filmfreak Posted January 24, 2011 Report Share Posted January 24, 2011 Greeting to all I just found out about a very extensive Super CMIT review on the Schoeps site . I am reading the forum on a daily basis and never noticed a thread on this one here. http://www.schoeps.de/en/news/73 Schoeps published a review that looks like the most detailed Super CMIT I 've red up to now but it is only available in German. Looks like the results were beyond successful as the first picture of the review shows happy Schoeps reviewers having happy after review beer celebratory smiles ! Could German mixers please dedicate some time over the next days to translate the text ? I tried using Babelfish and the results were seriously misleading. it would be great to have a translation about the first digital shotgun by the manufacturer it self as this is the first digital shotgun but still belongs in the Grey Area of mics since there is limited to none feedback from the field and there is no definite answer if the mic is really useful in shootings or not. Thanks and hope I am not asking for much or the review is not too complicated. Aris Quote Link to comment Share on other sites More sharing options...
minister Posted January 25, 2011 Report Share Posted January 25, 2011 There are many people here who are using this mic and are quite pleased with it. John B., CAS John, The Super CMIT? Or the regular CMIT. He is talking about the Super one. Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted January 25, 2011 Report Share Posted January 25, 2011 John, The Super CMIT? Or the regular CMIT. He is talking about the Super one. Whoops! Thanks for pointing out my error -- I'll pull the comment. John Quote Link to comment Share on other sites More sharing options...
Christian Spaeth Posted January 25, 2011 Report Share Posted January 25, 2011 OK I gave it a try, don't know if this is useful to anyone. FYI the text is more of a report about that workshop than a review... It was a workshop last year attended by 40 users. Part of it was about the Super CMIT, other parts about film sound in general. I'll focus on the Super CMIT part here. All of the attendees expectations were fulfilled or surpassed by the mic. The workshop's focus was using the Super CMIT for film sound. Main differences between the Super CMIT and other shotguns (as stated by manufacturer): 1) narrower pickup pattern (less diffuse signal) 2) two channel output 3) digital connection There was a small fountain and a Biergarten close to where they did the tests. They found that at 0 degrees, using the film preset (preset 1), the signal is identical to the standard CMIT. That seems to be the main message in here. There were strong differences at 90 degrees compared to the MK41 super cardioid. Switching from supercardioid to conventiopnal shotgun (output 2, I guess that would be identical to the standard CMIT) results in significantly lower high frequencies (we're still at 90° signal). Then, going to output 1 (the actual Super CMIT signal), results in lower mid and low frequency signals. Another demo showed better feedback behavior of the Super CMIT for PA use. The developer talked about the difference between regular beam forming arrays and the one used here, which therefore is called the first Pro Audio Beamforming Microphone. They developed the algorithm from a sound mixer's point of view (simulation of mics with narrower pickup pattern) rather than a scientist's (traditional beam former). He showed then how they completely avoided artefacts in that way. Then they explained how the mics were used at the soccer world cup 2010 (the SuperCMIT's first job ever) for close ball miking (12 mics placed around the pitch). For the final they actually used preset 1, though preset 2 might be more adequate for soccer as it produces higher SNR, and the background artefacts can easily be masked by the other mics. ___ I will not be held responsible for any of the information in this text. And no one paid me to do this Quote Link to comment Share on other sites More sharing options...
filmfreak Posted January 25, 2011 Author Report Share Posted January 25, 2011 Hi Christian Thanks for your time and effort man. Much appreciated . Couldn't tell a sentence from the .pdf Aris Quote Link to comment Share on other sites More sharing options...
studiomprd Posted January 25, 2011 Report Share Posted January 25, 2011 actually the Super CMIT was "commissioned" by a broadcaster for Football (not USA) coverage, and that was the original 'test bed' situation. Quote Link to comment Share on other sites More sharing options...
Christian Spaeth Posted January 26, 2011 Report Share Posted January 26, 2011 more like sales pitch . I pretty much agree here. And as I said in another thread before, the soccer world cup is where they were tested and used extensively, but it's unusable as a comparison to other sports events as the predominant Vuvuzela noise was specific to that event and country. Quote Link to comment Share on other sites More sharing options...
