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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

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System Overview – A Selection

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

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

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

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

microphone

screen

cable

powering

input

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

+ phase

- phase

microphone

screen

cable

powering

input

*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

F, 63V; R: 22k

, 1%

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)

Technology

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www.schoeps.de · mailbox@schoeps.de

EMC, Technical Specifications

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

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

Impedance

converter

Output

stage

DC/DC

converter

Regulator

EMI filter

Screen

-Phase

+Phase

XLR-3

Connector

Microphone

cable

(adapter

cable Lemo/

XLR-3M

Phantom

powering

Us= +48 V

Rs= 6.8 kΩ

= 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

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Pressure Transducers (Omnis)

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

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

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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Pressure-Gradient Transducers - Wide Cardioids

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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Cardioids

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

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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