Schoeps CCM 2H User manual

User guide
Compact Series
Contents
page
System overview 2
Compact Microphones 3
Phantom powering 4
EMC, Technical specifications 6
Block diagram 7
Microphone selection 8
Basic microphone characteristics 9
Suggested microphones for specific applications 10
Pressure transducers 11
Pressure-gradient transducers 12
Switchable microphone 16
Microphones for close pickup 17
Acoustic specifications of the microphones 19
Care and maintenance / Troublshooting 20
Warranty / declaration of conformity 22
CCM
Compact Microphones

table stand
TR 200Lg
SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
System Overview – A Selection
2
System Overview
VMS 5 U: microphone pre-
amplifier with M/S matrix
COMPACT MICROPHONE
with permanently
attached cable;
special version
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
AK SU/2U
adapter cable
from XLR-5F
to 2× XLR-3M
K 5 LU
adapter cable
(Lemo /XLR-3M)
MDZ
attenuator
table tube
RLG 350 Ug
elastic sus-
pension for
tables
CCM_U
CCM_L
low-cut
filter
LC 60 U
low-pass-
filter
LP 40 U
Mechanical accessories for CCM_L and CCM_U – a selection
. . .
SGCM
STC 4g
OSIX CCM LU
BLCg
Accessories
– a selection

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
CCM Compact Microphones
3
Technology
Dear customer:
Thank you for choosing a SCHOEPS CCM
Compact Series microphone.
CCM microphones are the smallest true
classic condenser microphones (no electret
used) offering the highest possible sound
quality without compromise.
The following pages contain technical infor-
mation, application suggestions and advice
concerning the care and maintenance of these
microphones.
CCM Compact Microphones ...
– are classic condenser microphones that do
not require electronic frequency response
correction
– have a balanced, low-impedance output
– are for universal use
– are small and light
– have an extremely flat frequency response
– their sound is extensively independent of
direction
– have low noise and distortion
– run on both 12 V and 48 V phantom feed
power supplies
– can be used with very long cables (over
100 meters)
Included accessories:
SGC miniature swivel stand coupler,
polished wood carrying case,
CCM_L: K 5 LU adapter cable (Lemo /
XLR-3M), 5 m long
As with SCHOEPS’ Colette modular micro-
phones, a compact microphone essentially
consists of two main components: an acoustic
transducer (a capsule) and a microphone
amplifier. These only come together in the
same body with Compact Microphones.
The capsule is the component which con-
verts sound waves into a varying electrical
voltage. It determines the directionality and,
for the most part, the sound quality of the
microphone. The amplifier is the other main
component, with the circuitry required to
accept external powering, polarize (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-A output stage which
does not use either coupling condensers or
an output transformer. This leads to low out-
put impedance, insensitivity to electrical inter-
ference, low distortion and light weight.
The Compact Microphones have a bass roll-
off filter with a low cut-off frequency of 20Hz
and a slope of 12 dB/oct.
This frequency has been chosen to protect
against perturbing, inaudible (infra-) sound
that can be caused by ventilation systems,
track vehicles and wind. What is tricky about
this is that although it is hardly noticeable,
infrasound can cause strong audible distor-
tions in the connected equipment when it
leads to an overload. This would make it
impossible to produce a recording that could
be used. The audio range also only starts at
around 20Hz. Lower frequencies are only
actually discernible at high levels which are
only reproducible on few audio systems, and
then quickly become unpleasant.
Start up
The U-version of the CCM Compact Micro-
phone has a permanently attached cable that
terminates to a standard XLR-3M connector.
These microphones can be connected directly
to the corresponding microphone inputs.
To connect the L version (L= Lemo), the sup-
plied K 5 LU cable plugs into the CCM Lemo
socket. The K 5 LU cable is terminated
with a standard XLR-3M connector. Put the
cable’s Lemo plug into the microphone port.
Secure it so that the plug is not inadvertently
pulled out or does not rattle while in use by
simply screwing the plug’s lock nut onto the
microphone until it can go no further.
Please note that in order to protect the con-
tacts you should avoid holding the lock nut
and turning the microphone.
SGC

