Schoeps CMC 6 Flexi Kit with Capsules (Select Options)
Model: Cardioid + Supercardioid (Kit 1)Model: Cardioid + Omnidirectional (Kit 2)Model: Cardioid + Wide Cardioid (Kit 3)Model: Cardioid + Open Cardioid (Kit 4)

Schoeps CMC 6 Flexi Kit with Capsules (Select Options)

    • 1x Schoeps CMC 6 Amplifier 
    • 2x Schoeps MK Capsules
    • See below to see what capsules are included in the deal
    • Four different kits are available (select options)
  • More Details...

Model:  SCHO-FLEXI-KIT1
Part Number:  FLEXI-KIT
Manufacturer:  Schoeps

Model:  
£2,119.20
£1,755.00
(£1,462.50 Exc. VAT)
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Schoeps CMC 6 Flexi Kit with Capsules (Select Options)

Four Kits Available:

  • Preamp (CMC6) + Clip + Cardioid (MK4) + Supercardioid (MK41) = Kit 1
  • Preamp (CMC6) + Clip + Cardioid (MK4) + Omnidirectional (MK2) = Kit 2
  • Preamp (CMC6) + Clip + Cardioid (MK4) + Widecardioid (MK21) = Kit 3
  • Preamp (CMC6) + Clip + Cardioid (MK4) + Open Cardioid (MK22) = Kit 4

Schoeps CMC6 Microphone Amplifier

  • Flat frequency response
  • Extremely low noise and distortion
  • Balanced, very low-impedance output
  • Can be used with very long cables
  • Well-protected against RFI
  • For use with 12- or 48-Volt phantom powering

The capsules of condenser microphones (the only type which SCHOEPS manufactures) can't be connected directly to microphone cables or inputs; a microphone amplifier is required in between. Thus a complete microphone of the Colette series comprises any of the twenty available types of capsules combined with an amplifier.

The CMC 6 Ug is designed for standard 48- and 12-Volt phantom powering. Its circuitry recognizes the supply voltage and adjusts itself automatically. Its performance characteristics remain essentially the same either way; mainly, the difference is that the current drawn at 12 Volts is greater than at 48 Volts. However, the 12-Volt mode consumes less power and might be preferred for battery-powered recording.

The microphone amplifier provides the electrostatic charge which the capsule requires in order to produce a signal. Since only a miniscule amount of current is contained in this signal, amplification of the current is required. To avoid interference to the signal on the way from the microphone to the input of the mixer or preamp, the signal is conveyed at low impedance and in balanced form. The CMC 6 Ug amplifier offers a symmetrical, transformerless, direct-coupled Class A output stage with low impedance, low distortion, and high freedom from interference.


Schoeps MK 4 Cardioid Microphone Capsule

  • Cardioid pattern
  • The best-selling Schoeps capsule
  • Directivity is highly independent of frequency
  • Universally applicable; preferred use as spot microphone, for acoustic instruments, and in conference recording
  • Often used in the main microphone pair for XY, ORTF and MS stereo recordings

The MK 4 has been a reference microphone for years in a wide variety of recording situations.

Due to its transparent sound character and excellent attenuation of rear-incident sound, it reproduces sound sources very naturally. This has given the MK 4 a reputation as a universal "problem solver" even in difficult recording situations.

Its flat frequency response, and the constancy of its directional pattern for all frequencies, are the basis of the MK4’s sound quality. Even in the diffuse sound field its frequency response is flat, with a slight increase at 10 kHz compensating for high-frequency losses in the room.

Thus the sound image is transparent for direct-arriving sound, for sound arriving from the side, and for diffuse sound in the room (reverberation).

The MK 4 is a classic small-diaphragm microphone with all the advantages of this microphone type. Its frequency response and the consistency of its polar diagram from low to high frequencies are exemplary.

Like all SCHOEPS capsules, the MK 4 achieves its flat frequency response solely by its mechanical architecture, without any electronic filtering.

As a pressure gradient transducer, the MK 4 has a single diaphragm that is exposed to the sound from both the front and rear. The side sound inlets must therefore never be covered.

The “reach” (distance factor) of a classic cardioid such as the MK 4 is about 1.7 times that of an omnidirectional microphone. Thus even at greater distances from the sound source, direct sound can be obtained. The advantages of the MK 4 are shown especially when mixing several microphone signals - pickup of sound from the side is reduced in level but not subject to coloration.

