The MKV consists of two basic parts that work only together, a microphone and a SoundField Processor/Preamp. The microphone itself looks and sounds the same as the SPS422, but with special features in the Processor/Preamp. A MKV Processor/Preamp accomplishes all the math and matrix operations to deliver simultaneous balanced B Format and balanced Stereo across 6 XLR's on the back panel. While the control set may be a little intimidating at first, the operation is not so difficult. The key is understanding B Format and how to manipulate it. If B Format represents W, X, Y and Z of acoustical information [see B Format page for more information] then the controls on the MKV enable you to control all these parameters for obtaining precisely the output and mix you seek. The MKV Processor/Preamp performs double duty, in that it is a B Format re-mixer, and previous B Format recordings can be replayed through the Processor. This purpose of this is that the raw data (B Format) is collected in the initial 4 track recording, but the exact mix of information can be determined later (in post) to yield a stereo output. In ordinary English, this B Format remix function enables the engineer to change the microphone position after the recording is made or in essence, "steer" the microphone. This is so important in recording live "one shot" events that may be critical in nature, yet in post you realize some changes need to be made relative to mic position or ambient vs. direct information. The control set is described below: a) Gain Pot. This control sets the gain on the preamps over a 30dB range in 10dB steps. b) Fine Gain Pot. This control varies gain over a 10dB range after the gain pot. c) LR (Azimuth) pot. This control rotates the position of the microphone in the horizontal L/R plane (the "Y" axis), left to right a full 360 degrees. Its like rotating a stereo mike to point in any direction. This enables you to alter microphone position within an existing B Format recording when in B Format playback mode, or in live mode when the Format button is depressed.  d) Up/Down (Elevation) pot. This control varies the position of the microphone in the vertical plane (the "Z" axis) plus or minus 45 degrees. It is like having the microphone angled up as high as 45 degrees or angled down as much as 45 degrees. This enables you to alter microphone position within an existing B Format recording when in B Format playback mode, or in live mode when the Format button is depressed. e) Front to Back (Dominance) pot. This control alters the position of the microphone in the horizontal front to back plane (the "X" axis). It is like picking the stand up and moving it forward or backward, nearer or farther from the source. This enables you to alter microphone position within an existing B Format recording when in B Format playback mode, or in live mode when the Format button is depressed. f) 4 Channel Meter. This meter reflects the output level of X, Y, Z and W of the B Format output, or if switched to Stereo, shows L/R, and Mid/Side outputs. g) 4 Solo switches. This enables the user to listen to each of the 4 capsules individually to verify performance or to check placement. More than one button and capsule can be soloed at a time. This solo is unlike that on a console as the solo outputs are sent to the main outputs, not just headphones. LED's are in each switch to verify that it is engaged. h) Test Oscillator. This is used to make gain adjustments prior to recording at the console or recorder. It represents 0dBm output from the microphone (0dBm at1Khz). i) End switch. Sets the processor to operate the microphone when it is horizontally "pointed" (like a flashlight) at a source, allowing the pattern and stereo width controls to operate normally from this mic position. This "end fire" mode allows the pattern and stereo width controls to operate the same as when the microphone is mounted vertically on a stand. Correct microphone position in "end fire" mode is logo facing down. This is important for fishpole or handheld applications when a user might point the microphone directly at the source. j) Invert switch. Sets the processor to operate the microphone when it is vertically hung (head end pointed down, connector up). This is important for boom operation. It can also be used in combination with End Fire mode when the microphone logo is, for whatever reason, facing up. k) Dub switch. Enables the B Format Inputs on the back (4 XLR's) to become the signal sent to the main outputs (both B Format Out and Stereo Out). The fine gain adjust and all other front panel controls are active including the headphone amplifier see this same signal. This is essentially a "mic in" or "tape in" selector. It is used when you have recorded something in B Format and you wish to make some adjustments or mix B Format down to stereo. l) Tape switch. Enables "off tape" monitoring of B Format through the processor while a recording is taking place. The four outputs of a 4 track tape machine are plugged into the B Format XLR Inputs on the back, and if the recorder is set in "monitor", you will hear the signals directly off the tape at the processor. This switch substitutes the "tape" signal for the direct microphone signal in headphone amplifier and meters. m) In switch. This is a "SoundField Controls In" switch that enables or disables the three rotary SoundField controls on the processor to prevent accidental adjustment during a recording. n) Format switch. Normally the SoundField Controls affect the stereo output. If "Format" is depressed, then the SoundField Controls affect the B Format outputs and the stereo outputs. o) Stereo Monitor. This switch converts the meter to read the L/R stereo output level and M/S output level instead of the four B Format output levels. p) "40" switch, a 40Hz 18dB/octave roll-off filter for low frequency control. This means it is -18dB at 20 Hz, and -36dB at 10Hz. q) "M/S" switch: This sets the MKV to deliver 2 channel Mid/Side output at the stereo outputs on the back. Mid Side output requires a user provided "sum and difference" matrix for decoding.  r) Pattern Control: This control varies the polar pattern of the entire array as a single stereo unit, and is continuously variable from Omni to Figure Eight. It is extremely useful in tuning the acceptance angle of the array. In figure eight mode, the microphone "sees" more information from the front(direct information) and the rear (ambient information), rejecting information from the sides. In Cardioid mode, it is rejecting more information from the rear. In Omni, it picks information equally in all directions. This is helpful in deciding what balance of direct vs. ambient information is desired, and from what direction that ambient information is gathered. It is also helpful in operating the microphone (in mono) as a conventional variable pattern condenser. The pattern control is always active to the stereo output. s) Angle (width) Control: This control varies the stereo image from zero degrees (mono) to 180 degrees (extra wide stereo). It is perhaps easier to envision the MKV as a stereo pair of virtual microphones, whose angle relationship can be varied to be both pointing in the same direction (zero degrees, mono), 90 degrees (standard stereo coincident pair) or 180 degrees apart (extra wide stereo). The angle control is always active to the stereo output. t) Headphone: 1/4 inch front panel headphone connector and variable output level control are provided for monitoring of the MKV output. The amplifier provided is for monitoring of the stereo L/R (X/Y) output only, regardless of front panel settings. Recommended headphones aremedium to high impedance headphones (above 400 ohms), as the output is 400 ohms. u) Back Panel: An AC input and a special 12 pin SoundField Mic Input are provided. Two balanced "stereo output" XLR's provide output depending on the selection on the front panel of one of two output modes, 1) Left & Right (normal stereo mode) and 2) Mid & Side (Mid/Side mode). Four balanced XLR outputs are provided for B Format outputs, which are intended to connect to a tape machine or other recorder. Four additional balanced XLR's labeled B Format Inputs are designed for two functions: 1) as inputs from a tape machine playing an existing B Format tape for remixing to stereo, or 2) as inputs from the monitor section of a tape machine for listening to the "off tape" signal during a live recording. A front panel button (tape) determines which function they provide. |
Las Vegas Pro Audio 7320 Smoke Ranch Road Suite G Las Vegas, NV 89128 Phone: 702.307.2700 fax: 702.314.2764 sales@lasvegasproaudio.com    |