[Black] They're Schoeps so there's little to say about that. I've used this stereo set in a variety of ways. From recording choirs to field recording train stations and dance rehearsals. They're crystal clear and capture sound exactly as you hear it. It's incredible how compact they are. The preamps are compatible with other Schoeps Colette capsules so there's a lot of modularity you can get with this set.


You're making a big investment with this stereo set and you get what you pay for.

[Black] This short P-tap to lemo is prefect to connect the Bolt to our hand held director's monitor. (NOT COMPATIBLE WITH BARTECH)

[Black] I use an array of CMC1 mics with Omni, wide and regular cardioid to capture multiple stereo imaging options simultaneously. I use the Grace 66 cm SpaceBar with multiple mounts on it. The stereo bar has 5/8-27 (standard US) mic mounts only. But the Rycote uses the 3/8-16 (more commonly used in EU). The brass adapter is provided (as seen in the product image), but it does raise the mounts an additional 2 cm. It would be nice if these were instead default 5/8-27 thread with an internal adapter for the 3/8-16, because then the installed height would be the same for either thread option. This is a minor gripe, but not trivial when trying to keep an inconspicuous low-profile of the mic bar.


The compliance of the mount is a perfect match for the CMC1, completely eliminating conducted noise from the stand reaching the mics (like foot-thumping on the stage when the mic-stand is on the stage - big problem with the rigid factory mounts that come with the Schoeps mics).


Given the really small bodies of the CMC1, I would not recommend using a standard XLR connector with this combination: the weight of the connector and cable will distort the mounts, and reduce the effectiveness of the shock-mount. I made custom cables using Cable Techniques low-profile right-angle XLR (BH #CACTBX3FR), and Mogami W2697 thin cable (BH# MOW2697164BK) which fits perfectly in the strain-relief on the Rycote mount. The cable capacitance is higher than standard mic cable, but for only a 20' length - it is far below the driving limit of the mics, so no worries about HF attenuation.


Be careful how you store these, as if they are stored for long periods in a deformed-position, they take a while to straighten-out again. These are the best shock-mounts I have found - I use a similar model for the Neumann KM-184 as well.

[Black] I use it with a Sennheiser MKH 8060 and it works well.

[Black] As with many things Tilta makes, a decent quality and a competitive price. These cables are far more from other brands, so I use this to power smallHD monitors which works well. I wish the cable wasn't as long on the connection point - they protrude quite a lot, but they have worked well so far.

[Black] No more cue tab and power adapter. Get this or get the 2 pin lemo - 2 pin lemo if your monitor have the output.

[Black] Bought these to use with my newly acquired Sonorous Objects SO.101 and SO.103 microphones, and they fit well. I am using a normal length XLR connector, but a shorty might fit as well.

[Black] Schoeps says that there's no discernible difference in sound quality, but when I heard this one, I put my CMC6 up for sale immediately.

The higher SPLs do make a difference; and to my ear the CMC1 has a more clean and transparent sound to it. I know that sounds lame, but it's hard to describe. This CMC1 is amazing.

HIGHLY recommended.

[Black] I use a pair of these for my MS setup(cmc1’s, mk8, mk22). When these were released in 2019 it was welcomed with open arms. I went from a 13” to 6.7” Rycote windshield. Amazing! Size and weight is a big deal for me as I hike to my locations and I carry the mentioned MS setup plus an ORTF(2 ccm4’s). They perform excellent as expected and they draw less battery power than the CMC6. I had no reason to not own a pair.

[Black] It holds 6-7 cards plus 4-5 notes. Easy to access any card you need while keeping the overall thickness very low. Like the design.