Micron POCKET TRANSMITTER TX716A Spécifications

Catalog 6

10THE Colette Modular SystemMicrophonecapsule (MK 4shown here)Microphone amplifier(CMC 6_ shown here)Colette Modular System The Colette modular system

1004 – 100 cm8 cmFRONTOCT Stereo Bar (by Günther Theile, IRT Munich, Germany)MAB 1000 – for recording the three front channels for surround– can also

101Double M/SMSM/S matrix I“FRONT”MSM/S matrix II“REAR”CLLSRSR“Double M/S“ Surround with Double MS Set– requires only three microphones and channels f

FRONTCCM 4VLg(cardioid)CCM 4VLg(cardioid)CCM 8Lg(figure-8)102Double M/S1. Double M/S Set with SplitterThe DMS splitter box is a passive device that si

WSR DMS CMIT LU (150 mm dia.)FRONT103Double M/S, IRT CrossAmbient / Surround Recording Array:“IRT Cross“ Mounting Bars CB 250, CB 200The IRT microphon

104

105Headline Microphone Preamplifier

106Stereo Microphone Preamplifier withPhantom Powering and M/S MatrixVMS 5 U– frequency response: 20 Hz – 80 kHz (-3 dB)– two low-cut filters: 20 Hz (

107Frequency response curves with (below) and without (above) the switchable low-cutfilter Block diagram of the VMS 5 U microphone preamplifierA set o

108Microphone PreamplifierTechnical Specifications:InputsSwitchable between two XLR-3F sockets and a special inputfor the SCHOEPS KCY Active Cable.XLR

109110112114119pageElectronic AccessoriesCables / Adapter CablesMechanical AccessoriesWindscreens and PopscreensAccessories arranged by Category

11VMS 5 U, microphonepreamplifier with M/Smatrix (pg. 106)VMS 5 Umicrophone preamplifierwith M/S matrix (pg. 106)microphone capsule(pg. 13 ff.)pad(pg.

110Active Low-Cut FiltersLC 60 U (60 Hz), LC 120 U (120 Hz)– active low-cut filters for phantom-powered micro-phones, in particular CCM COMPACT CONDEN

111Technical Specifications:Filter: in-line low-pass, critical damping, 12 dB/octaveCut-off frequency (-3 dB): 40 HzOutput impedance: 40 Ohms @ 1 kHz

112AK SU/2UStereo XLR-5F jack to two XLR-3M plugs.Color coding: channel I: yellow, channel II: redLength: 0.5 mAK 2U/SUTwo mono XLR-3F jacks to XLR-5M

113K 5 LUThis is the adapter cable from the Lemo output con- nec tor of the CCM _L COMPACT CONDENSER MICROPHONESto XLR-3M. It is supplied with the CCM

1140 – 90°Universal Stereo Bracket UMS 20– for microphones of the Colette modular system (e.g. CMC, 20 mm diameter)With this device and two correspond

115Mechanical AccessoriesA/B Stereo Mounting Bar / OCT Mounting BarMAB 1000– for two (or more) microphones– for A/B (spaced omni recording) and ORTF–

116Mechanical AccessoriesFlanged Mounting Adapter with InternalShock Mount AF 1,Mounting Cylinders ST 20-3/8 and STR-TCThis convenient elastic suspens

117Mechanical AccessoriesUniversal Clamp Z 10The Z 10 allows microphones or accessory parts to bemounted onto the edge of a table or the like. The Z

118Mechanical AccessoriesSM 270 under BF 250 floor standSTR vertical support rodSTR vertical support rodT 5gHeavy Floor StandBF 250The BF 250 is suppl

119Windscreens and PopscreensWhich popscreen or windscreen is right formy microphone?Before taking up this question, one should first considerthe choi

12Sara K. in concert

120Attenuation of the A-weighted wind-noise levelcompared to the unprotected transducer at a* The corresponding values for the cardioid (CMC 64 orCCM

