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  1. rb1138

    Schoeps CMD

    Schoeps CMD-2U It's the digital version of the Schoeps Colette CMC amplifiers. Anybody use it? There's no specific section about it on the Schoeps website. However, in Coffey magazine they seem to indicate that it is more resistant to humidity. With all the talk of the SuperCMIT being resistant to humidity, I was wondering if anyone had any thoughts about this one. I've searched on the web but info's pretty slim.
  2. Does anyone have any dialogue audio samples that I can hear... of a Schoeps CMC1 or CMC6 with an MK4 (not a 41)? (Preferably at 12"-14" from subject) If you do have anything to share, do you remember if you were using a Cut-1 or Cut-60 or using a low cut on the mixer? Thanks, in advance. Much appreciated. Paul
  3. So i got this old CMIT 5u which worked like pristine a couple days ago. i always store the mic in my closet in a dry groom with normal temperature. Today when i started shooting the mic gave almost no sound and alot of self noise. i couldn't use it for the whole day. last time this happened was at a night shoot but every worked back when i layed it in a dry room for a while but now it doesn't work at al and is simply unusable. Even after a full day of drying there is no change and the mic still does the same noise and low sound problem. Have any of you guys got any tips or had the same pr
  4. The CMIT I am using was purchased last year, April, and it mainly stays in the Blimp Windshield. Last week I went a set. It is a genuinely dusty indoor environment. So I paid extra attention asking the boom OP do not take it out of the Windshield. However, on the second day of shooting, The mic starts making weird noises like this. It is recorded in a quiet indoor condition. But the self-noise is extreme. I do saw on Schoeps website saying Not too sure if I should send it to do the services. It happened twice on my three-day shooting, so I do have a strong concern
  5. VAS