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Phantom Powering
4
Technology
Phantom powering
CCM microphones are electrically active com-
ponents which require operating current. This
will most often be supplied by the inputs of a
mixer, preamplifier (such as the SCHOEPS
VMS 5U shown at the bottom of page 2) or
recorder with suitable microphone powering
built in. Otherwise, an appropriate type of
stand-alone microphone power supply can be
used.
Like most modern, solid-state professional
microphones, the CCM also uses a standard-
ized powering scheme known as “phantom
powering.” Most recording equipment offers
a 48-Volt supply for such microphones. Some
equipment, however, provides a 12-Volt sup-
ply for phantom powering, or can readily be
modified for such a supply. The SCHOEPS CCM
compact microphones series can work with
either voltage, switching its circuitry automati-
cally 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.
Please note that the CCM compact micro-
phones are designed to work with 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 methods, which
means that not only must the supply voltage
meet the standard, but the resistors must be
correct as well.
Our microphones are developed and tested
with power supplies that conform to the
requirements of this standard. Proper opera-
tion with non-standard power supplies cannot
be guaranteed. Circuit arrangements that
deviate from the standard can cause opera-
tional problems (i.e. distortion or even gaps in
the signal), particularly at high sound pressure
levels or in the presence of strong wind noise.
Such problems may often seem to defy analysis
until their real cause is discovered.
You can find out more about phantom
+ phase
- phase
2 (4)
3 (5)
microphone
1
screen
cable
powering
R
U
input
R
P48: U = 48 V ± 4 V; R = 6,8 kW*, I
max.
= 10 mA
P12: U
= 12V ± 1V; R = 680 W*, I
max.
= 15 mA
I /2
I /2
I
+ phase
- phase
2 (4)
3 (5)
microphone
1
screen
cable
powering
R
U
input
R
R
R
C
C
*see note in the text concerning tolerances
Fig. 2
balanced, ungrounded,
transformerless input.
Condensers must be
inserted into the circuit
and provision made for
polarization resistors.
*
*
*
Fig. 1
input with transformer
(or balanced, ungrounded
transformerless input)
XLR-3
connector
XLR-3
connector
*recommended values:
C: 100
μ F, 63V; R: 22k Ω , 1%
shield
shield

power supplies below.
Phantom powering to standard
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, connector
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
phantom 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 SCHOEPS microphones adequately.
If in doubt, equipment should be checked to
verify its suitability for professional work with
SCHOEPS 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 SCHOEPS CCM will draw 8 mA.
Fig. 2 shows a balanced but grounded am-
plifier input. In this case either a transformer
(see fig. 1) or additional capacitors have to be
inserted into the audio line.
Unbalanced Operation
Our microphones are intended for balanced
operation such as with the VMS 5 U preampli-
fier from SCHOEPS, 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 microphone
splitter should be used in order to preserve
the loading and powering conditions for the
SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Phantom Powering (continued)
5
Technology