121PR 120 SB 1B 20B 5 DWMS WKFM WBW 5 DWSR MSfor a single CCM _L;page 68B 20 S W 20 W 20 R1WSR 100 LUfor M/S stereo withCCM _L; page 89WSR MS 100 LUB

122PR 120 S and PR 120 SVThese popscreens are a patented product of Ton studioPauly. They guard against the popping noise generatedby plosives such as

123Windscreens and PopscreensBasket Popscreen B 20Small close-speech guard with plastic basket andwashable nylon fabric. Cannot be used with MK 4V, MK

124Windscreens and PopscreensBasket W 20Basket windscreen with nylon fabric, made of twoseparable halves. It is rain-resistant and less unusual-lookin

125Windscreens and PopscreensBasket Windscreens WSR MS, WSR MS CI, WSR MS LI, WSR MS LU(see miniature stereo on pages 82 and 90)This is the most effec

126Windscreen for Blumlein Setups WBThe WB is su i ta ble for CMC or CMD 2U mi cro pho neswith UMS 20, as well as KC Active Cables with MKcapsules or

127Technical Appendix128131132133134135pagePrincipal Microphone CharacteristicsStereo TechniquesSurround TechniquesXLR, Cable SpecificationsOverview o

128Pressure Transducers... are characterized by an omnidirectional polar pat-tern, i.e. they pick up sound from all directions to an(ideally) equal de

129mously to the character of any sound. With a shotgunmicrophone, the pickup angle at high frequencies willbe narrower than at lower frequencies; as

1314182123252728pagePressure TransducersBoundary-Layer CapsulesWide CardioidsCardioidsSupercardioidsFigure-8Switchable CapsulesMicrophone Capsules

130Principal Microphone Characteristicsa shotgun microphone should generally be kept fairlyclose to the intended sound source.5. The usefulness of sho

131Stereo TechniquesWinkel Ä=zwis-chen denHaupt achsender MikrofoneOverview of Stereophonic Recording TechniquesOverview of surround recording techniq

Category of microphonearrangementCoincident place-mentNear-coincidentplacementMicrophones separated by anacoustic baffleSpaced microphonesPrinciple by

133Specification for Cables, XLR Pin AssignmentPin 1: GNDPin 2: +phasePin 3: –phasebottom view (as the pins are seen)Pin 1: GNDPin 2: +phase channel I

134Overview of Capsule Specificationsmicrophone type polar frequency sensitivity equivalent noise level signal-to-noise max. SPL(MK _ / CCM _) patt

200 5001k 2k 5k10k20kHz+20 dB+10 dB0 dB-10 dB200 5001k 2k 5k10k20kHz+20 dB+10 dB0 dB-10 dBOn-axis frequency response curve CMC 62U with KA 40On-axis f

136

137indexProduct Finder

138pg. 66pg. 67pg. 67pg. 68pg. 67pg. 65pg. 66pg. 64pg. 62pg. 66pg. 60pg. 56pg. 85pg. 98pg. 80 vocalist microphonespg. 84pg. 68pg. 125 pg. 20pg. 62 pg.

Product Overviewpg. 103139pg. 93pg. 75pg. 87pg. 92pg. 98pg. 98when perforatedmetal is usedinstead of a solidtable top; pg. 94when perforatedmetal is u

14Pressure TransducersMicrophone Capsule MK 2 – omnidirectional pattern– very flat frequency response– for use close to the sound source (frontal soun

140for M/S recordings 87for pocket transmitters 39for speakers / singers 80for X/Y recordings 94Microphone mounting bars 84, 96, 114Microphone cables

141IndexSearch by Product NameAC 57ACA 53 68AF 1 116AK DMS 3U 102AKI/2C 82AK SU/2U 112AK 2U/SU 112AMS, AMS CI, -LI, -LU 88, 89AMS 22 92A 20 (S) 57A 20

