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Gear / Technical Help => Microphones & Setup => Topic started by: gormenghast on February 15, 2014, 09:46:44 PM
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Whats the deal with the Schoeps CMBI bodies? I know about them but rarely, if ever, hear about someone using them. I read that you can't use the active cables with them, but what about some of the other components Schoeps sells for the CMC6 bodies?
Anyone use the CMBI on a regular basis? With what caps and recorder? Links to recordings?
I'm just curious. Too many option at my disposal for now.
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I ran CMBIs for a while and really liked them. I have no reason to believe they sound any different (worse) than CMCs and think they're ideal when running into unbalanced inputs. CMBI > Sony M10 is compact setup that will rival anything.
What I didn't like about the CMBIs was running them with phantom powered recorders/preamps. I was always nervous about accidentally turning on the phantom power and potentially damaging the CMBIs. Not sure if that would actually happen, but it was on my mind. The CMBIs can be powered by the internal 6v battery or via external power (wiring diagrams are found in the manual) and a PFA could provide 7-13 V required, allowing you to run these easily with a balanced, phantom powered input.
Per the manual, you can't use the KC, RC, SKC, CUT 1, or BLM 03 C components with CMBIs. However, the CMBI body has a -15 dB pad built in if required.
Here a link (http://www.nyctaper.com/?s=cmbi)to a few recordings I made with the CMBI's... not sure if I have anything convenient that isn't an sbd mixdown.
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The CMBI amplifiers can be useful if you often connect your microphones to unbalanced, consumer-type microphone inputs. They were originally designed for use with portable DAT recorders such as the Sony TCD-D7/D8 and whatever Panasonic model existed at the time (SV something?).
There is no difference in sound whatsoever between CMBI and CMC amplifiers.
Because of the lower output voltages, you also gain long battery life with the CMBI. But as mentioned, you give up the use of Schoeps active accessories (although GVC capsule swivels can be used, since they contain no active circuitry).
Balanced connections are always preferable whenever there is a risk of interfering signals in the recording environment. The regular CMC amplifiers also have lower output impedance, which allows much longer cables to be driven without appreciable signal losses, and their output levels are higher as well, in accordance with professional practice.
--best regards
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I ran CMBIs for a while and really liked them. I have no reason to believe they sound any different (worse) than CMCs and think they're ideal when running into unbalanced inputs. CMBI > Sony M10 is compact setup that will rival anything.
What I didn't like about the CMBIs was running them with phantom powered recorders/preamps. I was always nervous about accidentally turning on the phantom power and potentially damaging the CMBIs. Not sure if that would actually happen, but it was on my mind. The CMBIs can be powered by the internal 6v battery or via external power (wiring diagrams are found in the manual) and a PFA could provide 7-13 V required, allowing you to run these easily with a balanced, phantom powered input.
Per the manual, you can't use the KC, RC, SKC, CUT 1, or BLM 03 C components with CMBIs. However, the CMBI body has a -15 dB pad built in if required.
Here a link (http://www.nyctaper.com/?s=cmbi)to a few recordings I made with the CMBI's... not sure if I have anything convenient that isn't an sbd mixdown.
Thanks for sharing the music you recorded and your experience with the CMBi's. I wish there was more that type of music around here. There used to be an underground club but for some reason it got shut down.
I've thought about them often but either I had KCY's or KC5's and CMC6's.