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Gear / Technical Help => Microphones & Setup => Topic started by: noahbickart on October 15, 2017, 09:55:04 PM
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The Schoeps MiniCMIT http://www.schoeps.de/en/products/minicmit (http://www.schoeps.de/en/products/minicmit), seems like it would work very well with an mk8 and a kcy cable.
Does anyone care to speculate why the shotgun microphones are stand alone affairs, and they haven't developed a capsule version which can be used with the rest of the modular colette system?
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Good question. Seems like the non-digital mini and the 5 could be / should be.
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The most obvious reason I see is because of the on-board filters (switchable on the CMIT 5; fixed on the MiniCMIT). Those filters likely require more room than they could fit into a capsule, and I'm not sure where in the circuit those filters are being applied. If I had to guess, it would be following the amp stage. Any builders or Schoeps experts have any insight?
I suppose they could make a separate shotgun capsule with no filtering, but then that's additional post work for the dialog people who are using these heavily every day. The on-board filtering is probably so much more convenient.
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Right, filter circuitry and switches are typically found in the amplifier body.
Not having those, the MiniCMIT would be the obvious candidate for a colette option.
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Right, filter circuitry and switches are typically found in the amplifier body.
Not having those, the MiniCMIT would be the obvious candidate for a colette option.
No switches, but the MiniCMIT does have filtering; it's fixed at 70 Hz.
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Purely a guess, but I doubt that they perceive a real market for such a product. Most people who use shotgun microphones professionally, don't regard them as interchangeable with other patterns--either in the way they function or the way you use them. If the user wanted to switch capsules in the field, s/he would probably have to readjust the whole boom mike setup, possibly with a different windscreen and shock mount--not just replace the capsule.
Applications for a shotgun capsule on a Colette extension cable, tube or gooseneck don't come readily to mind--plus professional film and video shoots these days tend to be high-RFI situations. So again that skews things toward a complete microphone, not a component approach.
The other replies in this thread seem right to me as well. Some kind of low-frequency cutoff is really mandatory when recording dialog and most effects, and if you can build that directly into the amplifier (whether you make it switchable or not), so much the better.
--best regards
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Dsatz, as usual, thanks.