SCHOEPS MK 4

Product overview

The SCHOEPS MK 4 is a cardioid microphone capsule for the Colette modular system and the best-selling SCHOEPS capsule, a reference microphone in a wide variety of recording situations.

Its transparent sound and excellent attenuation of rear-incident sound reproduce sources very naturally, which has given the MK 4 a reputation as a universal problem solver, even in difficult recording situations. The frequency response is flat and the polar pattern stays constant across all frequencies. Even in the diffuse sound field the response is flat, with a slight rise at 10 kHz that compensates high-frequency losses in the room, so direct sound, sound from the side and the room reverberation all stay transparent.

Like every SCHOEPS capsule, the MK 4 reaches its flat frequency response purely through its mechanical design, without electronic filtering. It is a pressure-gradient transducer with a single diaphragm exposed to sound from the front and the rear, so the side sound inlets must never be covered. The capsule screws onto a Colette microphone amplifier such as the CMC 6, CMC 6xt, CMC 1 U or CMC 1 L.

Key features

• Cardioid pattern, highly independent of frequency
• The best-selling SCHOEPS capsule
• Flat frequency response achieved purely by the mechanical design, without electronic filtering
• Flat diffuse-field response with a slight rise at 10 kHz
• Attenuation of 6 dB at 90° and some 20 to 30 dB at 180°
• Diffuse sound picked up 4.8 dB lower than front-arriving sound
• Reach about 1.7 times that of an omnidirectional microphone
• Often used in main microphone pairs for XY, ORTF and MS stereo

Practice

The MK 4 is universally applicable and is preferred as a spot microphone, on acoustic instruments and in conference recording. Opera singers and other trained vocalists often choose it, and its clear, neutral character also suits pop and rock on stage or in the studio wherever equalisation is part of the plan.

Made for

• Spot microphones in classical recording
• Acoustic instruments
• XY, ORTF and MS stereo pairs
• Trained vocalists, pop and rock on stage or in the studio
• Conference recording

In the box

• MK 4 cardioid capsule (a Colette microphone amplifier is needed, available separately)

SCHOEPS MK 4: frequently asked questions

Is the MK 4 a complete microphone?

No. The MK 4 is the capsule of the Colette modular system; it screws onto a Colette microphone amplifier such as the CMC 6, CMC 6xt, CMC 1 U or CMC 1 L. Complete sets with the MK 4 are also available.

What does the amplifier change?

The frequency range is 40 Hz - 26 kHz, or 40 Hz - 41 kHz with the CMC 6xt. The maximum sound pressure level is 131 dB-SPL with the CMC 6 and 135 dB-SPL with the CMC 1.

Is it suitable for stereo recording?

Yes. The MK 4 is often used in the main microphone pair for XY, ORTF and MS stereo recordings, and SCHOEPS can supply specially matched capsule pairs.

Why must the side openings stay free?

The MK 4 is a pressure-gradient transducer: its single diaphragm receives sound from the front and through the side sound inlets, so covering them changes the pickup.

Are other finishes available?

The standard finish is matte grey; SCHOEPS also offers custom colours such as Chromagreen and Smoked Silver, and custom engraving.

Where can I buy the SCHOEPS MK 4 in India?

The SCHOEPS MK 4 is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Spot microphone in an orchestra

Classical recording engineers covering soloists and sections.

Connections

Setup

1. Screw the MK 4 onto the amplifier and mount it on a stand clamp.
2. Aim it at the instrument group, with the rear facing unwanted sources.
3. Switch on P48 and set the gain.

Tip: Sound from the side is lower in level but not coloured, so spots blend well with the main pair.

Workflow 2: ORTF or XY stereo pair

Engineers recording ensembles, choirs and ambience in stereo.

Connections

Setup

1. Mount two MK 4 capsules on a stereo bar in ORTF or XY.
2. Use a matched capsule pair for close tolerances.
3. Set both preamps to the same gain.

Tip: SCHOEPS can supply specially matched pairs.

Workflow 3: MS stereo

Broadcast and film recordists needing mono-compatible stereo.

Connections

Setup

1. Mount the MK 4 as the mid microphone facing the source.
2. Place a figure-8 capsule as the side microphone.
3. Record both channels and decode MS in the mix.

Tip: The MK 4 is often the mid microphone in MS.

Workflow 4: Acoustic instruments in the studio

Studio engineers recording guitar, strings, piano or percussion.

Connections

Setup

1. Place the microphone at a moderate distance from the instrument.
2. Keep the side sound inlets uncovered.
3. Adjust the position for the balance of direct and room sound.

Tip: The flat diffuse-field response keeps the room sound natural.

Workflow 5: Trained vocals and stage use

Opera singers, vocalists and live engineers.

Connections

Setup

1. Fit a foam pop shield for close vocal work.
2. Position the singer on the front axis.
3. Use EQ as part of the plan for pop and rock.

Tip: A neutral starting point makes any later colouring easy.

Workflow 6: Conference recording

Installers and recordists covering speech at tables.

Connections

Setup

1. Point the capsule at the talker position.
2. Keep noise sources behind the microphone.
3. Set the gain for speech.

Tip: Rear attenuation of about 20 to 30 dB helps keep the talker clear.