DSF-1 Digital Performance Microphone System

Controls

1) Gain: The Relay Switched Gain control adds up to a further 40dB of microphone gain in 3dB steps. A circular LED display illuminates the selected gain position.

2) Limiter: A switchable fixed threshold soft limiter is provided to eliminate the possibility of ‘digital overload’ and any resulting distortion. It is recommended that the limiter is engaged at all times, particularly in wide dynamic range environments such as concert halls or sporting events where sudden crowd applause can create high sound pressure levels. A green status LED shows when the limiter is engaged and a red LED displays limiter activity.

3) End Fire: The End Fire mode should be selected when the microphone is horizontally pointed at the sound source as you would with a flashlight. Selecting End Fire maintains the correct three dimensional perspective in both surround and stereo when the mic is used in the horizontal position. If you do not select this mode when the microphone is horizontal it will result in the Front/Back depth information and the Up/Down height information being reversed. When making B-Format recordings for later surround or stereo post production with the Surround Zone software or hardware SP451 processor, it is important to document the status of the End Fire switch. This mode is particularly necessary when the microphone is mounted in a Rycote or on a fishpole and pointed directly at the sound source.

4) Invert: The INVERT mode maintains the correct three-dimensional perspective in both surround and stereo when the microphone is suspended upside down above the sound source. Not selecting this mode with the mic suspended will result in the Left/Right width information and Up/Down height information being reversed. It is important to document the status of the Invert switch when making B-Format recordings for later post production.

5) Bargraph Metering: The four bargraph meters are switchable to monitor either the four B-Format signals (W, X, Y and Z) or the stereo Left/Right and Mid-Side. An amber status LED permanently indicates which monitor mode has been selected. The bargraphs display levels ranging from -37.5dBfs up to 0dBfs.

6) Rotate: Rotates the microphone’s pick up through a full horizontal 360º and redefines the front centre of the stereo and surround image. A four character display shows the degree of rotation and whether the ‘Course’ or ‘Fine’ mode is selected. In the Course mode rotation is in 10º steps and in Fine mode the rotation is in 1º steps for more precise pin-pointing of sound sources. When setting up to record surround sound without 5.1 monitoring, the Rotate control can also be used to monitor the rear sound field. Setting the Rotate to 180º, the Pattern control to cardioid and the Angle control to 90º will give a representation of Surround Left/Surround Right.

NOTE: Any use of the Rotate control during a live broadcast or recording will be embedded in the 5.1 sound field.

7) Active: Rotate ‘Active’ button switches the control in or out of the signal path. An amber status LED is permanently illuminated when Rotate is activated.

8) Hi-Pass: A switchable 50Hz or 100Hz high pass filter is available to attenuate unwanted low frequency rumble or wind noise. An amber LED indicates 50Hz active and a green LED indicates 100Hz active.

9) M/S: The Mid/Side control switches the digital AES 3-id stereo outputs from L/R to M/S. When the Mid/Side button is enabled the stereo outputs will be M/S encoded. The Left output channel provides the Mid signal and the Right output channel provides the Side signal.

10) Pattern: The Polar Pattern control is continuously variable ranging from Omni through Sub-Cardioid, Cardioid, Hyper-Cardioid to Figure-of-eight and sets the polar patterns used for the stereo pair. This control dictates the pattern of both the mono or a stereo pair depending on whether the Angle control is utilised.

11) Angle: This control varies the stereo image from zero degrees (mono) through 90 degrees (standard stereo coincident pair) to an extra wide stereo 180 degrees. The effect of the Angle control can be viewed on the Left/Right bargraph metering.

     

12) Sample Rate: The DSF-1 system will operate at the current broadcast sample rate standard of 48K and in addition offers 96K and 192K sample rates. A sample rate selector button enables the user to cycle through the sample rate options and a green status LED displays the selected sample rate. The unit’s outputs automatically go into mute during sample rate changes.

13) Headphones: Front panel headphone monitoring is provided with a continuously variable volume control. The headphone section monitors the Left/Right stereo output. Connection is via a stereo 1/4 inch jack socket (TRS) and is for use with headphones having an impedance of 400 ohms or greater.

Rear Panel Connections (click image to enlarge):



DIGITAL OUTPUT SECTION - the DSF-1 outputs digital stereo and B-Format simultaneously on 110 ohm AES-EBU via XLR connectors.

WORD CLOCK OUT - The DSF-1 allows other devices to synchronise to its internal clock via the word clock output which is a buffered version of the internal sample rate clock and hence tracks the sample rate that is selected on the front panel.

WORD CLOCK IN - The word clock input accepts the following sample rates - 44.1K, 48K, 88.2K, 96K, 176.4K and 192K. The DSF-1 front panel display indicates when external clock is selected.

MIC INPUT - Lemo 12 pin female panel mount connector. The DSF-1 system will drive up to 250m of SoundField mic cable with no loss of quality or signal level.