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
EMC, Technical Specifications
6
Technology
are in the microvolt range (1/1,000,000 Volt).
Cable shielding and the grounding scheme of
the preamp or mixer input are also crucial.
A microphone can therefore never be expected
to be immune to all possible disturbances in
all circumstances, but the following suggestions
can help to reduce possible noise induction:
1) Keep both the microphone and the cable
away from sources of interference such as
monitors, digital equipment (computers), RF
emitters (mobile phones and other personal
communication devices that emit radio fre-
quency energy), power transformers, power
lines, SCR dimmers, switching power sup-
plies etc.
2) Use only high-quality cables with a high
degree of shield coverage.
3) Keep all cables as short as possible.
4) Dress audio cables away from power cables.
If they must cross, it should be at right angles.
5) At the preamp or mixer input, the shield of
the microphone cable should connect to
chassis ground in the shortest way possible.
If necessary, this coupling can be capacitive.
microphone, and to prevent interference.
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 capaci-
tance is per unit length, the longer the cable
can be. All SCHOEPS cables have very low
capacitance (100 pF/m between the conduc-
tors).
The main risks with excessively long micro-
phone cables are gradual losses at high fre-
quencies due to the cable capacitance, some
reduction in ability to handle very high sound
pressure levels, and increased pickup of inter-
ference.
Hints on Avoiding Interference
SCHOEPS CCM microphone are virtually immune
to magnetic, electric and electromagnetic
fields.
Due to the wide dynamic range of studio
microphones, the smallest signal amplitudes
Current consumption: P12: 8 mA, P48: 4 mA; (automatically switched)
Source impedance: 90 Ohms
Minimum recommended load impedance: 600 Ohms
Low-cut frequency (-3 dB): 20 Hz
Polarity: increasing sound pressure on the microphone’s
0° axis produces a positive-going voltage at pin 2.
voltage at pin 2.
Maximum output voltage: ca. 1 V
Acoustical specifications can be found on page 19.
Length U-version: 46 mm – 58 mm, type-dependent
Length L-version: 46mm – 58mm without connector
Diameter: 20 mm
Weight without cable: U-version: 33 g, L-version: 43 g
Surface finish: matt gray (g) or nickel (ni)
Standard length of the cable: 5 m
Technical Specifications:

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Block Diagram of the CCM Compact Microphones
7
Technology
microphone amplifieracoustic
transducer
Pin assignment of the XLR-3M output con-
nector of CCM microphone amplifiers:
Pin 1: screen (GND)
Pin 2: +phase
Pin 3: –phase
Bottom view
(as the pins are seen)
12
3
Impedance converter
Output stage
DC/DC converter
Regulator
EMI filter
3 1
Screen
-Phase
+Phase
XLR-3 Connector
2
3 1 2
3 1 2
Microphone cable (adapter cable Lemo/ XLR-3M
Phantom powering
Us= +48 V
Rs= 6.8 kΩ
R
s
= 6.8 kΩ
Preampli- fier, recorder or mixing desk
*
*
**
**
∼
∼
screen
-phase
+phase
XLR-3 connector
XLR-3 connector
and between 15 and 21 mA DC for P12. Note: Well-designed phantom power supplies must tolerate at least a temporary short circuit without damage; an unbalanced connection (which is occasionally necessary) would cause the same current to be drawn. To be safe, however, do not leave the short circuit in place longer than necessary. 2) Measure the DC voltages on the 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 Volts). For P12 this is 8.3 Volts (minimum 7.3 Volts). 3) For P48, use a SCHOEPS PHS 48 tester. Plug it in; if the LED glows and stays lit, all is well.
+Phase: an excursion of the diaphragm towards the back electrode (posi- tive pressure phase) leads to a positive signal at this pin *Matched (i.e. matching tolerance of only 0.7%), see page 5 ** Here are three simple methods for verifying correct phantom powering.
These measurements should be made at an unused input. Reduce the channel gain to the minimum to protect the loudspeakers, etc. If micro- phones are connected to other inputs at the same time, no substantial difference should occur in the results.
1. Measure the open-circuit voltage between ground (pin 1) and either pin
2 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 (pin 1) and either pin 2 or pin 3 of the XLR input. Given the permitted tolerances, this current should be between 5.9 and 8.5 mA DC for P48,

