Hi. I am going to purchase a mic for indoor dialogue recording, and hear the schoeps is one of the best. I assume the mk41g is the better capsule to get for general dialogue recording, but I had to ask. The mk41 v seems as though it would pick up too much sound from the set.

Also, what is the optimum range for the cmc6 supercardioid series? i.e. will it work if I have a wide shot indoors and the mic is several feet above the actors?? (Or would I need a shotgun mic for that?)

Any help I am greatly appreciative of.

p.s. What zeppelin and wind-gear will I need for my boom setup and this mic?

Hi. I am going to purchase a mic for indoor dialogue recording, and hear the schoeps is one of the best. I assume the mk41g is the better capsule to get for general dialogue recording, but I had to ask. The mk41 v seems as though it would pick up too much sound from the set.

Also, what is the optimum range for the cmc6 supercardioid series? i.e. will it work if I have a wide shot indoors and the mic is several feet above the actors?? (Or would I need a shotgun mic for that?)

Any help I am greatly appreciative of.

p.s. What zeppelin and wind-gear will I need for my boom setup and this mic?

Beginner user here... not sure the mk41 V version is adapted for dialogue other than maybe sitting at the same side of a table. V is for vertically (or laterally, or side-) addressed as opposed to the typical axially or front-addressed. Not sure there are windscreens for V versions other than the popscreen. Page 121 of the current Schoeps catalogue summarizes the windscreens, popscreens etc options.

The polar patterns of the two capsules (mk41v and mk41g) are the same; '4' stands for cardioid and '41' super-cardioid; mk41g and mk41v are both supercardioids (mk4 is cardioid). 'g' stands for nextel gray color of the body, I believe, as opposed to an earlier version which didn't say 'g' and was painted differently, but same electroacoustic characteristics as the 'g'.

cmc6 is the body amplifier (a pre-preamp if you ask me) atttaching to the capsule. A cmc641 is the body plus the mk41 capsule. From reading other reports I believe a cmc641 (cmc6 body plus a mk41 capsule) is very well adapted within a 1-5 meters range from talent's mouth. And much more adapted than using shotgun indoors (an exception being probably a Sanken shotgun mic good in and outdoors).

For cheaper option, one would look at cmc5 body which accepts a lesser range of powering ('only' 48volts only I believe) as opposed to cmc6 accepting 12v-48v or similar, otherwise same electroacoustic characteristics.

Back to windscreens, one considers different windscreens/baskets/supports if one considers the CMC body to attach to the mk41 capsule direclty, or whether they connect through active cables.

Better have the catalogue handy :-) I feel I wrote too much above and it's almost all from the catalogue and from previous reports here.

Hi. I am going to purchase a mic for indoor dialogue recording, and hear the schoeps is one of the best. I assume the mk41g is the better capsule to get for general dialogue recording, but I had to ask. The mk41 v seems as though it would pick up too much sound from the set.

Also, what is the optimum range for the cmc6 supercardioid series? i.e. will it work if I have a wide shot indoors and the mic is several feet above the actors?? (Or would I need a shotgun mic for that?)

Any help I am greatly appreciative of.

p.s. What zeppelin and wind-gear will I need for my boom setup and this mic?

The 41v is a 'side address' microphone while the 41g is an end address. Out on the end of a boom, the boom operator can tell where an end address mic is pointing but that's difficult with a side address. When it's on a stand in front of a musical group or instrument, being able to point it like a flashlight isn't an issue.

As to the other question, that depends on your definition of "several feet." By that do you mean 2 feet or 10? The rule of thumb, EVEN FOR A SHOTGUN, is the mic should be close enough to the talent that they could comfortably reach up their hand and touch the mic. Shotgun mics DO NOT magnify the sound the way a telephoto lens magnifies an image. They have the illusion of having more "reach" because their rejection of side noises lets you place them slightly farther away from the talent and compensate for the distance by raising the recording gain a smidge. But we're not talking several feet - we're talking about a hyper being useful for 18 to 24 inches from the subject while a short shotgun is useful for 24 to 36 inches from the subject sort of difference.

You probably don't need a zepp for interiors unless you're swinging the mic wildly to follow intense action. I have the Schoeps B5D windscreen which works well. For more intense applications, the Rycote Baby Ball Gag is a popular choice. Remember that ANY wind shielding can affect the mic's directivity so you don't want to use more than you really need. But pay careful attention to the suspension - handling noise is an issue with a mic of the Schoeps' sensitivity. I have a Rycote Invision suspension that works well. The Cinela is also a good choice, albeit pricey. But a number of mounts provide sufficiently less isolation that many users find they need to add the Schoeps Cut1 filter to the mic. (The necessity of the Cut1 also depends in part on whether your mixer has robust highpass filters on its inputs.)

Suspension? Forgive my technical ignorance, but I don't know what those are. I assume it's the thing that the mic clips onto. What is a cut1?

I will most likely be using a Sound Devices 442, but may also be using its little counterpart, the mix pre. I don't know if either of those mixers have robust high-pass filters on their inputs.