142Notes

143Notes

Schalltechnik Dr.-Ing. SCHOEPS GmbHSpitalstr. 2076227 KarlsruheGermanyTel.: +49 721 / 943 20-0 · Fax: +49 721 / 495 [email protected] · www.schoep

15Pressure TransducersMicrophone Capsule MK 2H – omnidirectional pattern– mild high-frequency rise to compensate for losses atmedium recording distanc

16Pressure TransducersMicrophone Capsule MK 2S – omnidirectional pattern– slight high-frequency rise to compensate for lossesat moderate recording dis

17Pressure TransducersMicrophone Capsule MK 3 – omnidirectional pattern– diffuse-field capsule, for miking distances at whichthe predominant sound is

18Boundary-Layer CapsulesBoundary-Layer Capsule BLM 3g– microphone capsule (pressure transducer) designedfor placement at an acoustic boundary– when t

19Boundary-Layer Capsulesdiffuse sound field cause the boundary-layer micro-phone's sensitivity to increase by only 3 dB. Thus aboundary-layer mi

2ForewordSchall tech nik Dr.-Ing. SCHOEPS GmbH was founded inKarls ru he in 1948, operating from only a few small,private rooms at first. The com pa n

20Boundary-Layer CapsulesMiniature Boundary-Layer Capsule BLM 03 Cg– pressure transducer with hemi spherical pattern– active miniature version of the

21Wide CardioidsMicrophone Capsule MK 21– wide cardioid with especially consistent directionalitythroughout its frequency range– pleasant sonic impres

22Wide CardioidsMicrophone Capsule MK 21H – wide cardioid pattern with especially consistentdirectionality throughout its frequency range– high-freque

23CardioidsMicrophone Capsule MK 4– classic cardioid, with consistent directionality through-out its frequency range– suitable for the widest range of

24CardioidsFrequency range: 40 Hz – 20 kHzSensitivity: 13 mV/PaEquivalent noise level:A-weighted*: 14 dB-ACCIR**: 24 dBSignal-to-noise ratio (A-weight

25SupercardioidsMicrophone Capsule MK 41– supercardioid with highly consistent directionalitythroughout its frequency range– for music and speech– hig

26SupercardioidsMicrophone Capsule MK 41V– supercardioid with especially consistent directionalitythroughout its frequency range– “vertical” (side-add

27Figure-8Microphone Capsule MK 8– pure pressure-gradient transducer– figure-8 pattern with near-ideal consistency acrossthe frequency range– side-add

28Switchable CapsulesMicrophone Capsule MK 5– omni and cardioid patterns, mechanically switchable– slight emphasis of the high frequencies– broad rang

29Switchable Capsuleomnifrom outerto inner:up to 2 kHz 4 kHz8 kHz16 kHzfrom outerto inner:up to 2 kHz 4 kHz8 kHz16 kHzfrom outerto inner:up to 2 kHz 4

3ContentsThe Colette Modular SystemMicrophone capsulesMicrophone amplifiersAccessoriesOur Product LinesGuidelines for SelectionThe Compact SystemCCM _

30Jazz saxophonist Jan Garbarek with CMC 64 microphone and B 5 D windscreenPhoto: Gert Rickmann-Wunderlich

31##3235363739page... phantom-powered... digitalwith vacuum tubebattery-poweredfor pocket transmittersMicrophone Amplifiers

32Microphone AmplifiersCMC 5Ugfor 48 VphantompoweringMicrophone Amplifier CMC _ – flat frequency response– extremely low noise and distortion– balance

33Microphone Amplifierhas input transformers. The filter in the standard versionof the CMC 6 has a corner frequency of 20 Hz and aslope of 12 dB/octav

34Microphone AmplifiersTechnical Specifications:Low-cut fre-Amplifier type Powering Current consumption Impedance quency (-3 dB)CMC 6, -6xt: 12 V ± 1