Which is the best microphone for ... ?
In our opinion a good microphone ought to
sound natural, just as you would expect a
good audio amplifier to sound; it should
therefore be suitable for any instrument. This
requires flat frequency response and a direc-
tional characteristic independent of frequency.
There will be no difference in sound quality
whether the pickup is on- or off-axis.
Obviously this ideal can only be achieved to
a finite degree. With directional microphones,
proximity effect causes the low-frequency
response to vary significantly while with nearly
all microphones (especially omnidirectional
microphones), the polar pattern is rarely ideal
at the highest frequencies.
Only in rare cases can ”the” correct micro-
phone be chosen unequivocally, since – based
on experience – aspects of taste, recording
location, position of sound sources and the
microphone, and the atmosphere of the music
or other program material must also be con-
sidered. Any absolute recommendations would
therefore be of limited value at best. However,
we would like to offer some ideas that offer a
good place to start.
Our Recommendations
The microphone type that comes closest to
the theoretical ideal is the classic pressure
transducer. It has an omnidirectional pickup
pattern, reproduces even the lowest audio
frequencies with full sensitivity, and has no
proximity effect.
The most commonly used pattern for
medium-distance pickup is the cardioid (CCM 4
or CCM 4V). However, there may be good
reasons to make a different choice. Some
examples:
– 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 microphone CMIT 5 U,
as long as no nearby sound source or P.A.
loudspeaker is directly behind the micro-
phone, since it has a rear lobe.
– for a broader pickup pattern, with very nat-
ural sound quality for sound arriving at the
sides of the microphone and more extended
low-frequency response, we recommend
the CCM 21 wide cardioid.
– for a very natural sound character and a
pickup pattern close to a cardioid: CCM 22
Open Cardioid
– for essentially perfect pickup of low-fre-
quency information and room sound, we
recommend the omnidirectional CCM 2H
or CCM 2S.
– when using directional microphones with
very close placement, proximity effect must
be compensated for with a bass rolloff. This
is especially true when miking instruments.
For voice, try the CCM 4S or CCM 4VXS.
For instruments the omnidirectional CCM 2
may be of interest (no proximity effect, low
sensitivity to ”popping” or solid-borne
noise).
– for very distant miking with essentially per-
fect bass response and/or as an ”ambience”
microphone: omni CCM 3.
– for outdoor recording if directivity is not
required (e.g. close miking), the omni
CCM 2S + windscreen W 5 or W 5 D will
offer low sensitivity to wind, “popping”
and handling noise.
If high directivity is required outdoors, the
CCM 41 can be used with the W 5 D,
WSR 100 or WSR MS LI “basket”-type
windscreens with built-in elastic suspension
for mono or stereo.
SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Microphone Selection
8
Recording

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Basic Microphone Characteristics
9
Microphone Types
Frequency
response:
Directional
pattern:
Proximity effect:
Sensitivity to
vibration, wind
and popping:
Pressure Transducers (omnis)
Essentially flat, with accurate repro-
duction of the lowest frequencies.
The on-axis response of the free-field
microphone does not have a high-fre-
quency emphasis, but that meant for
the reverberant sound field does.
Omnidirectional pattern in its ideal
form only at low and middle frequen-
cies. At very high frequencies there is
increasing directivity. For this reason
even omnidirectional microphones are
directed towards the sound source.
None
Very little; simple foam-type wind-
screens often offer good protection.
Pressure-Gradient Transducers
Reduced sensitivity (rolloff) at lower
frequencies, which can be compen-
sated by close placement to the
sound source (proximity effect)
Types: wide cardioid, Open Cardioid,
cardioid, supercardioid (hypercardioid),
bidirectional (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 distance decreases in near-
field use (quite noticeable at under
50 cm)
Considerable; shock mounting and
larger, more elaborately constructed
windscreens may be needed.
Characteristics of the Two Basic Transducer Types
All SCHOEPS microphones, even switchable
ones, are single-diaphragm electrostatic trans-
ducers. They fall into two general categories:
pressure transducers and pressure-gradient
transducers. Many of our microphones combine
the two principles of operation in various pro-
portions, yielding patterns from wide cardioid
to supercardioid. While not strictly correct, these
microphones are classed as pressure-gradient
transducers by convention.
Unlike dual-membrane microphones, our
switchable microphones offer flat low-frequency
response, low sensitivity to wind and solid-
borne noise, and no proximity effect in their
omnidirectional settings. In their cardioid set-
tings they maintain their directional pattern to
the lowest frequencies, which dual-diaphragm
microphones do not.
The following table lists the basic character-
istics of these two general types.

