Schoeps stereo set CMC 6xt U with MK 4 | condenser microphone with cardioid capsule

The CMC 6xt is the HiRes version of the CMC 6 microphone amplifier. During the development of the CMC 6xt, attention was paid to low noise above 20 kHz. This maintains a high dynamic range, even when recording at high sampling rates or when down-pitching in sound design. This prevents the noise from masking the often very small useful signal above 20 kHz or becoming audible after pitching down. The frequency response of all axial capsules (MK 2 H/S, 21, 22, 4, 41, 5) is extended upwards to over 40 kHz.

Microphone capsules of condenser microphones cannot be operated directly on microphone cables or inputs. This requires the interconnection of a microphone amplifier. Each MK capsule of the Colette series must therefore be screwed to a microphone amplifier and only together with it forms a complete microphone.

The microphone amplifier can be operated with 12V and 48V phantom power. The CMC 6xt circuit automatically recognises the power supply and adjusts itself accordingly. Their properties remain essentially unchanged – only the current is adapted to the supply voltage. This is higher at 12V than at 48V. Nevertheless, the power consumption is lower at 12V, which is advantageous for battery operation.

The CMC 6xt U can be used in many setups (e.g. OSIX) that have a fixed orientation of the XLR connector and therefore of the amplifier. The alignment is also fixed in the compatible MS and double MS setups (e.g. Cyclone). This means that the microphone cannot be rotated at will in such a suspension. With axially aligned capsules such as the MK 4, this does not matter, but a vertical capsule such as the MK 8 must be aligned radially.

This accessory helps in such cases:
No. 800540: O-ring for radial alignment of an MK capsule
This O-ring is placed on the thread of the amplifier and ensures that the MK capsule remains permanently stable in any orientation. The O-ring is supplied with the MK 8 and all other vertical capsules (MK 4V, 41V) and can also be ordered separately.

No. 191102 Special colors: Nickel, chrome green and other special colors are available in the configurator available in the configurator
No. 191201 Engraving: individual engraving in the configurator possible

The MK 4 has been a reference microphone for a variety of recording situations for years. With its transparent sound character and excellent rear attenuation, it reproduces the sound source in a natural way. This has earned the MK 4 the reputation of being a universal “problem solver” in difficult recording situations.

The constant frequency response and the consistent directivity across all frequencies are the basis of the exceptional sound quality of the MK 4. Even in a diffuse sound field, the frequency response remains consistent, with a slight rise at 10 kHz, which compensates for height losses in the room. The result is a transparent sound image that is convincing with both direct and lateral sound sources as well as with diffuse sound (reverberation).

As a classic small diaphragm microphone, the MK 4 offers all the typical advantages of this type of microphone. The frequency response and the constant polar pattern over a wide frequency range are outstanding. Like all SCHOEPS capsules, the MK 4 achieves its flat frequency response solely through its precise mechanical architecture, without relying on electrical filtering. As a pressure gradient receiver with a single diaphragm that is exposed to sound from both the front and the rear, the side sound inlets must never be covered.

The range of the MK 4 is approximately 1.7 times that of a sphere. This means that a direct, undistorted sound is retained even at greater distances from the sound source. The strength of the MK 4 is particularly evident when mixing several microphone signals, as it transmits sound coming from the side attenuated and undistorted.

The attenuation of the MK 4 is 6 dB at 90° sound incidence and 20 to 30 dB at 180° sound incidence. Diffuse sound incidence is 4.8 dB weaker than frontal sound incidence.

The MK 4 is suitable for both speech and music recordings and is often used as a support microphone, studio microphone or in stereo arrangements. It is also very popular in the ORTF stereo microphone arrangement MSTC 64 U and as a mid microphone in an MS arrangement and delivers excellent results.