Echantillons Sonores | SCHOEPS Microphones

SuperCMIT

new type of digital shotgun microphone with increased directivity, based on SCHOEPS' successful analog model CMIT 5

The SuperCMIT has two output channels. The first carries the output of the special digital signal processing built into the microphone (which effectively increases the microphone's directivity), while the second channel carries the signal from the main, forward-facing capsule without DSP--comparable to our well-known analog CMIT 5 shotgun microphone.

The following audio samples are designed to let you hear the effects of the two levels of signal processing which can be set for the microphone ("Preset 1" = moderate signal processing; "Preset 2" = strong signal processing).

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from 0° (1 m distance), river at 90°

at 0°, 90°, 180°

Ball sounds in a big, fully occupied stadium, distance approx. 10-20m

Polarflex

Tune the sound after/while recording with the Polarflex technique

The free plug-in offers powerful creative means. Get the free plug-in here: Polarflex Plug-in

Listen to different settings of the plugin in order to hear the effect on the timbre and on the stereophonic image.

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S. Rachmaninow, 2nd piano concerto, Excerpt from the 2nd movement
Soloist: William Youn
Conductor: Gerrit Prießnitz
Nordwestdeutsche Philharmonie Herford
Recording: Oliver Curdt

S. Prokofiev: Excerpt from Alexandre Nevsky
Orchestre National d'Ile de France, Direction Yoel Levi
Recorded live at Salle Pleyel, Paris, October 18th, 2011
Recording : Michel Pierre

Close Pickup Capsules

A speaker recorded with different speech capsules from different distances

The P series is a series of special directional microphones and capsules, developed for close pickup of speech.

The models differ with regard to the intensity of the low frequency attenuation which compensates for the proximity effect. The demo shows how the models sound at different distances, the loudness differences are equalized so that you can concentrate on the spectral differences.

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Parabolic Dish

Recorded with the Par-1 Kit and a CCM microphone

The examples presented here are recorded with the Parabolic Dish Set and EQ'ed using the ParabolEQ.

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Many thanks to:

- Red Deer (30+ m): Mats Bentmar, Sweden

- Buzzard (120 m): Nils Mosh, Germany

Many thanks to:

- Basketball (15+ m): Michael Stanton, Euroleague Basketball, United Kingdom

- American Football (40+ m): KIT SC Engineers, Germany - Recorded by Schoeps

Stereo: Ensemble & Piano

Showroom 2007

Samples of different stereo recording techniques of a piano and an ensemble.

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The quartet was recorded with four different stereo pairs. Distance and angles of the capsules were chosen in each case so that stereophonic directionality would be conveyed to the same degree, but other sonic characteristics depend on the type of miking.

There are dozens of possible ways to place the microphones for recording a piano. We limited ourselves to only four. No filtering or effects have been used in any of our recordings. The Steinway D concert grand was located in a hall of medium size.

Comparison of polar patterns

simultaneous recordings of 7 microphones

These simultaneous recordings of 7 microphones illustrate the role of the microphone’s directional characteristics for the sound color and the direct/diffuse ratio.

Recorded at the Wolfgang-Rihm-Forum of the university of music, Karlsruhe, Germany
Speaker: Friedemann Röhlig

The microphones were arranged differently for the two recordings.

In the first recording, they are positioned in one place.
In the second recording, the microphones are staggered one behind the other according to the distance factor.

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Lecteur d’échantillons

Echantillons sonores en ligne et comparaisons

SuperCMIT