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Suggested Microphones for Specific Applications
10
Microphone Types
Applications: Recommendations:
On a lectern CCM 4 (cardioid) with close-speech guard B 5 D
Conference recording CCM 4 (cardioid) with close-speech guard B 5 D
TV speaker’s desk CCM 4 (cardioid), no popscreen required at distances greater than
0.5m
Radio announcer CCM 4V (cardioid with lateral pickup) with pop filter PR 120 SV
Noisy environments (super-)cardioid for close pickup (10 – 20 cm) with bass rolloff:
CCM 4S, CCM 40, CCM 41S
TV “round table” discussion CCM 4 (cardioid)
Church CCM 40 (cardioid), perhaps using boundary layer technique with the
BLCg mounting plate
Stage (fixed) CCM 4 (cardioid) or CCM 22 (Open Cardioid) on RL tube with B 5 D
windscreen; CCM 4, CCM 22 or CCM 41 (supercardioid): direc-
tional boundary-layer technique with the BLCg mounting plate or
suspended with the HC cable hanger
Studio CCM 4, CCM 4V (cardioids) or CCM 22 (Open 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 than ideal or if the bass is
too strong: CCM 21, CCM 22 or even CCM 4
Tympani, bass drum, etc. CCM 2 (omni)
Solo pickup with adapters flute: CCM 8 (figure-8), violin, saxophone: CCM 4, CCM 4V (car-
dioids) or CCM 22 (Open Cardioid)
Accent (“spot”) miking in the orchestra: CCM 22 (Open Cardioid), CCM 41 (supercardioid)
Orchestra, choir ORTF with STC 4g stereo bar and CCM 4 or quasi ORTF with STC
22g and CCM 22; for best low-frequency reproduction: A/B record-
ing (e.g. with CCM 2S) or A/B in boundary-layer technique with the
BLCg mounting plate; Decca Tree with 3× CCM 2S, perhaps using
KA 40 accessory spheres
Small orchestra /ensemble M/S on a stand with the AMS LU or SGMSC or suspended with the
HSGMSC; X/Y with the M100 C bracket
Film and video dialog/effects M/S with CCM 41 (supercardioid) in the M-channel
Orchestra OCT surround; Decca Tree with 3× CCM 2S, perhaps using KA 40
accessory spheres
Film and video dialog/effects Double M/S on a boom and possibly a Hamasaki Square for
increased envelopment
Surround Stereo Instruments Vocals Speech/ Speakers

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Pressure Transducers (Omnis)
11
Microphone Types
Frequency response curve CCM 2
20 50 100 200 500 1k 2k 5k 10k 20kHz
Frequency response curve CCM 2H
20 50 100 200 500 1k 2k 5k 10k 20kHz
The actual miking distances which
correspond to these categories will
depend greatly on characteristics of the
recording environment, especially on
its size and reverberance. Each of these
capsules, when used at appropriate
distance, will have a well-balanced
overall response given the mixture of
direct and reflected sound energy typ-
ical of that distance.
Note: Since the microphones have
some directionality at high frequencies,
it is still 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; room microphone
+10
0dB
-10
-20
+10
0dB
-10
-20
*reverberation radius: the distance from the sound source at which
the levels of direct and diffuse sound are equal.
Frequency response curve CCM 2S
20 50 100 200 500 1k 2k 5k 10k 20kHz
Frequency response curve CCM 3
20 50 100 200 500 1k 2k 5k 10k 20kHz
+10
0dB
-10
-20
+10
0dB
-10
-20
CCM 2 for free-field placement
(close to the sound source)
CCM 2H for use at moderate dis-
tance (at or near the
reverberation radius*)
CCM 2S all-purpose capsule for
music and speech, also
for use at moderate dis-
tance (at or near the
reverberation radius*)
CCM 3 for diffuse-field placement
(well beyond the reverber-
ation radius*)
Polar diagram CCM 2, -2H, -2S, -3
from outer
to inner:
up to 1 kHz 4 kHz
2 kHz 8 kHz
16 kHz
CCM 3
CCM 2S
CCM 2 CCM 2H

