Electronic Accessories for the Colette Modular System
コレットモジュラーシステム用アクセサリ
Signal distortions at high sound pressure levels have two main causes:
1. Overload of the microphone
Under extreme conditions, even a SCHOEPS Colette Series microphone can be overdriven by very high sound pressure levels. Here the limiting factor is not the capsule but the microphone amplifier. The overload point ranges from 128 ? 135 dB-SPL, depending on the capsule and the amplifier type (e.g. 5 dB lower with the “+5 dB“ version).
In these situations the signal level at the amplifier input may be attenuated by inserting a DZC between the capsule and the microphone amplifier or the Active Accessories.2. Overload of the input of the device to which the microphone is connected
If the microphone is not being overloaded but its output level must be reduced, it would be far better to use an MDZ in-line attenuator than a DZC. The MDZ should be placed at the end of the cable farthest from the microphone, where it will not only help to prevent preamp overload but also to reduce any interference picked up in the microphone cable and the noise of the microphone itself. (Never place an in-line attenuator at the microphone end of a cable. Doing so would increase the relative strength of any induced interference, and increase the rate of signal loss in longer cables due to the higher source impedance.)
The MDZ can also prevent the input impedance of a preamp from loading down a microphone; with it in place, the minimum load impedance for a CMC-series amplifier is reduced from 600 to 200 Ohms. It can also be useful when driving transformer-equipped inputs designed for 200 Ohm sources, which may develop high frequency response errors when driven by much lower impedances, particularly if the input transformer has a high turns ratio.
Attenuators DZC 10, DZC 20
ca. 10 or 20 dB constant attenuation
raises maximum sound pressure level by ca. 10 dB/ 20 dB
attenuates signal ahead of CMC microphone
amplifiers of the Colette Modular System
he use of two DZC 10 on one microphone will result in an attenuation of only ca. 15 dB due to the capacitive principle of operation. If the level must be attenuated by a full 20 dB, a DZC 20 should be used.
Dimensions: length: 18 mm, diameter: 20 mm
Weight: 14 g
Surface finish: matte gray (g) or nickel (ni)
Capsule Swivel
GVC
- allows the angle of a capsule to be adjusted on all microphone amplifiers of the Colette Modular System
- adjustable from 0° through 120° in either direction
The electrically passive GVC capsule swivel may be inserted between any capsule and microphone amplifier of the Colette Modular System, or before an Active Cable, Active Tube, or the CUT 1.
This is especially useful with capsules intended for frontal sound pickup such as the MK 4 (cardioid).
Maximum length: 64 mm
Diameter: 20/ 21 mm
Weight: 75 g
Surface: matte gray (g) or nickel (ni)MK microphone capsule
GVCg capsule swivel
CMC microphone amplifier
Active Cable for the Modular System
KC, WKC
Active Colette Cables may be inserted between any capsule of the Colette Modular System and any microphone amplifier except the CMBI.
KC 5g
We recommend that the length not be excessive for the anticipated use, to avoid radio-frequency interference from sources such as SCR-equipped lighting boards. Greater than the standard cable length of 5 m may be required when hanging a microphone from a ceiling, but we do not recommend runs in excess of 20 m since the circuit up to the microphone amplifier is unbalanced.
The cable itself is highly resistant to stretching, bending and abrasion. Moreover it does not tend to twist after being suspended, even with temperature changes. This is of importance, e.g. when the microphone is hung from the ceiling.
Type designation:
KC 5g: 5 m long
KC 10g: 10 m long
Special lengths can be ordered.The Active Cable is also available with lateral cable connection at the capsule end. Type designation:
WKC 5g (5 m cable)
Special version:
WKC 5g = KC 5g with right-angle connector
Active Stereo Cable KCY for MK Capsules
for stereo microphone amplifier VST 62 IUg
or stereo microphone preamplifier VMS 5 U
By using the Active Stereo Cable KCY, a complete stereo recording setup can be arranged with only two small capsules and a small, elegant supporting device being visible. The microphone amplifier can stay out of sight, and need not contribute to the weight of the arrangement.