35Digital Microphone AmplifierDigital Microphone AmplifierCMD 2U– for digital inputs that implement the AES 42-2006standard– for use with any and all

36Tube Microphone AmplifierCOLETTEmodularTube Microphone M 222Powering Units NT 222 DC and NT 222 AC– made exclusively for SCHOEPS by The model M 222

37Battery-powered Microphone AmplifierCOLETTEmodularBattery-powered Microphone Amplifier CMBI– un bal an ced, me di um-im pe dan ce out put– for mobil

38Battery-powered Microphone AmplifierCOLETTEmodularTech ni cal Specifications: Sensitivity and equivalent noise level: depends on capsule, see page 1

39Microphone Amplifier for Pocket TransmittersCOLETTEmodularMicrophone Amplifier for Pocket TransmittersCMR– specially designed for using SCHOEPS ”Col

COLETTEmodular4Our Product LinesModular Microphones (“COLETTE” System)A microphone capsule may be attached directly to amicrophone amplifier to form a

40By gracious permission of Maier Sound Design GmbH, Kamen

41Headline Accessories for the Modular System##4245pageActive AccessoriesOther Accessories

42Active Accessories for the Modular SystemRC ActiveExtension Tube RC Active Extension Tube TR 200 KCActive Desk StandSRSKC 420gActive Gooseneck Detai

43Active Accessories for the Modular SystemM/S microphone arrangementwith RCY 1200 Active StereoExtension Tube and VST 62 ste-reo microphone amplifier

44Other Accessories for the Modular SystemCOLETTEmodularCUT 2gVariable Low-Cut Filters CUT 1, CUT 2– can be screwed onto the CMC, CMD or M 222micropho

PadsDZC 10, DZC 20– ca. 10 or 20 dB constant attenuation– raises maximum sound pressure level by ca. 10 dB / 20 dB– attenuates signal ahead of microph

46Other Accessories for the Modular SystemCOLETTEmodularMAB 1000 Microphone bar for spacedmicrophone stereo recording (see page 84)UMS 20 for M/S, X/Y

47Headline COMPACT SYSTEM1214162023252729424950pageSystem OverviewCCM Compact Microphones

48THE Compact SystemCCMcompactCOMPACT MICROPHONESCCM-L, CCM-U– compact– balanced output (Lemo / XLR-3M) as in the Colettemodular series microphones (C

49System Overview VMS 5 U, micro-phone preamplifierwith M/S matrix(pg. 106)Compact microphonewith permanentlyattached cable; (specialversion, pg. 48 a

CCMcompact5Our Product LinesCompact Microphones The CCM-series compact microphones are miniaturemicrophones of full professional quality. Their capsul

50CCM Compact MicrophonesCCM 2 Compact Microphone– omnidirectional pattern– flat frequency response– for use close to the sound source (frontal sound

51CCM Compact MicrophonesCCM 3 Compact Microphone– omnidirectional pattern– diffuse-field capsule, for miking distances at whichthe predominant sound

52CCM Compact MicrophonesCCM 4 Compact Microphone– classic cardioid, with consistent directionality through-out its frequency range– suitable for the

53CCM Compact MicrophonesCCM 41V Compact Microphone– supercardioid with especially consistent directionalitythroughout its frequency range– “vertical”

54CCM Compact MicrophonesAccessory for CCM compact microphonesBLCgmounting plate for directional boundary- layer record-ing with Compact Micro phone C

555658596166676869pageMicrophones on StandsMicrophone StandExtension TubesTable MountingDesk Stands and Boundary-LayerCable HangersMounting on a BoomI

56Microphones on StandsDual Stand Clamp SG 22The angle between the micro phones can be varied aswell as the angle of inclination for the pair. However

Elastic Miniature Suspension with SwivelAC– for CCM compact microphones or Active Cable withmicrophone capsule– variable angleMatching pop filter: B 1

