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The Schoeps CMC 621 Microphone Stereo Set is a complete wide cardioid condenser microphone stereo set including two CMC amplifiers, two wide MK 21 cardioid capsules, pop screens, clamps and box.
The CMC 6 is designed for standard 48- and 12-Volt phantom powering. Its circuitry recognizes the supply voltage and adjusts itself automatically. Its performance characteristics remain essentially the same either way; mainly, the difference is that the current drawn at 12 Volts is greater than at 48 Volts. However, the 12-Volt mode consumes less power and might be preferred for battery-powered recording.
The microphone amplifier is responsible for providing the necessary electric charge to the capsule, without which it would be unable to generate a signal. Since the capsule's output signal is very weak (Hi-Z), it must be amplified. In order for the microphone's output to cleanly reach the next stage in the signal chain, it must undergo balancing and impedance matching before transmission. The CMC 6 incorporates a balanced, direct-coupled class-A amplifier, yielding a low output impedance, high RF shielding, and minimal distortion.
The directivity of the wide cardioid lies between the omni and the cardioid. The idea behind their development is to combine the advantages of these two patterns. The low-frequency behavior of the Schoeps MK 21 is better than that of the cardioid, and proximity effect is less pronounced. The wide cardioid polar pattern is extremely consistent across the frequency range. Laterally-arriving direct sound and reflections are picked up without added coloration. The MK 21 is a very well-liked capsule. It is preferred when a slight directional effect and a warm, natural sound image are desired. Over the years it has become an integral part of the audio engineer's toolkit.
When used as a spot microphone, the distance from the sound source should be slightly smaller than when using a cardioid due to lower directivity index.
The low directivity of this capsule type prevents it from generating large enough level differences for X/Y use, though MS and near-coincident spacings are often successful.
The Colette series was introduced back in 1973 and has since been made up of mutually compatible modules that are constantly being updated and supplemented. No other microphone system has been on the market for such a long time. The Colette series invented the modularity in microphone technology and is considered more than ever before to be the best small-diaphragm microphone system.
Microphones from the modular Colette series are comprised of a microphone capsule screwed onto an amplification unit. Any capsule can be combined with any amplifier. Active accessories can be inserted between capsule and amplifier if desired. The RC active extension tube in particular graces many high-profile events with its stylish appearance. Due to its modular nature, the Colette system offers a large variety of options, for a wide range of use cases.
|Package Contents||Two matte gray CMC 6 mic bodies with MK 21 wide cardioid capsules, two SG20 stand clamps, two B5 D popscreens, and wooden box|
|Unit Weight||0.16 lb|
|Tube or Solid State||Solid State|
|Polar Pattern||Wide Cardioid|
|Number of Microphones||Microphone Bundle|
|Impedance||25 Ohms @ 12 V, 30 Ohms @ 48 V / Minimum recommended load: 600 Ohms|
|Frequency Range||30 Hz - 20 kHz|
|Sensitivity||-37.7 dBV/Pa (13 mV)|
|Max. SPL||132 dB|
These mics are amazing. A very useful balance of the directional qualities of a condenser with openness of an omni. A real problem solver.
These mics have already become essential in my collection of Schoeps, Sennheisers, Neumanns and others. For use, the simplest way to put it is that they lie between cardioids and omnis, just like their pattern. They sound like that too, in the best way. I record mostly classical music and on location.
These MK21 microphones have increased my color pallette significantly from the MK4 and other mics. In a good sounding room, these mics really warm up a string sound. Highly recommended!
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