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Table of Contents
Summary of Contents for SPL Atmos 5.1
- Page 1 Atmos 5.1 Surround Miking System Manual...
- Page 2 Special thanks to: Gerd Jüngling from ADT, who kindly provided the circuitry for the surround panning matrix. Dirk Brauner Röhrengerätemanufaktur for the good collaboration. © 2003 SPL electronics GmbH. All rights reserved. Technical specifi cations and appearance subject to change without notice.
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Page 3: Table Of Contents
The Atmos 5.1 system allows to record the original event and all of its authentic spatial content with highest precision. It demonstrates the signifi cant difference Most importantly, the Atmos 5.1 system is a breeze to use and can be set up in between discrete surround recordings and artifi cial surround mixes with breath- minutes, arming you for the most convincing 5.1 recordings you‘ve ever experi-... -
Page 4: Atmos 5.1 - The Complete Miking System For Surround Recordings
A pad switch allows to reduce the microphone’s sensitivity by -16 dB. The I/Os of both the ASM 5 and the Atmos 5.1 are built upon transformers to drive wirings of up to 250 meters/275 yards. The ASM 5 can be installed on usual micro-... -
Page 5: Installation
BEFORE switching on the PSU, you have to connect the ASM 5 via the multicore lead 5) Press the Direct button on every channel to route the signal directly to the Master to the Atmos 5.1 unit. Pay attention to fi t the bayonet joints properly. Proceed in the and Monitoring Outputs. -
Page 6: Control Elements
The insert Tape Return can also be used like a usual line input for external sources, e g. to use all Atmos 5.1‘s features for a surround mix. Fader The fader allows adjustments of the signal level that is routed either to the direct... - Page 7 Control Elements 5.1 Routing The Atmos 5.1 controller offers a complete routing and panorama matrix. With the routing selectors the signals can be assigned to any of the the surround busses, with the panorama matrix they can be positioned exactly. The Direct switch allows to bypass the panorama matrix, routing the signal to the output of a surround bus.
- Page 8 Control elements L/C/R Pan and Divergence L/C/R panning determines the position of a signal in the L/C/R panorama. The diver- gence control allows to attenuate the L and R channels in relation to the center channel. LFE signals The LFE signal can be composited from the front, surround, and centre channels. A 24 dB Butterworth low-pass fi...
- Page 9 Control Elements Stereo In/Out Two additional balanced inputs are provided to mix a stereo source from additional room mics or from a multichannel sub mix to the front, centre and surround channels. The stereo outs allow the stereo source to be processed or recorded with further units.
- Page 10 The ASM 5 provides infi nitely variable adjustments of the polar pattern characteristic for each microphone from omnidirectional up to fi gure-of-eight. These adjustments can be made remotely from the Atmos 5.1 and can be monitored while recording. A pad reduces the microphone‘s sensitivity by -16 dB.
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Page 11: Standard Recording Setup
Standard Recording Setup ASM 5 The Standard Recording Setup is the basic confi guration for “purist” 5.1 recordings. The DTRS is connected right after the preamp stage to record unprocessed microphone signals. Additionally the 6th recorder’s channel can be used to record the sub bass signals, the 7th and 8th channel can be used to record a stereo mixdown. -
Page 12: Integration Of Additional Microphones/Stereo Submix
Integration of additional microphones/stereo submix The Atmos 5.1 controller allows to integrate additional microphones as stereo or surround submix. During monitoring, the level settings for the ASM 5 determine the mix relation between ASM 5 and additional microphones. In general additional stereo mixes can be connected to the External Inputs. -
Page 13: Integration Of Additional Microphones/Stereo Submix
XLR Insert Returns of the Atmos 5.1 controller. The signals can be sent to a DTRS/DASH via the XLR Insert Sends on the Atmos 5.1. Additional microphones 5.1 master outs to XLR Returns of the Atmos 5.1... -
Page 14: A Typical Recording Setup
A typical recording setup: SACD recording with Atmos 5.1 and additional microphones Fliess... -
Page 15: Specifi Cations
Specifi cations Frequency range Mic Direct Out @ 18 dB Gain: 10 Hz-180 kHz (+/-3 dB, Phase –2°) THD & N (Monitor Out) 1 kHz (Channel Out, Master Out, Monitor Out as above) 60 dB Gain: 0,24 % 50 dB Gain: 0,07 % Mic Direct Out @ 60 dB Gain: 10 Hz-180 kHz (+/-3 dB, Phase –2°) 40 dB Gain:... -
Page 16: Block Diagram
Block diagram...
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