58Microphone Standminimum height:900 mm120°Adjustable-height Microphone Stand with SwivelSTV 900/1400 L3Ug– microphone stand for CCM _L COMPACT CONDEN

59Extension TubesNote: Laterally-addressed capsules (MK 4V, MK 41V, MK 4VXS,MK 6 and MK 8) can be used on the RC with a smallelastic ring which we wil

6Guidelines for SelectionChoosing a microphoneA microphone that offers natural sound quality will besuitable for almost any instrument, voice or ensem

60Extension TubesSpecial Version: Double Extension TubeR2C KCTwin version of the RC KC Colette tubes of theColette modular system. Each tube terminate

61Table MountingMicrophone Setups with RC Active Extension Tube or RL Straight Extension TubeThe photos at right show 350 mm tubes and 100 mmSTR suppo

62Table MountingGooseneck with CableS 250 L5Ug– length: 250 mm– permanently attached cable, 5 m long– with 3/8" internal thread– output connector

S 250 Cgflange F 5g=63Table MountingGoosenecksS 250 Cg, RS 420 Cg, SRS 420 CgThese goosenecks are used directly between capsulesand amplifiers of the

64Table MountingAF 1 beneath thetable surface3. Like variant 2, but because of the weight increasecaused by the GVC, the stiffer version of the A 20 e

65Desk StandsMetal TripodTA 20gAs T 20g, but with integral shock mount.Surface finish: matte gray (g)Metal Tripod T 20g– tripod for a standard microph

66Desk StandsDouble Tabletop Microphone with integralDesk StandT2 CCM 4gThis table microphone consists of two CCM 4 com pactmicrophones (cardioids) ri

67Boundary-Layer Plate; Cable HangersMiniature Cable HangerHCThis accessory is used when hanging a capsule on aKC Active Cable or a CCM compact microp

68Operation on Booms (Mono)Elastic Suspension for Boom OperationACA 53– especially for indoor use– small and lightweight– can be used with small, ligh

69Instrument AdaptersViolin MountVA 1– recommended microphones: CCM 4 or CCM 4Vcompact microphones and MK 4 or MK 4V micro-phone capsulesThe VA 1 is d

7Guidelines for Selection SurroundStereo Instruments Vocals Speech / SpeakersAll of the wide variety of SCHOEPS microphones, without exception, use si

70Instrument AdaptersNew!New!New!COLETTEmodularCCMcompactVioloncello MountVA 3Similar to the VA 1, but the span is adjustable between80 - 140 mm.The V

71Instrument Adapters Adapter for GuitarGA 1– recommended microphones: CCM 4VXS or CCM 4Acompact microphones or MK 4VXS or MK 4A micro-phone capsulesT

72The CMIT 5U shotgun microphone received a Pro Audio ReviewExcellence 2006 Award and was nominated for a 2006 TEC Awardin MIX magazine.

73Special-Purpose Microphones40434474767980pageShotgun MicrophoneSpeech capsules/ compact microphonesHeadsetsHand-held Microphones

74Shotgun MicrophoneShotgun MicrophoneCMIT 5 U– unusually low coloration of off-axis sound– suitable for music recording as well as dialogue– pickup q

ConnboxTechnical Specifications:Directional pattern: supercardioid / lobe-shapedFrequency range: 40 Hz – 20 kHz Switchable filters: 80 Hz with 18 dB/O

76Microphones for Close Pickup 2050 100 200 5001k+100dB-10-20standardcardioidMK 4MK 4S, MK 40MK 4AMK 4VXSLow-frequency attenuation of cardioids for cl

77Microphones for Close PickupCOLETTEmodularMK 40, CCM 40– for pickup of speech or music at closerange (under 50 cm)– cardioid pattern– considerable a

78Microphones for Close Pickup MK 4A, CCM 4A– for pickup of speech or music at closerange (under 10 cm)– car dioid pattern– re du ced sen si ti vity–

