CMC 1 U | Microphone Amplifier (2024)

• Complete alternative to the renowned CMC 6
• Fully compatible with all existing MK capsules and Colette active accessories such as the CUT 60 and RC tubes
• Suitable mounting accessories are already available, such as the CINELA E-OSIX-CMC1U and the Rycote INV-6 elastic suspensions.

Order number

• No. 132011 CMC 1 U

A joint Research Project of Nagoya University of the Arts, Universität der Künste Berlin and Tokyo University of the Arts. A great and comprehensive collection of sound examples for recording a grand piano. Worth listening to and very instructive.

soundmedia.jp/nuaudktua

The purpose of this research is to identify the microphone arrangement that can record the most musically appropriate timbre of a grand piano through subjective evaluation experiments for propose. A grand piano has a very complex sound radiation, and the timbre changes depending on the instrument, performer, tuning, acoustics in the hall, and the position of the instrument. Also, different models of pianos makes very different sounds, making it difficult to have a consistent formula for recording. In addition, until now, it has been difficult for students who are studying to record to obtain suitable sample sound sources for learning to record piano. Therefore, we placed multiple microphones against the piano, recorded various performances, and made a sound source materials that we can compare and listen in an interactive way. This recording was done in April 2022 at Berlin University of the Arts Hall by Kazuya Nagae of Nagoya University of Arts, Thorsten Weigelt of Berlin University of the Arts, Toru Kamekawa, Atsushi Marui of Tokyo University of the Arts and Tonmeister course students of Berlin University of the Arts, and graduates of Tokyo University of the Arts. We set six pianos (Steinway＆Sons D274、Bösendorfer 290 "Imperial"、280VC、YAMAHA CFX、Steingraeber & Söhne Model E、C.Bechstein D 282) on the stage, and Mo Zhou studied at Berlin University of the Arts, Shion Ota, studies at Berlin University of the Arts and Nagoya University of Arts, performed seven pieces from different eras and recorded them in a session. And piano music doesn't work if we have a only piano and a pianist here. You need a excellent piano technician. The effort of a piano technician is so important that piano music cannot be completed without a piano technician who is close to the music and instruments that the pianist wants to express. This time, we had many helps from Gerd Finkenstein, a specialist trusted by many pianists in Germany. About the recording, 28 omni-directional microphones, Schoeps MK2H were installed at different positions and heights while keeping the AB stereo 55cm. We can listen and compare the positions of 24 points. Aldo we recorded ambisonics microphone, Sennheiser AMBEO VR MIC. Because we want to introduce what is the direct sound and indirect sound of the piano in the hall. And we can change the directivity of the microphone after the recording. We also recorded dummy head microphone, Neumann KU100, that enables three-dimensional listening not only left and right also up and down. We use same HA AD converter RME 12Mic and we recorded it on 48kHz 24bit. We can feel various things from these sound sources. For example, the sound will be very different for different performers, even if it is recorded with the same microphone position, the same instrument, and the same music. Moreover, even with such same conditions, the sound will change significantly if the music is different. We will do subjective evaluation experiments in the future. And We would like to make a new proposal for microphone placement in piano recording. Please listen to the comparison sound source and feel what kind of timbre is suitable for the piece.

soundmedia.jp/nuaudktua

There are no other interior boom mics that I would choose for any acoustic/width/situation above the CMC 1/MK 41. They are superb. It is a win/win for sound quality/size.

The CMC 1/MK 41 has now become our interior microphone on all interiors unless we have a background noise issue that needs processing by the Super CMIT. The CMC 1/MK 41 sounds as good as an CMC 6/MK 41 in a smaller, lighter package. There are no situations where I would choose the CMC 6 combo instead. There are also no other interior boom mics that I would choose for any acoustic/width/situation above the CMC 1/MK 41. They are superb. It is a win/win for sound quality/size.

"After many tests that I have conducted [...] with different microphones, cables, cable lengths, preamps and recording environments, it became clear that the Schoeps CMC 1 is the new reference in this respect. Closely followed by the equally good CMC 6...".

Test report (German) on amazona.de

The CMC 1 is our new, small Colette microphone amplifier, about one-third the length and 53% lighter than the CMC 6. It is compatible with all components of the Colette system and can be used in place of the CMC 6 without compromise, for all applications in which the size and weight of the microphone play a role.

At SCHOEPS, “uncompromising miniaturization” means that the electrical characteristics of the CMC 1 are equal to, or even better than, those of the CMC 6. Through modern electronic design, these outstanding electrical properties have...

The CMC 1 is our new, small Colette microphone amplifier, about one-third the length and 53% lighter than the CMC 6. It is compatible with all components of the Colette system and can be used in place of the CMC 6 without compromise, for all applications in which the size and weight of the microphone play a role.

At SCHOEPS, “uncompromising miniaturization” means that the electrical characteristics of the CMC 1 are equal to, or even better than, those of the CMC 6. Through modern electronic design, these outstanding electrical properties have been achieved:

• high maximum SPL: 135 dB-SPL with the MK 4 (0.5% THD or less)
• very low current consumption: 2.0 mA at 48 Volts
• operates on 48 V or 12 V phantom power, reliable operation even if powering is somewhat marginal
• very high immunity from RF interference with the SCHOEPS RFI Shield; high immunity to cable-induced hum and other interference (field tested with Audio Limited A 10, etc.)
• flat frequency response
• very low distortion constant output impedance across the audio frequency range
• balanced, direct-coupled, class-A output circuit
• output is filtered in the ultrasonic range to prevent interference, e.g. from camera autofocus

A complete Colette-series microphone consists of an MK capsule and a CMC amplifer. All capsules and active accessories of the Colette system are compatible with the CMC 1.

The CMC 1 works with standard 12-Volt or 48-Volt phantom powering. Power consumption is lower at 12 Volts--an advantage for battery-powered operation