At 90° the attenuation of the MK 4 is 6 dB, and at 180°, some 20 to 30 dB. Diffuse-incident sound is picked up 4.8 dB lower in level than front-arriving sound.


Schoeps MK41 Supercardioid Microphone Capsule

  • Supercardioid directional pattern
  • High directivity, at low and medium frequencies comparable to that of a shotgun microphone
  • Natural sound due to flat frequency response which remains largely the same for all directions of pickup. This is particularly important for indoor recording
  • Preferred uses: recording dialogue for film sound; as a spot microphone in the orchestra and on the opera stage

The MK 41 effectively attenuates diffuse sound energy and produces a clear, "dry" sound pickup.

Its polar pattern is exceptionally frequency-independent: sounds from the side and back are strongly attenuated, but picked up without false coloration. This feature has made the MK 41 an international standard for indoor film sound.

The susceptibility of the MK 41 to acoustic feedback is lower than with any other SCHOEPS capsule type, provided that no loudspeaker radiates directly from the rear. The sensitivity minimum of the supercardioid occurs at approximately a 125° angle of incidence.

The directional effect is independent of frequency, so that off-axis and diffuse sound are picked up free of false coloration, thus sounding natural. That is a real advantage over shotgun microphones, which have appreciably greater directivity only at higher frequencies, and frequency response (and thus sound quality) that depends on the direction of sound incidence.

Thus for many situations the MK 41 offers an interesting alternative to a shotgun microphone, even if its small dimensions do not appear to suggest high directivity. As a capsule without an interference tube in front of it, the MK 41 can also be placed closer to the sound source.


Schoeps MK2 Omnidirectional Microphone Capsule

  • linear frequency response at 0° (free-field equalized)
  • for placement in close proximity to sound source
  • preferred usage: close-miking instruments

The linear frequency response of the MK 2 with respect to frontally incident sound waves results in a very natural sound for near-field recordings (i.e. in close proximity to the sound source).
This capsule can be set up very close to the sound source without sounding too brilliant or harsh.


Schoeps MK21 Wide Cardioid Microphone Capsule

  • wide cardioid
  • preferred uses: as a soloist microphone or main microphone
  • extremely consistent polar response leads to a very natural sound
  • combines the advantages of the omni (warm sound) and the cardioid (directivity)
  • popular as a main microphone pair e.g. at a spacing of 30 cm, angle +/- 45°

The directivity of the wide cardioid lies between the omni and the cardioid. The idea behind their development is to combine the advantages of these two patterns. The low-frequency behaviour of the MK 21 is better than that of the cardioid, and proximity effect is less pronounced. The wide cardioid polar pattern is extremely consistent across the frequency range. Laterally-arriving direct sound and reflections are picked up without added coloration. The MK 21 is a very well-liked capsule. It is preferred when a slight directional effect and a warm, natural sound image are desired. Over the years it has become an integral part of the audio engineer's toolkit.


Schoeps MK22 Open Cardioid Microphone Capsule

  • New directional pattern: Open Cardioid
  • Optimal combination of directionality (MK 4 cardioid) and warm sound characteristics (MK 21 wide cardioid)
  • Natural sound quality, due to highly consistent polar diagram across the frequency range
  • Popular for use as a spot or soloist's microphone, as the mid microphone for M/S, or as a main microphone pair e.g. at a spacing of 21 cm, angle +/- 55°

The "Open Cardioid" pickup pattern was introduced by SCHOEPS in 2008. It lies between the classic cardioid and the wide cardioid, achieving both a fair amount of directivity and very natural sound quality. Many years' experience of professional recording engineers with the range of Schoeps cardioids has played a large role in the development process. Meanwhile the MK 22 has become a preferred soloist and spot microphone, thus becoming an alternative to the "classic" MK 4.