Suspension? Forgive my technical ignorance, but I don't know what those are. I assume it's the thing that the mic clips onto. What is a cut1?

I will most likely be using a Sound Devices 442, but may also be using its little counterpart, the mix pre. I don't know if either of those mixers have robust high-pass filters on their inputs.


Yep - the suspension is the shock mount on the end of the boom that the mic fastens into.

The SD 442 has excellent high pass (low cut) filters, in fact all the Sound Devices line have filters that are very good. It's that sort of thing that accounts for the difference you pay for in a product from SD versus something from, say, Rolls at a 5th the cost.

A Cut 1 is a low-cut, high-pass filter from Schoeps that screws onto the mic in between the capsule and the CMC amplifier stage. It nips very low frequency handling noises in the bud before they can affect the mic's own preamp stage or other devices downline. Some users swear by them and keep them in place all the time, others find that their suspension and wind protection choices are adequate without having to add the additional lowcut filtering. But as with all things Schoeps it's not exactly cheap, running almost $700 US.

Steve, would you recommend the Cut1, or do you think I can get by fine without it? I will need a mount such as the Schoeps A20 and the A20 S if I use the Cut1.

I am trying to find out exactly what I will need to make this mic system rock my socks off. I like to know every single element involved. I am not trying to re-invent the wheel here...just copy what successful guys do and get solid results. Results good enough for marketable content.

Steve, would you recommend the Cut1, or do you think I can get by fine without it? I will need a mount such as the Schoeps A20 and the A20 S if I use the Cut1.

I am trying to find out exactly what I will need to make this mic system rock my socks off. I like to know every single element involved. I am not trying to re-invent the wheel here...just copy what successful guys do and get solid results. Results good enough for marketable content.

You'll need a mount like the A20 or A20S even if you don't use the Cut 1. Check out the Rycote Invision, about $75. Excellent shock protection if the boom op knows what he's doing.

I want the best available, if there is a best. Most likely there are a few products of the same high quality and the choice comes down to personal preference. Is the Rycote as good as the Schoeps mounts?

As for a windscreen, what would you recommend? The Schoeps B5 and B5D look okay.

another option in mounts is the Rycote S series. use it indoors without the screens, outside with. has the same new suspension mount

Can I use a windscreen like the D5 with the a20 s? Also, will the A20 S work well if I only have the capsule and cmc6 amp? (They say the A20 is for use with just the capsule and amp, and the A20 s is for use with the capsule, amp and other peripherals, such as the cut1).

The differences are in the stiffness of the elastics suspending the mic. The Cut1, etc, adds weight which means the elastics need to be stiffer to properly damp the vibrations. I'm sure the Schoeps mounts are excellent but don't just throw money into the kit willy-nilly. Rycote is a leader that will be found in use on just about every feature film set on the planet. K-Tek also, PSC is another. AKG and AudioTechnica mounts are also quite good. The Cinela Osix is superb. Just because you're using a Schoeps mic doesn't mean that Schoeps mounts are the only ones to consider, or are even the best ones to choose.

from your header you want the mic for inside use... Inside there would be almost no use for a rycote system... I use a Audio Technica 8415 with a 4 normal fat elastics, its really nice and light, I use a 641 with a cut1,

Sometimes I get tired of spending weeks and weeks without gear, waiting to find the "perfect" stuff. I figure that Schoeps aren't about to make crappy mounts. While they may not be the best, I am sure they aren't anything but very high quality. I could be totally wrong though.

If I were to get a Rycote system though, is there a specific model I could use with the capsule and the amp, and, in differing situations, the capsule, the amp and the cut1? I don't want to have to switch mounts just because I added a low-pass filter. (Can a windscreen be used in conjunction with a Rycote system? I thought a read that they could not.)

Sometimes I get tired of spending weeks and weeks without gear, waiting to find the "perfect" stuff. I figure that Schoeps aren't about to make crappy mounts. While they may not be the best, I am sure they aren't anything but very high quality. I could be totally wrong though.

If I were to get a Rycote system though, is there a specific model I could use with the capsule and the amp, and, in differing situations, the capsule, the amp and the cut1? I don't want to have to switch mounts just because I added a low-pass filter. (Can a windscreen be used in conjunction with a Rycote system? I thought a read that they could not.)

I'm sure the Schoeps are excellent, just wanted to make sure you knew they weren't the only game in town.

Rycote mounts absolutely can be used with wind protetion. Take a look at the website, www.rycote.com. Mounts and wind protection are their bread and butter

the rycote S series is modular and adjustable. the 350 will hold a CMC6 + cap +cut1 or a CMIT 5 or similar sized mic. if you decide to get a longer mic, you can add on a longer windscreen module, and slide the harps to adjust. check it out... and no you don't have to have the windscreens on indoors. leave them off.

now there have been times indoors when I've needed a full windscreen when the HVAC was pushing a lot of air around and it couldn't be shut off.

So, provided there is not much extraneous noise from the indoor location, I can use the mic bare?

