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Summary of Contents for Schoeps DSP-4 KFM 360
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Page 1: Operating Instructions
DSP-4 KFM 360 Digital Microphone Processor for Surround System with KFM 360 Sphere Microphone Operating Instructions... -
Page 2: Table Of Contents
Warranty ........19 Subject to change without notice. Not responsible for errors or omissions Printed in Germany 040908, © by Schalltechnik Dr.-Ing. Schoeps GmbH Schoeps GmbH Spitalstraße 20... -
Page 3: Overview
Overview Overview CCM 8L: – for 12 or 48 Volt phantom powering The DSP-4 KFM 360 is a 24-bit processor – to be aimed frontward, toward the sound unit. Together with the sphere microphone source KFM 360 and two bidirectional compact... - Page 4 Overview right front front channels: sum (omni + figure-8) − KFM 360 − − omni omni figure-8 figure-8 CCM 8 CCM 8 rear channels: difference (omni - figure-8) right surround (RS) Derivation of right front (R) and right surround signals (RS) as proposed by Bruck (rough diagram) picked up.
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Page 5: Block Diagram
Block Diagram... -
Page 6: Quick Start
I (omni) and II (figure-8): front A red dot indicates the front of the figure-8 You can use the DSP-4 KFM 360 as a microphone preamplifier and/or A/D Lemo converter red mark You can use the DSP processor as a microphone preamplifier together with its A/D converter. - Page 7 While F/REAR BALANCE and L/R BAL- ANCE usually should be in the “0” position, the OVERALL GAIN knob controls the basic end of SCHOEPS Y-adapter cable: yellow volume. It can be adusted when the fifth selector switch is turned so that only one...
- Page 8 4, 5 Output III: left surround 2, 3 yellow right surround 4, 5 * with SCHOEPS Y-cable AKSU/2U (XLR-5 to 2x XLR-3) Processed digital outputs: Note: The position of the function control deter- mines whether you are using the function channel settings of the first (green) layer or the sec- ond (red) layer.
- Page 9 Quick Start...
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Page 10: Control Layout
Number tions of the Balance front/rear Balance left/right Monitor output GAIN/dB of the five selector selector MODE current switches) preset DSP-4 KFM 360 FRONT FRONT PANORAMA REAR F/REAR PATTERN BALANCE BALANCE MONITOR SURR. GAIN/dB MODE 0 dB 0 dB... - Page 11 Control layout Rear panel Digital inputs (recorder playback) *The reason for having the master clock func- tion and the slave input on two separate sockets is that this allows the converters to Master* Slave be slaved to an external source while the ana- (AES/EBU) (AES/EBU) log inputs are being used (see example on...
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Page 12: Ac Powering And Safety Fuse
AC Power Cord Socket AC power cord socket / Power on/off switch AC power is connected to the back of the DSP-4P. A single module contains the on/off switch, the power cord socket and the main safety fuse holder. The processor slit can be powered by 230 VAC or 110 VAC. -
Page 13: Connecting The Microphones
Setting up the Microphones / Level Setting Connecting the microphones the two figure-8s. A four-channel recorder will use both the Analog inputs master and the slave input sockets. The Input I: XLR-5; the KFM 360 is connected processor will thus receive word clock from here. -
Page 14: Connecting The Outputs
Outputs / Settings Level indicators Settings: The "Level" LEDs indicate the digital signal Setting the directional pattern: levels within the DSP-4P. At any given (FRONT, REAR) moment they display the highest level To make this setting, the function switch occurring anywhere within the signal-pro- must be in the upward position ("Pattern, cessing system. -
Page 15: Processing The Front Channels
Settings / Monitor The Center Channel Additional processing for the rear chan- The center channel is formed by matrixing nels: the front-channel signals. It can be turned F/REAR BALANCE, REAR DELAY/ms off by setting the "FRONT PANORAMA" REAR SLOPE/Hz selector switch to its lowest position. However, it will then no longer be possible To avoid hearing the rear loudspeakers--or to adjust the stereo soundstage width. -
Page 16: Storing And Loading Presets
Monitor / Presets monitoring. Selector switch 3 allows the fol- Storing and Recalling Presets lowing options to be chosen: Certain groups of settings will probably 1. KFM 360 with frequency response cor- reveal themselves as your favorite ways of rection applied using the DSP-4P. -
Page 17: Synchronization
Please: If settings are called up and then How to synchronize two DSP-4 KFM changed by turning one or more of the 360 or a DSP-4 KFM 360 + DSP-4P knobs, these changes will be lost if the user PolarFlex processor with one recorder presses the "Up"... -
Page 18: Specifications
Technical Specifications Modes of operation Since the DSP-4 KFM 360 offers both ana- log and digital inputs and outputs, several operating modes are possible: Input Output Analog signals from microphones Passed-through input signal (analog and digital) Digital signals from a recorder Processed signal (analog and digital) Internal clock: 44.1, 48 or 96 kHz... -
Page 19: Important Notices
110 Ohms and must also be either to SCHOEPS (if you are a customer in terminated with 110 Ohms according to the Germany), or to our representative (if you are standard AES 3-1992. - Page 20 070509...
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