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Wide Cardioids
12
Microphone Types
Frequency response curve CCM 21
Polar diagram CCM 21, -21H
from outer
to inner:
up to 1 kHz 4 kHz
2 kHz 8 kHz
16 kHz
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz
Frequency response curve CCM 21H
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz
– wide cardioids
– polar pattern very well maintained
throughout the frequency range
– a favorable compromise between
omni (good 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: often preferred for use
when recording vocals, acoustic
guitar or percussion
CCM 21HCCM 21
Frequency response curve CCM 22
Polar diagram CCM 22
from outer
to inner:
up to 2 kHz 8 kHz
4 kHz
16 kHz
+10
0dB
-10
-20
CCM 22
– new kind of directional pattern:
“Open Cardioid”
– optimal combination of classic car-
dioid directionality (MK 4) with the
sonic character of the wide cardioid
(MK 21)
– directional pattern largely constant
throughout the frequency range
Uses:
for spot miking and as a soloist’s
microphone
20 50 100 200 500 1k 2k 5k 10k 20kHz

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Cardioids
13
Microphone Types
Frequency response curve CCM 4
Polar diagram CCM 4
from outer
to inner:
up to 1 kHz 4 kHz
2 kHz 8 kHz
16 kHz
20 50 100 200 500 1k 2k 5k 10k 20kHz
+10
0dB
-10
-20
Frequency response curve CCM 4V
Polar diagram CCM 4V
from 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 4
– standard cardioid with clear sound
quality, free of coloration
– 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 tip of the micro-
phone
Uses: often preferred for singing or
speaking voices and most instru-
ments; as a spot microphone for X/Y,
ORTF and M/S stereo recording
CCM 4V
– cardioid with mild high-frequency
boost
– all-purpose microphone for music
and speech
– highly consistent polar response:
cardioid pattern is maintained at
low and high frequencies
– 0° axis is at the side of the micro-
phone marked by a red dot
Uses: often preferred for singing or
speaking voices and most
instruments; as a spot microphone for
X/Y, ORTF and M/S stereo recording

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Supercardioids
14
Microphone Types
Frequency response curve CCM 41
Polar diagram CCM 41
from outer
to inner:
up to 1 kHz 4 kHz
2 kHz 8 kHz
16 kHz
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz
Frequency response curve CCM 41V
Polar diagram CCM 41V
from 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 41V
– all-purpose microphone for music
and speech; 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 record-
ing method
CCM 41
– all-purpose microphone for speech
and music recording of all kinds
– well suited for use as the main
microphones for stereo pickup
and/or as ”spot” microphones
– extended, smooth, well-balanced
frequency response
– often used for film and video sound
– where it can be used, it has distinct
sonic and practical advantages over
most shotgun microphones
– highly consistent polar response
– 0° axis is at the tip of the micro-
phone
Uses: often preferred for use in film
sound recording and as a spot micro-
phone in orchestras

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Figure-8
15
Microphone Types
Frequency response curve CCM 8
Polar diagram CCM 8
from 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 8
– figure-8 (”bidirectional”) pattern
– clear sound quality, free of coloration
– capsule for M/S and Blumlein stereo
– highly consistent frequency and
polar response
– response essentially free of off-axis
peaks like a good ribbon microphone
(but not as delicate physically)
– lateral pickup
Uses: optimal for use in M/S and
Blumlein stereo recording

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Switchable Microphone
16
Microphone Types
Frequency response curve CCM 5 ”omni” position
Polar diagram as CCM 2, -2H, -2S, -3
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz
CCM 5
– mechanically switchable single-
diaphragm microphone (omni/ car-
dioid)
– smoother, more extended high-fre-
quency response than most other
multi-pattern microphones
(e.g. dual-diaphragm capsules of
other manufacturers)
– slightly brighter than the 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:
preferred uses similar to those of the
CCM 2 or CCM 2S and the CCM 4:
In the cardioid setting: for use with
singing or speaking voices or most
instruments, as a spot microphone,
and for stereo recording with coinci-
dent, ORTF or M/S microphone
arrangements.
In the omnidirectional setting: for
recording instruments, singers, etc.
at relatively close range
Frequency response curve CCM 5 ”cardioid” position
Polar diagram CCM 5
from 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
”cardioid” position