The cables at the capsule ends of the versions shown here are 25 cm long. Various lengths for the output end of the cable are available; the KCY 250/0I shown at left has a 10 cm output segment, resulting in a particularly compact unit.
Due to its unbalanced signal arrangement, the output cable should be no longer than necessary, with 20 meters as a maximum. If longer cables (up to several hundred meters) are required, the VST 62 should be connected to a relatively short KCY arrangement; the VST 62 has balanced, low-impedance outputs and can drive very long cables without interference.Standard lengths:
KCY 250/0 Ig:
10 cm cable only, for use with an extension cable
(e.g. KS 5I; 5 m long)KCY 250/5 Ig:
5 m cable length for direct connection without an extension cableOther lengths for both types of cable are available on request.
KS 5 I Stereo extension cable with Binder miniature connectors; for miniature stereo recording system with Active Cable
Length: 5 m; other lengths are available on request
Adapter Cable
AK I/2
This adapter cable is a counterpart to the KCY cable shown above. The KCY provides signal and power leads for two microphone capsules in a single cable terminated with a Binder plug. The AK I/2C, conversely, accepts a Binder plug and connects to a pair of CMC amplifiers, with use of the low-cut filters CUT 1 or CUT 2 (see below) and certain other accessories being possible as well. This allows a stereo capsule arrangement to be suspended from a “fishpole” with only a single cable for most of the run.
The AK I/2C can also be combined with the RCY Active Tube.
When the AK I/2C is used, the output level of the connected CMC microphone amplifiers is always the same as the “+5 dB“ amplifier version.
Variable Low-Cut Filters
CUT 1, CUT 2
- can be screwed onto the CMC or M 222 microphone amplifiers
- very effective suppression of low-frequency and infrasonic effects of wind and vibration: 24 dB/oct below 60 Hz (CUT 1) or below 30 Hz (CUT 2)
- user-adjustable variable rolloff
- offsets proximity effect
The CUT 1 or CUT 2 is inserted between the capsule and the microphone amplifier; see system overview. The CUT filter performs two tasks:
irst, it prevents the effect of infrasonic disturbances from being passed on to any succeeding device.
In particular, pressure-gradient transducers (directional microphones) produce very high infrasonic signal levels when exposed to wind. These can saturate an input transformer or an amplifier stage even before the audible portion of the disturbance becomes noticeable.
To avoid this, a very sharp (24 dB/oct) infrasonic filter is permanently engaged. It has only a negligible effect on speech, which is the principal field of application for the CUT 1 (cutoff frequency = 60 Hz). The CUT 2's infrasonic filter is an octave lower (i.e. 30 Hz), and has no audible effect on speech pickup whatsoever.The second task is to offset proximity effect and/or to improve speech intelligibility in reverberant rooms by means of an additional 6 dB/oct rolloff. By turning a recessed thumbwheel the user can vary the frequency at which this begins to have an effect, and thus tailor the low-frequency response as required. Its turnover frequency can be continuously varied between 30 Hz (CUT 2) or 70 Hz (CUT 1) and 600 Hz (see response curves, above right).
Of course it is to be expected that filters such as the CUTs will affect the naturalness of the sound picked up by the microphone. But in many cases the CUTs (in combination with the appropriate windscreen) are the only means by which an acceptable recording can be made at all.
As an aid to properly seating the windscreens W 20 and W 20 R1, the diameter of the CUTs have a slight step near their front ends.
The CUTs raise the sensitivity of standard microphone amplifiers by 5 dB, while those marked with “+ 5 dB” will retain their increased sensitivity.
Since the weight of a microphone increases with the addition of a CUT, the stiffer elastic suspension A 20 S is required.Dimensions: length: 64 mm, diameter: 20/ 21 mm
Weight: 50 g
Surface finish: matte gray (g) or nickel (ni)
Frequency responses
