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Mooie retouren / B-stock Korte huur Jaarhuur

Schoeps CMC 6 MK 4, stereo set, cardioid *** Voorraad-voordeel ! ***

Prijs per dag bij jaarhuur: € 1,29

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Korte beschrijving

Deze microfoon heeft een modulaire opbouw. Hij bestaat uit een Cmc6 amplifier en een Mk4 cardioide capsule.

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Schoeps CMC 6 MK 4, stereo set, cardioid   *** Voorraad-voordeel ! ***


Let op! Studio Lobbes verkoopt een beperkt aantal artikelen met voorraad-voordeel ! *

Deze microfoon heeft een modulaire opbouw. Het bestaat uit een Cmc6 amplifier en een Mk4 cardioide capsule. De Cmc6 amplifier zet de zeer hoge impedantie van de capsule om in een zeer lage impedantie zodat het goed door een microfoonkable kan.

De microfoon werkt zowel op 12v als 48v phantom power.

Op de Cmc6 zij ook andere capsules te plaatsen. Een voorbeeld is de Mk5, een omni/cardioide capsule.

Het karakter van de microfoon valt te omschrijven als zijdezacht. In verhouding tot de Km184 van Neumann is deze microfoon nog meer 'Hifi' te noemen.

Cardioid polar pattern, frequency response: 40Hz-20kHz, 13mV/Pa, 132dB max SPL. Colour: Grey. Microphones / Condenser Microphones

Informatie Fabrikant:

Stereo set bestaande uit CMC6 en MK21 wide cardioid



  • flat frequency response
  • extremely low noise and distortion
  • balanced, very low-impedance output
  • can be used with very long cables
  • well-protected against RFI
  • for use with 12- or 48-Volt phantom powering
Microphone Amplifier CMC 6 Ug

The capsules of condenser microphones (the only type which SCHOEPS manufactures) can't be connected directly to microphone cables or inputs; a microphone amplifier is required in between. Thus a complete microphone of the Colette series comprises any of the twenty available types of capsules combined with an amplifier.

The CMC 6 Ug 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 provides the electrostatic charge which the capsule requires in order to produce a signal. Since only a miniscule amount of current is contained in this signal, amplification of the current is required. To avoid interference to the signal on the way from the microphone to the input of the mixer or preamp, the signal is conveyed at low impedance and in balanced form. The CMC 6 Ug amplifier offers a symmetrical, transformerless, direct-coupled Class A output stage with low impedance, low distortion, and high freedom from interference.

Please note:
The two amplifiers in a stereo pair of microphones should be of the same type.


Variant Amplifier Versions
Special versions of the CMC 6 Ug are available with different gain (amplification factor) or extended frequency range. The CMC 6 Ug can be specially ordered, or retrofitted at the factory, to have a different (e.g. lower) low-frequency limit from the standard version (see, for example, the ”linear” version listed below).

CMC 6 xt

CMC 6 Ug xt – the 40 kHz version
This version is indicated by the letters ”xt” engraved on the microphone's output socket. It extends the frequency response of the axially addressed Colette capsules beyond 40 kHz.
On the pages of these capsules, the frequency response curves are shown with both, the standard CMC 6 Ug amplifier and the CMC 6 Ug xt.

CMC 6 Ug linear
The CMC 6 Ug microphone amplifier normally has a gradual rolloff in response below 20 Hz to guard against infrasonic disturbances from various sources such as air movement and vibration. However, when using pressure (omnidirectional) transducers, particularly with digital recording, it can be desirable to pick up frequencies below 20 Hz without attenuation. The special technology of the CMC 6 Ug linear microphone amplifiers makes this possible; on request we can deliver microphone amplifiers with response that is flat to as low as 3 Hz.

Caution must be advised with respect to infrasonics, however. Since pressure transducers can pick up very low frequencies, ventilation systems in large spaces (churches, concert halls) or traffic rumble can create a problem. With pressure gradient transducers the risk is even greater. They are far less sensitive to very low frequency sound, but respond much more strongly to low-frequency mechanical stimuli such as air currents and solid-borne noise. Such signals may be below the audible range of frequencies, but they can overload electronic circuitry and produce severe distortion, particularly in transformer-coupled circuitry.

CMC 6 Ug +5 dB”
The sensitivity of a microphone using this type of amplifier is 5 dB higher than with the standard version, but the equivalent noise level and maximum output voltage are not materially affected. Thus the highest sound pressure level which the microphone can accept without distortion is 5 dB lower than in the standard version, while the signal-to-noise ratio is essentially the same with either gain setting.
This version might be chosen in order to raise the microphone's signals above the noise level of the equipment to which it will be connected, and / or for working with sounds that occur mainly at low levels.


CMC 6 Ug, CMC 6 Ug xt
Powering voltage 12 / 48 V
Current consumption with 12 V 8 mA
Current consumption with 48 V 4 mA
Impedance (at 12 V) 25 Ω
Impedance (at 48 V) 35 Ω
Low-cut frequency 20 Hz
Maximum output voltage 1 V
Minimum recommended load impedance 600 Ω
Length 116 mm
Diameter 20 mm
Weight 60 g
Surface finish

Microphone capsule MK 4


  • classic cardioid
  • suitable for the widest range of applications, either as a spot microphone or for stereo recording with coincident, ORTF or M/S microphone arrangements
  • with consistent directionality throughout its frequency range
  • often preferred for singing or speaking voices and most instruments

The MK 4 is our best-selling capsule. It offers the highest sound quality, flat frequency response, optimal rejection of rear-incident sound, and a directional pattern that remains constant throughout the audio frequency range. In the diffuse sound field it shows only a mild rise around 10 kHz; the sonic impression thus remains free of coloration even when sound is arriving from all sides at once. The sonic impression is thus free of coloration whether sound is arriving at the front or at the sides of the microphone, as well as for diffuse sound (reverberation) in a room.

For those who dare to use their ears rather than just their eyes when choosing a vocal microphone, a Colette microphone using the MK 4 capsule can be a remarkable instrument.


The MK 4 is often preferred by opera singers and other trained vocalists. But its natural, transparent character also suits it very well for use in pop and rock applications, on stage or in the studio, where equalization is a part of the plan. A microphone with a clear, neutral sound quality provides the ideal point of departure whenever special “coloring” is needed.


MK 4
Frequency range 40 Hz - 20 kHz
Sensitivity 13 mV/Pa
Equivalent noise level (A-weighted) 15 dB-A
Equivalent noise level (CCIR) 24 dB
Signal-to-noise ratio (A-weighted) 79 dB-A
Maximum sound pressure level at 0.5% THD 132 dB-SPL
Length 22 mm
Diameter 20 mm
Weight 17 g
Surface finish matte gray (g) or nickel (ni)


Top: frequency response and polar diagram MK 4 + CMC 6 and CCM 4
Bottom: frequency response MK 4 + CMC 6 xt
   *** Voorraad-voordeel ! ***
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