SET INCLUDES:

• 2x CMC 1 U microphone amplifiers
• 2x MK 4 matched cardioid capsules
• 2x SG 20 stand clamps
• Peli Case
• certificate of matching for the capsules

CMC 1 U:

The CMC 1 is a small Colette microphone amplifier, about one-third the size and 40% lighter than the CMC 6. It is compatible with all components of the Colette system and can be used in place of the CMC 6 without compromise, for all applications in which the size and weight of the microphone play a role.

Uncompromising miniaturization means that the electrical characteristics of the CMC 1 are equal to, or even better than, those of the CMC 6. Through modern electronic design, these outstanding electrical properties have been achieved:

• high maximum SPL: 135 dB-SPL with the MK 4 (0.5% THD or less)
• very low current consumption: 2.0 mA at 48 Volts
• operates on 48 V or 12 V phantom power, reliable operation even if powering is somewhat marginal
• very high immunity from RF interference with the Schoeps RFI Shield, high immunity to cable-induced hum and other interference (field tested with Audio Limited A 10, etc.)
• flat frequency response
• very low distortion constant output impedance across the audio frequency range balanced, direct-coupled, class-A output circuit
• output is filtered in the ultrasonic range to prevent interference, e.g. from camera autofocus

A complete Colette-series microphone consists of an MK capsule and a CMC amplifer. All capsules and active accessories of the Colette system are compatible with the CMC 1. The CMC 1 works with standard 12-Volt or 48-Volt phantom powering. Power consumption is lower at 12 Volts, an advantage for battery-powered operation.

CMC 1 U FEATURES:

• complete alternative to the renowned CMC 6
• fully compatible with all existing MK capsules and Colette active accessories such as the CUT 60 and RC tubes
• suitable mounting accessories are already available, such as the CINELA E-OSIX-CMC1U and the Rycote INV-6 elastic suspensions.

MK 4:

The MK 4 has been a reference microphone for years in a wide variety of recording situations. Due to its transparent sound character and excellent attenuation of rear-incident sound, it reproduces sound sources very naturally. This has given the MK 4 a reputation as a universal "problem solver" even in difficult recording situations. Its flat frequency response, and the constancy of its directional pattern for all frequencies, are the basis of the MK4's sound quality. Even in the diffuse sound field its frequency response is flat, with a slight increase at 10 kHz compensating for high-frequency losses in the room. Thus the sound image is transparent for direct-arriving sound, for sound arriving from the side, and for diffuse sound in the room (reverberation).

The MK 4 is a classic small-diaphragm microphone with all the advantages of this microphone type. Its frequency response and the consistency of its polar diagram from low to high frequencies are exemplary. Like all Schoeps capsules, the MK 4 achieves its flat frequency response solely by its mechanical architecture, without any electronic filtering. As a pressure gradient transducer, the MK 4 has a single diaphragm that is exposed to the sound from both the front and rear. The side sound inlets must therefore never be covered. The "reach" (distance factor) of a classic cardioid such as the MK 4 is about 1.7 times that of an omnidirectional microphone. Thus even at greater distances from the sound source, direct sound can be obtained. The advantages of the MK 4 are shown especially when mixing several microphone signals - pickup of sound from the side is reduced in level but not subject to coloration. At 90° the attenuation of the MK 4 is 6 dB, and at 180°, some 20 to 30 dB. Diffuse-incident sound is picked up 4.8 dB lower in level than front-arriving sound.

MK 4 FEATURES:

• cardioid pattern
• directivity is highly independent of frequency
• universally applicable: preferred use as spot microphone, for acoustic instruments and in conference recording
• often used in the main microphone pair for XY, ORTF and MS stereo recordings