For more than 50 years, Schoeps has delivered high-quality,
versatile tools for recording and broadcast professionals. A compact
(4-inch long) and versatile X-Y stereo microphone, the CMXY 4V is an excellent
continuation of that tradition.
The CMXY 4V—it’s available in versions with either 5-pin XLR
or miniature connectors—is based on two CCM (Compact Condenser Microphone) Series cardioid capsules.
The mic has a retail price of $3,900, which does include a wood
storage box and a stereo 5-pin to left/right standard 3-pin XLR adapter. Small colored dots on either side of
the mic mount correspond to the left- and right-side outputs. A
recommended option is the A20S shockmount, a compact elastic suspension
clip with two small clamps that grip onto either side of the
split-output cable, offering some help in decoupling the cable from the
suspension.
The two capsules use a clever, geared swivel offering more than
180° of outward rotation, for very tight to ultra-wide stereo
separation. Unlike typical adjustable-splay stereo mics, which combine
one rotatable and one set capsule, the angle between the CMXY 4V’s two
capsules can be adjusted without altering the central stereo axis. The
capsules always rotate equally and in opposite directions via a slick
gear arrangement in the base of the mic. The capsules are about as
close to each other as physically possible—the centers are spaced
less than an inch apart.
In the studio, the CMXY 4V offered just what I expected of a Schoeps
CCM: smooth, natural response with a slightly rising—but never
overpowering—HF emphasis. The proximity effect is fairly mild until you get in
closer than 3 inches or so; combined with the ease of adjusting the
angle of capsule splay, it was great for close-miking mandola, mandolin
and bazouki. On acoustic guitar, about 16 inches back from the sound
hole with the capsules set about 80° apart, the effect was rich
and full—yet present—with a nice stereo effect.
The mic handles SPLs in excess of 132 dB, and was right at home on drum overheads,
timbales and even left/right rack toms, although you really want to be
sure about the drummer’s accuracy before putting a $3,900 mic in the
line of fire.
The CMXY 4V’s coincident-swivel design also opens up some new
possibilities, such as setting the two capsules back to back, and
throwing one side out-of-phase at the mixer to create a makeshift figure-8 pattern. In more mundane studio duties,
such as piano miking, the CMXY 4V excelled and offered fast,
single-stand placement. Its small profile and inconspicuous gray finish
should also appeal to users in live theater, broadcast or film/ENG
applications, or anybody needing a solid, high-performance stereo
mic.
Schoeps Microphones, www.schoeps.de
