R/E/P > Klaus Heyne's Mic Lab

Schoeps - "sound" and impedance issues

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Are you sure you tested a CMC 6 and not a CMC 6xt?
The last one has an EQ on board emphasising the range above 10 to 40K. I really have my doubts about the xt version, all the phase problems are emphasised.

Also I would suggest to try a CMC 5. The highpass filter in the CMC 6 makes the amplifier go down deeper, but the filter is 12dB per octave, and the highpasss filter from the CMC 5 is 6 dB per octave, result rolling off more early, but less phase shift.

CMC 6U - second order Butterworth filter  -3dB at 20Hz
CMC 5U - first order filter               -3dB at 30Hz

I have tested a lot with highpass filters for taking away rumble from acoustical sessions, and the steeper the filter down there, the more sharp the top end becomes, caused by the phase shift of the highpass filter.

I have not compared the CMC 6 with the CMC 5, but if I ever have the chance, I would take time to compare them.

I would also suggest, to use Schoeps mikes together with transformerless input stages, or those transformer inputs for low Z output microphones like Hardy.

Erik Sikkema

Mark Lemaire:
Dear LRRec

I bought a pair of MK2H heads with CMC6 amplifiers a few years ago for use as a main pair for classical recordings. My other main pair mics were/ are either a pair of DPA 4003 or Klaus modified Neumann M269s. My impression of the Schoeps? Much like yours. You wrote:

"The sound seemed artificial, with a grainy top end and seemed to have none of the 'magic' that other people have ascribed to these mics."

Besides that, I also found the mids and lows to seem kinda 'grey', for want of a better word. The 4003s seemed like the lows and mids were more 'solid black', while the Schoeps sounded 'greyish'. The Schoeps seemed darker than either of the other pairs in tone- and darker than the 4003 does not generally suit my tastes.

I have heard some fine recordings that used Schoeps mics, but I am not the person who made them. While my personal experience with this single pair is in no way an overview of the whole Schoeps line, I disliked the sound enough that I have felt no reason to try more by that brand since.


Mark Lemaire


I very much respect your observations about the Schoeps MK 2H and the CMC 6. Of course there is very much difference between the DPA 4003 130V and the Schoeps P48 Colette series. I wonder only how much psychology is involved in how you describe the differences in grey and black colours, since the Schoeps Colette series have Nextel grey housings, and the DPA mikes are matblack.

It is obvious we all have our preferences, and also I can name several types and brands of microphones I dislike in someway. It is only difficult to say why, and if I am not influenced by other information than only what I heard auditioning them.

Once I was recording with Philipe Entremont all Beethoven pianoconcierto's, and one microphone of my Neumann TLM 50 set started to produce rumble, and I needed to replace the microphone with the start of the 2nd movement. Since my reserve microphone was already at Neumann for repair I was left with one other option, change both TLM 50's for two DPA 4003 including the APE's. No one ever complained the sound from the second and third movement did not fit well together. The sound is pretty much the same.

The Schoeps Colette series are very pleasant microphones, I like the BLM very much, and also the MK5. I still suspect the different highpass filter in the CMC 6. I will call Schoeps, and ask them if I can borrow a CMC 6 and compare it with the CMC 5. If they offer me this possibility I will come back to it in this thread. At the moment I am testing the new Schoeps CMD 2 conditioner-AD converter with AES 42 output. I have no connection to the Schoeps microphone company, only a high interest in digital microphones.

Erik Sikkema


Thanks to everyone for replying.

EricS wrote:

Are you sure you tested a CMC 6 and not a CMC 6xt?
Also I would suggest to try a CMC 5.

Yes, it was a CMC6. I would be curious to hear any differences between the CMC5 and the CMC6.

Mark Lemaire wrote:

My impression of the Schoeps? Much like yours.

I'm glad I'm not the only one.


I own a pair of CMC54 and can't find any of your described characteristics. I find them to sound very smooth and pleasant, at least for my application as a main mic for choral and baroque or classical chamber music. Compared to my former workhorse, Neumann KM84 I prefer the Schoeps in most situations. I have no experience with DPA mics so I cannot comment on these.


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