Margus Jukkum Posted January 27, 2011 Report Share Posted January 27, 2011 My Super CMIT came back from Germany just before Christmas after having a firmware update done at the factory. With the update the gain can be increased at the mic by pressing the filter switches twice rapidly in sequence. I have yet to use the mic on a job but have done a little fooling around and testing with it at home. I intend to use the mic solely as an interview mic as I do a lot of work on a couple of History Channel series where we do long green screen interviews in one case and long interviews done in front of a rear screen projection in another. The projector fans for the rear projector are sometimes a concern for me as are audible ventilation noises in hotel suites when we travel that no one from maintenance can seem to turn off. At home I set up an interview situation with a person reading from a magazine. I had the kitchen stove fan on it's highest setting and the air exchange system in the house operating at full blast. On the filtered channel the environmental noise all but disappeared. I was recording 3 channels of audio. Lav and filtered boom and normal boom. The Super CMIT outputs 2 channels. On my second take to push the envelope a little I had a person vacuuming with a vacuum cleaner some 3 metres from the interview subject. In this case the noise was a bit too aggressive. On the filtered channel I could hear sonic artifacts and pumping as the mic tried to suppress the noise. The speech however, was quite clear and audible. I normally use the Cantar when working on docs. The Cantar does have a digital input but no digital gain. For a sit down interview or a simple standup this is not that important as the mic settles rather nicely on the voice and one can adjust the height of the boom. A local equipment supplier here in Toronto loaned me a Sound Devices 788 with the CL8. This recorder has a digital input as well as a digital gain. The digital gain works quite well but was a little cruder than I expected. Neither of these 2 recorders does 10 volt phantom so I had to use the Shoeps power supply. I have yet to try this mic with a Deva which I believe does do 10 volt phantom as well as having a digital gain. I would be very hesitant to use this mic in a drama or verite situation. There are some issues with handling noise I experienced with aggressive booming. With both the Cantar and the SD 788 I could hear digital pinging noises when aggressively swinging or adjusting the pole that seemed to be indicative of ultra low frequencies overloading the preamps. Clearly this mic is not for everyone and everything. My series work begins again in March and I will be taking my Super CMIT on the road for those interviews with the knowledge that I can exert a modest bit of control over the environment. Margus Jukkum Quote Link to comment Share on other sites More sharing options...
studiomprd Posted January 27, 2011 Report Share Posted January 27, 2011 " the soccer world cup is where they were tested and used extensively " It was tested before the world cup, it was a finished product and used at the world cup... Quote Link to comment Share on other sites More sharing options...
rich Posted January 27, 2011 Report Share Posted January 27, 2011 Magnus i think you may have been a bit mis-informed about your recorder powering options for AES42 mics from the schoeps website http://digital.schoeps.de/en/products/supercmit/downloads look at the connection options for the superCMIT the 788 has a menu page to enable digital phantom power - i use my superCMIT with a 788 i am sure i read somewhere that Aaton were adding digital phantom power to the cantar, but as i cant find reference to it on their website so i may be wrong about that. also, did you have the low cut filter engaged when you were hearing the ultra low frequency artefacts? ive been using this on my superCMIT and its stopped the 788 input overloading with bumps on the mic. Quote Link to comment Share on other sites More sharing options...
Margus Jukkum Posted January 27, 2011 Report Share Posted January 27, 2011 You're right Rich I did not have the digital phantom power engaged. I had borrowed the 788 for a brief afternoon and it was the first time I had handled the unit. Also the low cut filters cut the handling noise on the Cantar. I didn't have the 788 long enough to check everything out that I wanted. However, I was suitably impressed with the 788 to seriously consider buying one later this year. Aaton did state on the Cantar Users Group that they could add digital phantom power to the Cantar but decided against it because in their view since the Cantar did not have a digital gain the Super CMIT would not be useable as the level would be too low to introduce into a mix. I, along with several others wrote the Aatechs that the Super CMIT with the Shoeps firmware update was indeed useable with the Cantar and that it would be handy to have digital phantom power. So far there has been a month of silence on that topic. Margus Jukkum Quote Link to comment Share on other sites More sharing options...
Christian Spaeth Posted January 28, 2011 Report Share Posted January 28, 2011 " the soccer world cup is where they were tested and used extensively " It was tested before the world cup, it was a finished product and used at the world cup... Of course it was, but is the testing phase over once a product is available for purchase, especially if it's an innovative product like that? Then there wouldn't be firmware upgrades on recorders etc. The workshop mentioned in the article below could also be considered a test. Quote Link to comment Share on other sites More sharing options...
rich Posted January 29, 2011 Report Share Posted January 29, 2011 also, here is another option for powering the super CMIT. http://www.lake-people.de/index.php?id=2&lang=ger&typ=2&nr=c462 i believe it was made at the request of schoeps to give a powering box with an analogue output. it also has an input limiter, which at the moment the 788 does not have, much to my disappointment. Quote Link to comment Share on other sites More sharing options...