Specifications 

Schoeps CMC6 Microphone Amplifier

Frequency range 20 Hz - 20 kHz
Maximum output voltage 1 V (0 dBV) with 1 kΩ load
Low cut filter 20 Hz, 12 dB/oct.
Minimum recommended load impedance 1 kΩ
Maximum sound pressure level (THD < 0.5 %) with MK 4: 131 dB-SPL (P48, P12)
Output impedance 42 Ω
Maximum cable length > 400 m / ~1300ft
SCHOEPS RFI Shield Yes
Powering standard / Valid range P48 / 20-52 V
P12 / 10-13 V
Current consumption 4 mA (P48)
8 mA (P12)
Common mode rejection ratio (at 1 kHz) > 60 dB
Output XLR-3M, analog, 1 channel
Length 116 mm / ~4,5"
Diameter 20 mm / ~0,8"
Weight 60 g / 2,1 oz
Surface finish matte gray (g) or custom color

Capsules

  Cardioid (MK4) Supercardioid (MK41) Omnidirectional (MK2) Wide Cardioid (MK21) Open Cardioid (MK22)
Pickup pattern Cardioid Supercardioid Omnidirectional Wide Cardioid Open Cardioid
Frequency range

40 Hz - 26 kHz with CMC 6 / CMR

40 Hz - 41 kHz with CMC 6xt

40 Hz - 26 kHz with CMC 6 / CMR,

40 Hz - 41 kHz with CMC 6xt

20 Hz - 28 kHz with CMC 6 / CMR

20 Hz - 40 kHz with CMC 6xt

30 Hz - 29 kHz with CMC 6 / CMR

30 Hz - 44 kHz with CMC 6xt

40 Hz - 28 kHz with CMC 6 / CMR

40 Hz - 42 kHz with CMC 6xt

Sensitivity -36.5 dB (V/Pa), 15 mV/Pa with CMC 6 -36 dB (V/Pa), 16 mV/Pa with CMC 6 -35.5 dB (V/Pa), 17 mV/Pa with CMC 6 -37 dB (V/Pa), 14 mV/Pa with CMC 6 -36,5 dB (V/Pa), 15 mV/Pa with CMC 6
Equivalent noise level (A-weighted) 14 dB with CMC 6 14 dB with CMC 6 10 dB with CMC 6 13 dB with CMC 6 13 dB with CMC 6
Equivalent noise level (CCIR) 24 dB with CMC 6 23 dB with CMC 6 23 dB with CMC 6 23 dB with CMC 6 23 dB with CMC 6
Signal-to-noise ratio (A-weighted) 80 dB with CMC 6 80 dB with CMC 6 84 dB with CMC 6 81 dB with CMC 6 81 dB with CMC 6
Maximum sound pressure level (THD < 0.5 %) 131 dB-SPL with CMC 6 131 dB-SPL with CMC 6 130 dB-SPL with CMC 6 131 dB-SPL with CMC 6 130 dB-SPL with CMC 6
Length 22 mm 22 mm 22 mm 22 mm 22 mm
Diameter 20 mm 20 mm 20 mm 20 mm 20 mm
Weight 17 g 17 g 17 g 17 g 17 g
Surface finish matte gray (g) or custom color matte gray (g) or custom color matte gray (g) or custom color matte gray (g) or custom color matte gray (g) or custom color

Delivery Services

At Pinknoise Systems we like to offer our customers a wide choice of delivery options for their orders, and our prices are affordable and competitive. We also use only the best, most reliable couriers and delivery services to get your equipment where it needs to be - quickly and securely. Please find an outline of our services, prices and timescales below.

Service Timescale Price
UK Mainland Royal Mail Small Parcel 2-4 Days £3.99
UK Offshore Royal Mail 2-4 Days £9.99
UK Standard Courier 2-4 Days £6.49
UK Express Courier Next Day £7.99
International Shipping From 1-8 Days (Full Details) From £15.00

Delivery Times

Delivery times are based on when the packages leaves our premises. Sometimes, due to stock restrictions or a non completed order, delivery may take longer as there is a delay with dispatch. We will always notify customers of any issues and problems via email or telephone. If your order is urgent or details change please do let us know.

For full details, fees, and time schedules, please see our Delivery Information page.

Returns & Refunds

New items: You can return goods you have ordered from us for any reason, at any time within 7 working days of receipt, for a full refund or for an exchange for a different product from our range. The cost of returning goods to us shall be borne by you, the customer, in all circumstances without exception.

Items must be packed suitably and insured for full loss in the event of a delivery problem. Pinknoise Systems will not be responsible for lost or damaged return goods. Lost or damaged goods may effect the level of refund you receive.

Used items: Please note this does not apply to used item unless they are deemed faulty.

For full details of our returns policy, please click here.

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