54
resolution October 2011
RESOLUTION AWARDS
T
he SuperCMIT digital shotgun mic offers
increased directivity and is based on
Schoeps’ analogue CMIT 5. Features include
‘extraordinary’ diffuse sound suppression, a
new operating principle with two transducers, digital
signal processing algorithms, and a two-channel
output with the SuperCMIT signal on channel 1
and a (direct, single-transducer) CMIT signal in
channel 2. The SuperCMIT is a digital microphone
and outputs in AES42, Mode 1 but with an optional
PSD 2U powering adapter, it can also be used with a
conventional AES3 input.
In the barrel of the SuperCMIT, just behind the
interference tube, is the second (cardioid) capsule,
which faces backwards. This picks up the ambient
sound while largely ignoring the forward, wanted
audio. The output of both capsules is digitised and
the ambient signal can then be subtracted from
the forward one — it is cancellation but in the
digital domain where the relationship between phase,
wavelength and frequency is much more elastic. The
actual algorithms are provided by a Swiss company,
Illusonic, and the processing is done by a DSP housed
in the microphone body.
Unwanted noise is claimed to be greatly reduced
in level even at low frequencies without altering the
tone colour of front-arriving direct sound. DSP in the
SuperCMIT recognises sound energy arriving from
various directions and determines whether that sound
has a discrete, persistent direction of arrival or not. It
uses this information to suppress diffuse sound and
to focus on discrete sound allowing the ‘reach’ of the
shotgun to be increased significantly without causing
the usual sound-colouring artefacts.
It has two filters identical to those on the CMIT 5.
The mic has three recessed buttons with six discreet
LEDs to show the settings. The HF lift counteracts
the effects of a furry windscreen and the steep cut
18dB/octave 80Hz filter is for removing handling
and wind noise but the third button operates a choice
of directionality. Preset 1 gives a Directivity Index
of 11dB while Preset 2 gives 15dB, with the caveat
that a few processing artefacts might be heard. By
comparison a conventional rifle microphone only
manages a Directivity Index of about 7dB (a cardioid
is 5dB).
The second output channel always carries the
signal of the regular shotgun while the Preset button
controls the directivity of the signal on the first output
channel (SuperCMIT).
‘Off-axis sounds just disappear and do so at all
frequencies, not simply the mids and highs. At 250Hz
the rear sensitivity is –14dB, or –25dB depending
upon the preset, which is far beyond what even the
longest rifle microphone (with all its self-evident
colouration) can manage.
‘The other noticeable effect is that the space around
you tends to disappear — not dissimilar to the effect
of noise-cancelling headphones — and this may feel a
little strange though it is an inevitable by-product of the
directivity that you would want this microphone for.
‘The primary impression, visually and sonically, is
simply one of great cleanliness. A direct comparison
of the raw and processed channels reveals a change
in the background noise — partly the 3dB drop in the
processed signal noise floor and partly the difference
in ambience — and a marked focussing of the
“wanted” audio.’ Resolution V9.4. n
Contact
SCHOEPS, GERMANY
Website: www.schoeps.de
AWARDS 2011
QUALITY & INNOVATION
Winner
Microphone
ALSO NOMINATED: Microtech-Gefell M1030; Milab
DC-96C; SE Gemini 5.
Schoeps SuperCMIT
(10 páginas)
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