    Schoeps MiniCMIT

    A new one from Schoeps http://schoeps.de/en/products/minicmit
  6. Hey there! I'm a big fan of using my Schoeps capsules for car scenes, but as of now haven't found a great windscreen for this application. For windows up I use the teardrop windscreens and that works fine, but when we need the windows down the only thing that will properly protect against the wind is a softie, which I find to bulky to hide properly. Has anyone found/made/imagined a low profile windscreen to protect against wind coming into the car?
  7. Hi folks, I recently bought Colette cables for my Mk41's, to use them as a very small plant mics and also in cars. Then 2 weeks later I discovered the Schoeps CMR to put it straight into your transmitter, which is ideal for my purpose. Schoeps offers me to send the Colette back because I think I don't need them anymore. But I am wondering if I am missing something. Is there a possible scenario where I would need the Colette's over the CMR. Or where they would outperform the CMR. Thanks and yes....first world problems :-)
  8. Hi everyone, I was looking at the Schoeps website and figured out there's this new (?) inline filter on the list. Seems like a CUT1 alternative, smaller fixed frequency inline hipass filter: http://www.schoeps.de/en/products/cut60/overview Has anyone already tried this? Masaki
  9. I was wondering if anyone is familiar with digital preamps and the various unique sonic elements that different brands offer. I 've tried a number of different analogue preamps in my life and can audition the differences of an SSL preamp and a more commercial Tascam preamp as well as the transparency of a Sonosax one but I am not much experienced on digital preamps. Has anyone compared the digital preamp offerings from Schoeps, Lake People and Audio root ? I am particularly interested on compact preamp offerings rather than 1 U units. Is anyone aware of the current draw required f
  10. Hi Guy's, I'm wondering what your experience is with the Schoeps Super CMIT in daily use, and what the feedback is from post production, or if you work in post.... your own opinion. What I experience is that the DSP sometimes is audible, of course even more in the tightest setting. It almost sounds like a gate when fast loud noises are present, for example next to a highway. Also I got some feedback from post that this (gating) DSP, which most times I can't hear on set for it's subtlety, is audible for them. Because they also use these techniques in post... it's one effect on the oth
  11. Dear all, I’ve recorded some tracks in double MS and wandered if anyone has ever attempted to use the rear and fig-of-8 channels to increase (in post) the lateral and rear rejection of the front mic. The end result would be a super-directional mono (virtual) mic. This would be useful to adjust in post tracks recorded in uncontrolled environments, e.g. documentary setting, direct cinema style, no time to change mics or lav people. Is the idea making sense at all? If it is, any suggestion to make it work? My set up was a CMIT (front), CCM41 (rear), and CCM8 (Fig-of- inside a Ci
  12. Thought I would post here since I'd love to pick up some non-union sit-in and referral jobs in the Los Angeles Area. I've been mixing full time for 2 years and have a couple cable TV features under my belt, among a multitude of corporate and commercial work. I'm also comfortable swinging it or being a utility. I have a small Nomad 10 follow cart for narratives and a 302 bag for smaller OTF and sit down interview jobs. 4 channels of Zaxcom wireless (3 lavs and wireless boom), and 3 ERX IFB. Additionally, I have 2 Wisycom wideband channels with the assortment of COS11-D and DPA 4060 mics.
  13. On August 23rd a friend of mine left my schoeps cmit and a comtek pr-216 receiver in a taxi on the west side of L.A. The serial number on the microphone is 757. If anyone has any information a reward is in order. Message me here.
  14. I posted this on my blog today. You are welcome to check out the post with all the pictures attached if you like here or read below: ---------------------------------------- I recently got a Schoeps CMR. It is a single cable solution for connecting a bodypack to a Schoeps MK series capsule. I'd like to start off by saying that if you love the sound of the Schoeps Modular MK series capsules as much as I do, and also use them for your primary plant microphones (in cars, on desks, etc.) you will LOVE what this product does! There were two ways (before the CMR) that we woul
  15. Just bought a CMIT5U and am getting ready to use it in conjunction with a Denecke PS1a power supply and a UM400a transmitter. Is there a distinct wiring configuration I need to use for the boom cable itself? Redding Audio's site says: "Special care must be taken if the CMIT 5U is used with an external phantom power supply going unbalanced into a wireless bodypack transmitter - pin-3 must be decoupled from the powering and pin-1 must remain connected. (Keep pin-2 hot and pin-1 GND)." Am i mistaken, or does a phantom power supply not only supply power across Pins 1 and 2 anyway? What am
  16. Our microphones are available in their standard colors (usually gray or nickel) as well as in many special color at a low additional fee. We regularly do special colors due to certain customer demands. From Schoeps Facebook page
  17. Hi everyone. I was wondering how reliable a Schoeps CMC6 with the MK41 capsule would be in a place like Hong Kong? I'm sure some of you have been there working and know the climate but for those who haven't... it's pretty humid and there is a lot of moisture everywhere, all the time. I'll be capturing sound for an independent feature film to be shot in Macao (across the river from Hong Kong) and I need to get a super/hyper for lots of interior dialogue scenes. Renting is not really practical because we'll be shooting for a month. And I rather just invest in a good microphone for fu
  18. Hi guys, I'm a digital photographer (well cameraman!) and having spent a number of years focusing on imagery, leaving audio to somebody else, im now starting to move more into one-man operation and increasing my base knowledge of audio. I've spent a bit of time reading this forum over the past few weeks, but have a couple of queries. The company that I work for tends to supply a lot of HD footage to the transport industry, so the work can range from ENG style interviews to being stood in the middle of a hillside filming a plane or train coming towards me. Both have quite distinct sounds
  19. Hi all, Last Saturday morning a bunch of local Atlanta mixers, boom-ops & utilities met over breakfast at Whit's house to field test the Super CMIT. We had all heard how successful the Super CMIT had been used by Simon Hayes on “Les Misérables” in studio conditions. We wanted to test the practical applications of using the Super CMIT in the field. (Note: I am writing this from memory a week later, so I encourage any involved to correct me or add more details to our findings!) The Gear -788t / CL-8 Bag rig -Neumann KMR82i on a 22' Ambient Boompole -Schoeps Super CMIT 2U
  20. Bought a used CMC6 from bleep's rental department recently. They cut me a decent deal so I won't mention who. I bought another CMC6 and when in comparison I realized it had a higher gain range and virtually no noise floor compared to the one I bought from bleep. I changed out capsules, mixer, and cables so I know those are out and that it is specifically the preamp. It has also changed gain structure suddenly a few times. I was sitting in an interview and it jumped more than 10 db very suddenly. Just seeing if anyone has experienced this and what options you sought out to fix it. Would rat
  21. I am mixing a feature film in Bergen Norway and was asked by another Canadian production company to record some Scandinavian sound effects and ambiences while I am here. I unfortunately only have dialogue mics with me for this shoot and was wondering if anyone on here knows of any sound mixers/sound designers in Bergen who maybe have mics I could rent. Thanks Guys!
  22. Hi I need to buy a set of stereo omni's that I would like to use for: Types of recording 1) Atmosphere and nature 2) Acoustic instruments (Closer) 3) Choirs & orchestra 4) Organ 5) Brass Ensemble 6) Brass quintet 7) Chamber Strings Other info - I also have Schoeps CMIT5 & CCM8 in MS to add if needed I also have a Neumann U87ai to help where needed. Recording to Protools Via Apogee Trak2 and hopefully a Nagra vi in the very near future I was looking at 1) DPA 4006 TLM Stereo kit 2) Schoeps Collette HS Stereo Kit Will any of these mic's (or others) be able to
  23. Hello everyone I know they have been covered separate, but just want to hear from people using either or both as their main all-rounder. I have been using a CS-1e and love it, but need a new all-rounder for noisier, outdoors and so on. CS-3e was the obvious choice to complement the 1e, but found a CMIT5u used for the same price so i thought i check Thanks
  24. These mounts are custom made and can be used with any shockmount that accommodates 20mm diameter. They are compatible with the following microphones that utilize remote cables: SCHOEPS KCY/KC5/CMR with MK capsules and CCM ug/lg DPA Lemo style 4023/4028/4053 BUSMAN BSC2 http://www.busmanaudio.com/bsc2.htm PRICES INCLUDE SHIPPING NOS 30cm 90 degrees $70 DIN 20cm 90 degrees $65 DINa 17cm 90 degrees $60 ORTF 17cm 110 degrees $60 Vertical Address or A/B with spacings at 17cm and 20cm $70 MidSide at 0 degrees $65 A/B or Vertical Address w/ Spacings at 36, 43, and 51cm $100
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