Could you post a link to a page displaying the Rycote 350? I can't seem to find one. With the cut1, I don't think the mic system exceeds 7 inches, so the 300 would be the right one.

normally when you buy the mic as a set ( CMC6 + cap ) they give you a basic mic clip and the teardrop shaped pop screen. that works ok indoors if there is no air handling and you aren't swinging around a lot. next step up is one of the round ball screens which go from a single solid foam to a hollow 2 layer foam to the cage style one.

try trewaudio.com to look... or I guess B&H

You don't say where in Canada you are, Spencer, but if you're near Toronto or Vancouver, Trew Audio has stores in both cities and I'm sure they'd be more than happy to help you sort out the best kit. The guys in Toronto have always treated me well.

I talked to a guy at Trew Audio in Vancouver for like half an hour yesterday. Great guy. Really knowledgeable and helpful. Though I Ordered the Schoeps mic from another company, I think I will try to get a boom pole and a Rycote mount from them.

BTW, does anyone know what cables I will need? Just basic XLR cable, or some high-tech expensive type?

Dear Spencer,

Personally, I would recommend that you stay away from the cheap cables.

The problem is that with the cheap cables it is hard to know exactly what you are getting.

Most any xlr cable, as long as it is a microphone cable, will work in non-demanding situations. But, on set you may run into a lot of electrical power cables and an electrically noisy environment. This is where the better cables will pay off in spades.

The better cables have much better shielding and / or more layers of shielding. Good brands of cable are Canare and Mogami and there are other good brands.

Also, the better cables have better quality connectors. I like the Neutrik XLR connectors, which usually come with gold pins (but can be obtained without gold).

Personally, I like to order my cables from a reputable audio dealer.

A lot of dealers like to build their own cables using Canare StarQuad cable using Neutrik black connectors with gold pins. (Some audio experts like to use StarQuad cables in their studios and different cables in the field.)

I see no need to spend ridiculous amounts of money on XLR cables. Ask your audio dealer for advice. I believe I spent around $30 (a few years ago) on good 25 cables and a little more on 50' ones. These were for Canare StarQuad / Neutrik cables. I have not checked current prices.

Be advised that there is a proper and a wrong way to wind a microphone cable.

Do not wind it on your arm as if it was an electrical power cord. The proper technique uses and over and under motion which is hard to explain in writing, but helps preserve the integrity of the shielding of the cable. This is a good technique to learn.

Also, never run your mic cables parallel to electrical power cables. You can cross the cable, but do not run it along side of the cable.

I talked to a guy at Trew Audio in Vancouver for like half an hour yesterday. Great guy. Really knowledgeable and helpful. Though I Ordered the Schoeps mic from another company, I think I will try to get a boom pole and a Rycote mount from them.

BTW, does anyone know what cables I will need? Just basic XLR cable, or some high-tech expensive type?

Well built conventional cables are all that you need. Neutrik or Switchcraft connectors and cable fom Canare, Mogami, or Belden generally are the most solid. Starquad, or just plain quad, cable for maximum noise immunity. The really expensive cables like Monster cable and "high-tech" exotic cables are mostly marketing hype directed at "audiophiles" who have more money than brains - would you believe there are idiots out there who will pay more than 5 grand for a freakin' 6-foot AC line cord?!

Steve, 6 grand?! I don't believe you. Haha. (Seriously? 6 grand?)

Dan, I do know about the over and under technique...I use it on all of my cables. You are right; it is hard to explain in writing.

I guess the guys at Trew will advise me on which specific cables to buy.

Steve, 6 grand?! I don't believe you. Haha. (Seriously? 6 grand?)

...
I guess the guys at Trew will advise me on which specific cables to buy.

I kid you not. Was looking for the link for the 6 kilobuck one I saw a few months ago and couldn't locate it but a google on "audiophile ac mains cable" will turn up a raft of 'em between $500 and $3000.

You are using a Sound Devices 442, right? In addition to a variety of lengths of straight XLRM-XLRF microphone cables, I'd suggest you also get a "betacam breakaway snake" wired for the 442. That is a multi-conductor cable that plugs into the mixer's 10-pin Hirose connector and goes to the camera with an in-line connector near one end that lets you break it in two when you're moving setups. (That way you don't accidently jerk a camera off its sticks or put a lot of strain and wear on the expensive-to-replace mixer and camera connectors by continually plugging and unplugging them throughout the course of a shooting day.) The camera end has L & R XLR main outs to connect to the camera audio input, a stereo 1/8 mini to plug into the camera's headphone output to send monitor audio back to the mixer, and a female 1/8 stereo jack on a pigtail to let the camera op jack in his headphones as well. While you're at it, you might also want to get the breakaway extension cable as well - the basic cable is about 25 feet and adding the extension takes it out to about 50. Also get a short XLRF to male 1/8 mini pigtail for your kit to connect to cameras that don't have XLR audio inputs -Trew has 'em as both stereo and mono "DV Cam Adapter Cables" by Remote Audio (same company) that include the proper DC mic power blocking capactors . Some cheaper adapters on the market are miswired and don't have the caps.