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Cardioids for Close Pickup
17
Microphone Types
Frequency response curve CCM 4S
Polar diagram as CCM 4
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz
Frequency response curve CCM 40
Polar diagram CCM 40
from 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
These microphones are tailored for
people speaking in loud environments,
an application primarily all about speech
intelligibility. They are therefore used
in close proximity and lower frequen-
cies are attenuated. 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 intelligibility
CCM 4S:
– cardioid for a pickup distance of
approx. 50 cm
CCM 40:
– cardioid for a pickup distance of
approx. 50 cm
– high-frequency emphasis for better
speech intelligibility in reveberant
venues (e.g. churches)
CCM 4VXS:
– cardioid for a pickup distance of less
than 10 cm
– lateral pickup
– high-frequency emphasis for better
speech intelligibility
Low-frequency
attenuation of
cardioids for
close pickup.
20 50 100 200 500 1k
+10
0dB
-10
-20
CCM 4
standard cardioid
CCM 4S and CCM 40
CCM 4A
CCM 4VXS
CCM 40CCM 4S
CCM 4VXS
Frequency response curve CCM 4VXS
The polar diagram corresponds to that of the CCM 4V.
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Microphones for Close Pickup
18
Microphone Types
Frequency response curve CCM 41S
Polar diagram CCM 41S
from 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
(under 10 cm)
– 10 dB attenuation compared with
the other capsules for close pickup
Polar diagram CCM 4A
from outer
to inner:
up to 1 kHz 4 kHz
2 kHz 8 kHz
16 kHz
Frequency response curve CCM 4A
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Acoustical Specifications of Compact Microphones
19
Microphone Types
microphone type polar frequency sensitivity equivalent noise level signal-to-noise max. SPL
pattern range CCIR A-weighted ratio (0,5%THD)
A-weighted
CCM 2 omni 20 Hz – 20 kHz 16 mV/Pa 23 dB 11 dB 83 dB 130 dB
CCM 2H omni 20 Hz – 20 kHz 15 mV/Pa 23 dB 11 dB 83 dB 130 dB
CCM 2S omni 20 Hz – 20 kHz 12 mV/Pa 24 dB 12 dB 82 dB 132 dB
CCM 3 omni 20 Hz – 20 kHz 10 mV/Pa 26 dB 14 dB 80 dB 134 dB
CCM 21 wide cardioid 30 Hz – 20 kHz 13 mV/Pa 24 dB 14 dB 80 dB 132 dB
CCM 21H wide cardioid 30 Hz – 20 kHz 10 mV/Pa 26 dB 16 dB 78 dB 134 dB
CCM 22 Open Cardioid 40 Hz – 20 kHz 14 mV/Pa 23 dB 14 dB 80 dB 131 dB
CCM 4 cardioid 40 Hz – 20 kHz 13 mV/Pa 24 dB 15 dB 79 dB 132 dB
CCM 4V cardioid 40 Hz – 20 kHz 13 mV/Pa 24 dB 14 dB 80 dB 132 dB
CCM 41 supercardioid 40 Hz – 20 kHz 14 mV/Pa 24 dB 15 dB 79 dB 132 dB
CCM 41V supercardioid 40 Hz – 20 kHz 14mV/Pa 23 dB 14 dB 80 dB 132 dB
CCM 8 figure-8 40 Hz – 16 kHz 10 mV/Pa 26 dB 18 dB 76 dB 134 dB
CCM 5 omni 20 Hz – 20 kHz 10 mV/Pa 26 dB 14 dB 80 dB 133 dB
cardioid 40 Hz – 20 kHz 13 mV/Pa 24 dB 15 dB 79 dB 132 dB
CCM 4S cardioid 80 Hz – 20 kHz 12 mV/Pa 25 dB 15 dB 79 dB 132 dB
CCM 40 cardioid 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 Hz – 20 kHz 13 mV/Pa 24 dB 14 dB 80 dB 132 dB
A note about signal-to-noise specifications for
studio microphones. The standard method,
which SCHOEPS follows, is really just an alter-
nate way of stating a microphone's equivalent
noise level. It is designed to allow comparison
of noise floor levels for different microphones.
Unlike the signal-to-noise specifications for
other types of audio equipment, which give
the ratio of a component's clipping point to its
noise floor, these values do not indicate a
microphone's entire available dynamic range.
Instead, the values are measured with reference
to a standard sound pressure level of 1 Pascal
(1 Pa = 94 dB SPL). But the actual maximum
SPL capability of any usable microphone exceeds
that reference level substantially. The signal-to-
noise specifications of our microphones would
be 35 to 40 dB greater if the “hi-fi” approach
were used.
The use of “A” weighting when specifying
the equivalent noise level of microphones is
another frequently misunderstood aspect of the
standards. “A” weighting yields a distinctly
lower noise specification – mostly by 10 dB or
more – and this figure, of course, becomes the
one most often cited in advertising. In practice,
however, the CCIR weighted noise level may
well be a more accurate indicator of a micro-
phone's perceived noise level.

