Schoeps mk41s vs mk41

[Ken Wilkinson]

I know the 41s has a built in low cut for close miced speech. Is it suitable for booming or is the cut too much and sound thin from a distance?

[rich]

I have a CCM41s. And 2 CCM41. The extra bass from the CCM41 is nice and keeps the mic sounding fuller when you have I be a bit wider. My CCM41s these days lives in my seldom used M/S rig, though I ought to set it up in case I need another plant mic.

But you can remove bass after the event much better than you can add it.

[Scott Aitken]

i have both....and i can't believe i'm saying this, but i guess if you spend enough time reading this board eventually the Senator's short and sweet wisdom rings true....."it depends"

 

Things like the actor's voice and enviroment/ambience essentially. Sometimes in cars this is great, or interiors but wider shots it does tend to be thin which may or may not work for you in the scene. I remember using this mic on an scene with cops and a victim outside in a backyard that had a beautiful forest that on the otherside was a busy highway road, the mk41s seemed to have the best background noise and focus with their slightly loud and physical dialogue, we tried a shotgun, the 41 and then the 41S in rehersals and setup....it just seemed to sound the best in my boom ops capable hands.

 

I used to work for an english mixer here in Vancouver now since retired who had a matched pair of them and we got great sound with those mics....hence i have one in my Schoeps kit which is my boom operator's favorite mic.

[Derek H]

For reference, frequency response and polar pattern graphics from Schoeps:

 

Standard MK41 *note that the 2nd response curve below the polar pattern is when using the CMC XT preamp.

 

MK41S

 

 

 

...I say it's too bad they don't make a CCM41 with a variable HPF, like a built in CUT1 or CUT2.

 

[Scott Smith]

While in general I have always found the roll-off of the -S version to be a bit severe (except for it's intended use on close-miked dialog), I have used it occasionally for car rig shots, especially where I can't mount a mike with a CUT-1. It doesn't leave the case often, though....

 

It would be much more useful for film work if they could have incorporated a steeper hi-pass filter, with a lower cutoff frequency, maybe 80-100 hz. Next to impossible to do in a capsule though, without a lot of extra electronics.

 

--S

[studiomprd]

" Is it suitable for booming or is the cut too much and sound thin from a distance? "

yes

 

" too bad they don't make a CCM41 with a variable HPF, like a built in CUT1 or CUT2. "

why..??

[Ken Wilkinson]

For reference, frequency response and polar pattern graphics from Schoeps:

 

Standard MK41 *note that the 2nd response curve below the polar pattern is when using the CMC XT preamp.

fpol-mk-ccm41_0.jpg

 

MK41S

fpol-mk-ccm41s.jpg

 

 

 

...I say it's too bad they don't make a CCM41 with a variable HPF, like a built in CUT1 or CUT2.

 

 

That's quite a cut... Thanks

[VM]

" too bad they don't make a CCM41 with a variable HPF, like a built in CUT1 or CUT2. "

why..??

Because, the mic plus the cut one is a little long ! Some ceiling are low...

anyway I own MMK41 and cut one and like this kit.

[studiomprd]

" the mic plus the cut one is a little long "

" Next to impossible to do in a capsule though, without requires a lot of extra electronics. "

[TimPitot]

It sounds very thin unless right on the hair line. And forget using it outdoors. Get a 50.

[Ken Wilkinson]

got the 41. thanks for your replies guys!

[Ken Wilkinson]

btw do you guys consider the cut 1 essential kit or can I rely in my mixers low cut?

[Jeff Wexler]

Quoting the Senator (and in this case it is the right answer), "it depends". Depends on the High Pass and EQ that you have available on your mixer input. I almost never use the CUT-1 on the Schoeps because it is almost always plugged into my Cooper mixer. The Cooper has very good spec for the High Pass filter, 2-stage, one before the mic preamp and one after, both switchable in or out. It is something like 18 db per octave (steep curve) and for me has been sufficient to control extended low frequency response of the microphone.

[Ken Wilkinson]

I know... everything " depends"

[John Blankenship]

If you're one person doing run-n-gun, I'd say the cut1 would benefit you nicely. If you have a good boom op, it's more a matter of "taste" (I.e. how, when, where, and how much).

[Jim Gilchrist]

Because, the mic plus the cut one is a little long ! Some ceiling are low...

anyway I own MMK41 and cut one and like this kit.

A GVC capsule swivel solves the low ceiling problem quite handily.

Also great for plant mic placement.

Best regards,

Jim

[old school]

A GVC capsule swivel solves the low ceiling problem quite handily.

Also great for plant mic placement.

Best regards,

Jim

I always use my Schoeps mk41 with a GVC swivel. I never use the cut filter but I've had good boom ops

CrewC

[studiomprd]

" do you guys consider the cut 1 essential kit or can I rely in my mixers low cut? "

yes.

[Jim Gilchrist]

I always use my Schoeps mk41 with a GVC swivel. I never use the cut filter but I've had good boom ops

CrewC

The Cut1 is a huge help in run'n'gun doc work, as John B. says above, especially when you have to get out of the way of a stampeding  camera nancy, swap hands fast or ease a pole shorter or longer on the sly. I also used it all the time on a doc in a trauma center some years ago with a Mk41 on a colette cable strung through a frogpole. We sometimes rolled continuously for an hour and I couldn't have managed the frogpole/colette cable combo without the Cut1 and couldn't have boomed those long setups without that pole and cable combo. The small footprint of that setup was also handy weaving it through all the gack hanging over those trauma room surgery tables. The CCM41 wasn't around back then, at least not in the US.

Best regards,

Jim