Schoeps Colette CMC 6 Microphone Amplifiers and MK 8 Figure-8 Capsules Stereo Set (Matte Gray)

Popular among professional audio engineers, the matte gray Schoeps Colette CMC 6 Microphone Amplifiers and MK 8 Figure-8 Capsules Stereo Set is a Colette-Series modular microphone bundle that includes two CMC 6 U (XLR output) miniature microphone amplifiers, a matched pair of MK8 figure-8 mic capsules, two SG 20 stand mounts with swivels, two B 5 D solid-foam popscreens, and a premium case for secure transport and storage.

The MK 8 capsule is often used for M/S and double M/S stereo sound in film and music recording in combination with Colette or CCM microphones and/or a CMIT shotgun microphone. The figure-eight pattern of the MK 8 remains constant from low to high frequencies. The pickup direction is lateral, i.e. perpendicular to the microphone housing. The 0 and 180° axes are indicated respectively by red and black dots on the capsule housing.

Schoeps CMC6-U 12-48 Volt Phantom Power Supply and Output Stage for Colette Modular Capsules

The Schoeps CMC6-U is a balanced output stage and +12 to +48V phantom power supply for the Schoeps Colette series modular capsules. The transformer-less output stage ensures low-noise and pristine audio reproduction throughout. The CMC6-U is terminated with a standard balanced 3-pin XLR connection for use with standard microphone inputs and preamplifiers.

Schoeps MK 8 Microphone Capsule (Matched Pair, Matte Gray)

The matte gray MK 8 Microphone Capsule from Schoeps 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. Both the microphones that are included are phase-matched.

When M/S stereo recordings are made, the 0° axis normally faces to the left as viewed from behind the microphone setup. The 8 engraved on the top of the housing should be aligned on its side so as to appear horizontal, at a precise right angle to the mid capsule. The microphone should be placed directly above or beneath the M channel microphone, and as close to it as possible. The sound quality of this capsule is clear and neutral. The frequency response rolls off above 16 kHz.

When this capsule is used as a spot microphone, care must be taken to avoid picking up early reflections or unwanted direct sound from its rear, since sound arriving from the back is picked up with full level but reversed in polarity. This could result in partial cancellation of the intended sound, which can lead to comb-filter effects at higher frequencies.

The directivity index of a figure-8 pattern is the same as that of a cardioid. The figure-8 has a rear lobe equal in sensitivity to its front lobe, and this exactly makes up the quantitative difference. However, in normally reverberant settings, the sound reaching a figure-8's rear lobe will be delayed and dispersed to a considerably greater extent the reflected sound will typically be subject to far more high-frequency absorption as well.

Note:

This capsule is delivered with a hand-signed Certificate from the factory. Matching is of frequency response and sensitivity within exceptionally low tolerances.

Comes in a pack 2

Sensitivity decreases at low frequencies

Directional characteristic is extraordinarily independent of frequency

Proximity effect is present

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

Schoeps Hollow Foam Teardrop Popscreen (Gray)

This gray-flocked Hollow Foam Teardrop Popscreen from Schoeps is compatible with all Schoeps Axially addressed microphones. It is used as a shield against mild wind or moving noise on the boom and helps prevent pops when used in close-up speech. It is made of foam, and mounted on a plastic carrier that sits on your mic, allowing the foam to enclose an air volume around the microphone capsule like a windscreen basket, so that the foam does not touch the microphone, which reliably prevents any motion noise. The microphone should be pushed as far as possible into the foam for best results.