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: [phone] · Fax: [phone]
www.schoeps.de · [email protected]
Care and Maintenance / Troubleshooting
20
Miscellaneous
Care of Compact Condenser Microphones
Please take care to avoid placing microphones
in a dusty environment. Keep them in their cases
(e.g. the wood carrying case they come with)
when not in use, since any dust that gets
inside the capsules can adversely affect their
functioning. Dust can affect the microphones
in the following way: In combination with
humidity it can lead to condensation and thus
popping and crackling noises (often described
as ”frying sounds”).
What to do if …
the microphone is noisy (clicks and pops) in high
humidity?
If the microphone is brought in from the cold
outdoors to a warm (and humid) environment,
snapping or clicking noises can result from the
condensation of moisture.
In this event the microphone should be given
between 30 and 60 minutes to warm up, and
will then generally perform flawlessly.
If this treatment does not eliminate the noise,
it is possible that dirt has gotten inside the
transducer (capsule) itself – in which case the
microphone must be sent back to the factory
for cleaning. We strongly advise customers not
to open a microphone or attempt to clean it
themselves. Doing so would also invalidate all
warranties.
Windscreens are recommended when micro-
phones have to be used in dirty or dusty envi-
ronments in order to avoid problems of the
kind described above.
Troubleshooting
Wind noise and polar pattern
Noise problems can be taken into account when
choosing a microphone pattern (directional
characteristic) for a given set of recording con-
ditions. Pressure transducers are considerably
less prone to picking up noise from air currents
or mechanical vibration than 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 omnidirec-
tional setting. If strong wind or physical vibra-
tion of the microphone is anticipated, a pres-
sure transducer such as the CCM 2 S should
be used instead of a cardioid or supercardioid.
The distance between the microphone and the
sound source should then be halved if possible.
Wind noise and windscreens
Air motion (wind, vocal “popping” on sung or
spoken consonants, motion of the microphone
on a boom arm, or air currents due to heating
or air conditioning systems) can cause noise
that should always be dealt with. Even if it
doesn't cause overload, it will detract from the
clarity of sound. A wind or pop screen should
be used, but should be chosen carefully to
avoid changing the microphone's characteris-
tics too much. Many screen types which are
effective at reducing wind noise also have a
tendency to reduce a microphone's directional-
ity and/or its high-frequency response. Basket-
type windscreens mainly cause some uneven-
ness in the frequency response (see our general
catalog for details).
Vibration
If noise from mechanical vibration enters a
stand- or boom-mounted microphone, a shock
mount (elastic suspension) should be used, and
a loop of slack cable isolated and tied off so
that it does not become another way for vibra-
tions to reach the microphone. Unlike a wind
screen, a shock mount will not affect the char-
acteristics of a microphone. In many kinds of
work it is well justified to use a shock mount
”by default.”
Overload
If transient or continual overload occurs, or
seems likely to occur, it is useful to think of the
complete set of equipment used for a record-
ing or broadcast as a succession of ”stages.”
The signal should then be attenuated (its level
decreased) at the input to the first stage of
equipment which might be overloaded.
A condenser microphone itself represents at