Dani Fontrodona Posted February 4, 2011 Report Share Posted February 4, 2011 Hi Rich, What kind of cable are you using for a long run (i.e.: more than 50 feet) when connecting the SuperCMIT to the Sound Devices 788T? I can easily get Mogami 3080 aes/ebu 110 Ohm, but I wonder if Gotham Gac 2 AES (with "starquad" shield) would perform better. Thanks Quote Link to comment Share on other sites More sharing options...
rich Posted February 4, 2011 Report Share Posted February 4, 2011 Dani so far ive not changed any cables from my analog mics - im still using vandamme starquad. but the longest cable i have used is 35m and all has been absolutely fine. had considered digging out my old non starquad mic cable as it has less voltage loss but decided against it as it all looks the same in a hurry and i would prefer to use the starquad with ananlog mics. i will probably get some different coloured aes/ebu cable in due course, but i believe that for 50m runs, normal cable should be fine - enough voltage is getting to the mic to power it. obviously, the longer the cable run you need, the more important the cable you are using will be, though i believe that different cables should only affect your reliability over longer distances rather than the sound of the mic with the super cmit. Quote Link to comment Share on other sites More sharing options...
Dani Fontrodona Posted February 5, 2011 Report Share Posted February 5, 2011 Thanks Rich, Glad to know you can still use your starquad microphone cables with no noticeable jittter or drop outs. For me cable stability is as must: my recorder's AES input has no SRC and therefore the SuperCMIT itself will be the Digital master clock! Quote Link to comment Share on other sites More sharing options...
mikewest Posted February 7, 2011 Report Share Posted February 7, 2011 Gee after all this my Sanken CS-1's sound great! mike Quote Link to comment Share on other sites More sharing options...
Dani Fontrodona Posted February 10, 2011 Report Share Posted February 10, 2011 Just received my SuperCMIT. From now on a Schoeps PSD 2 U powering box for digital phantom is included for free. I'm powering the box from the supplied mains power supply which delivers 12v DC at a maximum of 500ma. The PSD 2 U is supposed to accept 10-14v DC . I wish I could power it from the dc output of my Fostex PD606 which is rated 12v 500ma but I tested it and it measures 15v at maximux charge of my IDX lithium batteries. I have contacted Schoeps inquiring about it, but in the meantime I wonder if anybody is powering the box with an external batttery over 14v DC. Thanks Quote Link to comment Share on other sites More sharing options...
Dani Fontrodona Posted February 13, 2011 Report Share Posted February 13, 2011 I received an answer from Schoeps and the box will accept voltaje up to 18v peaks.So far Mic is working fine with my fostex pd606 and edirol r4pro. Processed signal at output 1 sounds a bit noisier than output 2 non processed and delivers slightly lower level.My 30 meters mogami starquad works ok, but I feel more confident with the specific gotham aes cable I just made. Quote Link to comment Share on other sites More sharing options...
soundbeing Posted February 13, 2011 Report Share Posted February 13, 2011 Trying to maximize Super Cmit usage and searching for the means to work with a digital mic on any platform whether digital or analogue I hope I have found a perfect mate. LECTROSONICS D4 quad transmission package not only seems to be the perfect camera hops transmitter (4 channels), but completely interfaces analogue with digital in any combination of I/O. I built a Boom Op utility belt for Super Cmit that delivers both of the AES Cmit channels to the mixer in either analogue or digital. For production mixing I plan to output analogue from D4 receiver into 2 channels of production mixer. I've built a mic preamp boost to line level and now also feed a Boom Op headset mic into Channel 3 of D4 (all analogue) and now have privacy talkback over wireless with Boom Op on the same system. Since the D4 only works at line levels, the shortcoming I am working to overcome is if we switch the boom mic from Super Cmit to standard analogue mic I will need to also boost the boom mic to line level for transmission. Any ideas you guys might have to improve this method will be well received. I am all ears. Mark Weber Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted February 13, 2011 Report Share Posted February 13, 2011 Any ideas you guys might have to improve this method will be well received. I am all ears. Mark Weber Here's an idea: how about using a Zaxcom 994? Everything you need in one box to go on your Boom Op utility belt. No need to build all the extra devices, outboard preamps, talkback and IFB, etc. Quote Link to comment Share on other sites More sharing options...
Ty Ford Posted February 4, 2013 Report Share Posted February 4, 2013 OK, then, how about this? Regards, Ty Ford http://tyfordaudiovideo.blogspot.com/2013/02/schoeps-supercmit-dsp-steered-digital.html Quote Link to comment Share on other sites More sharing options...
sergiofucchi Posted February 8, 2013 Report Share Posted February 8, 2013 @Margus Jukkum Inputs/Outputs – Digital AES3 Balanced AES out 1-4 on TA3 connector; Balanced AES out 5-6 on DE-15 connector110 ohm, 2 V p-p, AES and S/ PDIF compatible with RCA adaptor Balanced AES in 1-8 on DE-15 connector 110 ohm, 2 V p-p, AES and S/PDIF compatible with RCA adaptor AES42 AES42 Mode 1 operating system, provides +10 V Digital Phantom Power to Digital Input pairs (menu-selectable). At page 152 from Sound Devices 788T - User Guide and Technical Information (v2.18) Quote Link to comment Share on other sites More sharing options...
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