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  1. Acoustics
  2. AKG Acoustics
  3. Audio feedback
  4. Audio level compression
  5. Audio quality measurement
  6. Audio-Technica
  7. Balanced audio connector
  8. Beyerdynamic
  9. Blumlein Pair
  10. Capacitor
  11. Carbon microphone
  12. Clipping
  13. Contact microphone
  14. Crosstalk measurement
  15. DB
  16. Decibel
  17. Directional microphone
  18. Dynamic range
  19. Earthworks
  20. Electret microphone
  21. Electrical impedance
  22. Electro-Voice
  23. Equal-loudness contour
  24. Frequency response
  25. Georg Neumann
  26. Harmonic distortion
  27. Headroom
  28. ITU-R 468 noise weighting
  29. Jecklin Disk
  30. Laser microphone
  31. Lavalier microphone
  32. Loudspeaker
  33. M-Audio
  34. Microphone
  35. Microphone array
  36. Microphone practice
  37. Microphone stand
  38. Microphonics
  39. Nevaton
  40. Noise
  41. Noise health effects
  42. Nominal impedance
  43. NOS stereo technique
  44. ORTF stereo technique
  45. Parabolic microphone
  46. Peak signal-to-noise ratio
  47. Phantom power
  48. Pop filter
  49. Positive feedback
  50. Rode
  51. Ribbon microphone
  52. Schoeps
  53. Sennheiser
  54. Shock mount
  55. Shure
  56. Shure SM58
  57. Signal-to-noise ratio
  58. Soundfield microphone
  59. Sound level meter
  60. Sound pressure
  61. Sound pressure level
  62. Total harmonic distortion
  63. U 47
  64. Wireless microphone
  65. XLR connector



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From Wikipedia, the free encyclopedia


Schalltechnik Dr.-Ing. Schoeps GmbH (Schoeps) is a prominent manufacturer of professional studio condenser microphones for recording and broadcast. The privately-owned company is based in Karlsruhe, Germany and was founded in 1948.

All microphones made by Schoeps employ traditional (i.e. externally polarized, not electret) condenser transducers, and use small-diaphragm, single-diaphragm capsules--even in microphones which offer two or three different directional patterns. All models introduced since 1973 have also featured transformerless output circuitry.

The Schoeps "Colette" (CMC) series of microphones is a series of four amplifiers (for different powering schemes) and about 20 capsules (for different directional patterns and/or frequency response characteristics); any capsule of the series is compatible with any of the amplifiers. This was the first type of microphone to let the user separate the capsule from the amplifier (body) of the microphone via "active" accessories (e.g. thin, flexible cables or goosenecks) for the sake of a less obtrusive microphone setup. In this type of arrangement, the initial amplification stage of the microphone is located in the accessory, at the point where the capsule is connected; this helps to prevent interference or signal losses.

Most capsules of the CMC series are also available as one-piece compact microphones ("CCM series"). The circuitry is miniaturized so that each complete microphone is only a few millimeters longer than the corresponding "Colette" capsule would be. This simplifies installation and reduces the risk of interference in situations which would ordinarily require the use of Colette active accessories. However, since these microphones lack the modular construction of the CMC series, their capsules are not interchangeable.

In the vacuum-tube era, Schoeps M 221-series microphones (especially the model M 221 B) were widely used in studios and for live orchestral recording. Their circuitry is based on the Telefunken AC 701k vacuum tube. They were introduced in 1954 and manufactured until the 1970s; many are still in use today.

One particular model of Schoeps microphone created for French radio (the CMT 20 series, 1964) has the historical distinction of being the first phantom-powered condenser microphone on the studio market.

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