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Sida 1/24

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: +49 (0)721 943 20-0 · Fax: +49 (0)721 943 2050
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System Overview – A Selection
2
System Overview
microphone pre-
amplifier or mixer
COMPACT ICROPHONEM
with permanently
attached cable;
special version
adjustable-height
stand
STV 900/1400 L3Ug
Stereo
COMPACT ICROPHONEM
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 4gOSIX CCM LU
BLCg
Accessories
– a selection

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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 phan tom 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

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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 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
require ments 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
power supplies below.
+ phase
- phase
2
3
microphone
1
screen
cable
powering
RS
US
input
RS
P48: US= 48 V ± 4 V; R S= 6,8 k *,WImax.= 10 mA
P12: US= 12V ± 1V; R S= 680 *,WImax.= 15 mA
I/2
I/2
I
+ phase
- phase
2
3
microphone
1
screen
cable
powering
RS
US
input
RS
RR
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

Phan tom po we ring to stan dard
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, con nector
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
phan tom 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 microphones adequately. SCHOEPS
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 CCM will draw 8 mA. SCHOEPS
Fig. 2 shows a bal an ced but groun ded am -
pli fier in put. In this case eit her a trans for mer
(see fig. 1) or ad di tio nal ca pa ci tors ha ve to be
in ser ted into the au dio li ne.
Unbalanced Operation
Our microphones are intended for balanced
operation, which is why they should be oper-
ated with balanced inputs. Otherwise the vul-
nerability 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 micro-
phone 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 micro phone
splitter should be used in order to preserve
the loading and powering conditions for the
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
SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: +49 (0)721 943 20-0 · Fax: +49 (0)721 943 2050
www.schoeps.de · mailbox@schoeps.de
Phantom Powering (continued)
5
Technology

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: +49 (0)721 943 20-0 · Fax: +49 (0)721 943 2050
www.schoeps.de · mailbox@schoeps.de
EMC, Technical Specifications
6
Technology
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.
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 cables have very lowSCHOEPS
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
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:
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:

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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)
1 2
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
tolerances, this current should be between 5.9 and 8.5 mA DC for P48,
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 microphone
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 (mini-
mum 7.3 Volts).
+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 two 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

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: +49 (0)721 943 20-0 · Fax: +49 (0)721 943 2050
www.schoeps.de · mailbox@schoeps.de
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
microphones, when used at appropri-
ate distance, will have a well-balanced
overall response given the mixture of
direct and reflected sound energy
typical 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, XS: “spaced micro-
phone” stereo pickup and “Decca
Tree” arrangements
CCM 2XS: 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 2XS
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 microphone
for music and speech,
also for use at moderate
distance
CCM 2XSfor diffuse-field placement
(well beyond the reverber-
ation radius*)
Polar diagram CCM 2, -2H, -2S, -XS
from outer
to inner:
up to 1 kHz 4 kHz
2 kHz 8 kHz
16 kHz
CCM 2XSCCM 2S
CCM 2 CCM 2H

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Pressure-Gradient Transducers - 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
Frequency response curve CCM 22
+10
0dB
-10
-20
20 50 100 200 500 1k 2k 5k 10k 20kHz
CCM 21HCCM 21
CCM 22
– “Open Cardioid”
– optimal combination of classic car-
dioid directionality (CCM 4) with
the sonic character of the wide car-
dioid (CCM 21)
– directional pattern largely constant
throughout the frequency range
Uses:
for spot miking and as a soloist’s
microphone
from outer
to inner:
up to 2 kHz 8 kHz
4 kHz
16 kHz
Polar diagram CCM 22

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www.schoeps.de · mailbox@schoeps.de
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 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
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 instruments;
as a spot microphone for X/Y, ORTF
and M/S stereo recording
Produktspecifikationer
Varumärke: | Schoeps |
Kategori: | mikrofon |
Modell: | CCM 2S |
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