79HeadsetsHeadsets HS 4VXS, HS 2S– with cardioid (HS 4VXS) or omnidirectional (HS 2S)microphone attached– highest-quality pickup of speech– HS 4VXS: e

8Jimmy Haslip and Marcus Baylor of The Yellowjacketsphoto: Michael Frank

80Microphones for Close PickupCMH 64 CMH 641Frequency range: 40 Hz – 20 kHzSensitivity: 13 mV/Pa 14 mV/PaEquivalent noise level: A-weighted*: 15 dB-A

818297105pageStereo microphones and SetsSurround SetsStereo PreamplififerStereo and Surround

M/S-, ORTF-, X/Y-Stereo82Miniature Stereo – Modular SystemMK _ microphone capsulesKS 5 Iextension, 5 meterspage 113CMCmicrophone amplifierpage 32CUT

83Miniature Stereo – Compact SystemLC 60 U, LC 120 U (optional)active low-cut filterpage 110AK SU/2Uadapter cableXLR-5F/ 2 × XLR-3Mpage 112CMXY 4V I

84Universal Stereo Bracket UMS 20– for two microphones of the Colette modular system(e.g. CMC, 20 mm diameter)– for Blumlein, M/S, ORTF, X/YThe mounti

Stereo Sphere Microphone KFM 6smaller version: KFM 360– head-related stereo microphone for loudspeakerreproduction– very good imaging and sense of dep

86Technical Specifications:The following data were measured on the axis of the capsules. A standard 48 V phantom power supply was usedand the load imp

87M/S StereoActive M/S Stereo Extension Tube RCY – small, particularly unobtrusive stereo arrangement– a swivel at the upper end allows angles from 0°

88Elastic Suspension for M/S with SwivelAMS, AMS _– for Colette capsules on Active Cables, or for CCM _Lcompact microphonesThis elastic suspension is

89M/S StereoBasket Windscreen with elastic suspensionfor CCM _LWSR MS 100 LU– M/S stereo version of the WSR 100 LU– cable: internal: extraordinarily f

9Headline 68162023611133141pageSystem OverviewMicrophone CapsulesMicrophone AmplifiersAccessories for the Modular SystemColette Modular System

90... with the Modular SystemThis approach to M/S recording takes advantage ofthe modular nature of the Colette System, and mightbe preferred by those

91M/S Outdoors... with CCM _L Compact MicrophonesThis version is the one which we recommend particu-larly to our newer customers since the Y-cable is

92Adapter for M/S using Boundary-LayerTechniqueMS-BLMFor the BLM 3g boundary-layer capsule and MK 8microphone capsule with Active KC Cable or CCM 8Uco

93ORTF Stereowith WJ BBG WindjammersTechnical Specificationsof the MSTC 64, measured on the axis of the MK 4capsules:Recording angle+: ca. 95°Frequenc

94The angle between the microphone’s axes can beadjusted continuously in the range from 0° to 180°.X/Y Stereo MicrophoneCMXY 4V – 2 × cardioid with la

95X/Y StereoA 20 Selastic suspensionA 20 Selastic suspensionWMSwindscreenCMXY 4V Ig CMXY 4V UgWSR CMXY Wind -jammer ; fur-like“overcoat” KS 5 IUadapte

96Universal Stereo Bracket UMS 20– for two STANDARD Microphones of the Colette modu-lar system (e.g. CMC, 20 mm diameter)– for M/S, Blumlein, ORTF, X/

97Headline 97100101103pageSphere SurroundOCT / OCT Surround“Double M/S““IRT Cross“Surround Sets

98Sphere SurroundSurround Microphone System by Bruck with KFM 360 and DSP-4 KFM 360– compact, highly effective arrangement– extensive capability for

99Sphere Surround+–+–front channels:sum (omni + figure-8)rear channels:difference (omni – figure-8)omniomnifigure-8CCM 8figure-8CCM 8KFM 360Operating