Since you seem to be listing a fair number of discontinued models, you might include the Neumann SM 2 as well; it used the same capsules as the SM 23 and KM 56, so it's small-diaphragm. Unfortunately those capsules were fragile and can't be replaced today; they can only be "reskinned" with somewhat variable results. The difference between the SM 2 and the SM 23 was that the latter could be powered and used as two entirely electrically separate single microphones if desired.
You've reversed the descriptions of the SM 69 and USM 69. The SM 69 had the remote pattern control (from the power supply) while the USM 69, which is still in the catalog, has built-in pattern switches. The two SM 69 models had a choice of nine patterns each, while the USM 69 has five. The SM 69 appeared as two different models, the original containing two miniature vacuum tubes (Telefunken AC 701k) while the later model "SM 69fet" was solid-state. The SM 69fet could be battery-operated via the CU 48 pattern controller, which worked from 48 Volt phantom powering. There was even a quad microphone in this series for a few years--the QM 69.
For Schoeps you could certainly list the CMTS 301 and CMTS 501--there's one of the latter up on eBay at the moment (Studer sold Schoeps microphones under their own name, and the one up for auction is one of those; Schoeps gladly maintains them now). They're both small-diaphragm, three-pattern microphones based on pairs of MK 6 capsules. The two models were available concurrently; the CMTS 301 was for 12-Volt phantom powering and had transformerless output circuitry, while the CMTS 501 was for 48-Volt phantom powering and had transformer-equipped outputs. The CMTS 501 was still being sold in the late 1980s.
I see that Shawn has mentioned the Schoeps MSTC 6--, which is not a coincident stereo microphone but a very nice ORTF stereo microphone which I used for many years in its previous incarnation (it used to be available as a 3--, 4-- or 5--). Schoeps also has a two-channel phantom-powered amplifier (body) called the VST 62, which accepts the output of an active cable with any two Colette capsules on it; you can use that for coincident or near-coincident stereo setups of almost any kind. There is also a Colette active extension tube called the RCY for M/S recording--you attach a figure-8 capsule to one socket and whatever other Colette capsule you like (that's forward-facing) to the other one, and hook up either two CMC microphone bodies or a VST 62 to the other end. It's kind of a "build your own stereo mike" type of situation.
You list Neumann's RSM 191 but not its predecessor, the RSM 190. The 191 is certainly more convenient for field recording on battery power, since its pattern selector box is also its battery power supply (instead of the two separate boxes which the 190 required), but it is the same very good microphone in either instance.
Sennheiser and Audio-Technica also make stereo shotgun microphones, and unless there's some secret I haven't been let in on, I would assume that Sanken's stereo microphones are of professional quality and I don't know why you wouldn't list them. Milab, as I recall, has a coincident stereo condenser microphone, too.
--best regards
Topic: Stereo Mic ROUNDUP (Read 19842 times)