Soundfield DSF-1 Manuel utilisateur
DSF-1 Performance
Microphone System
User Guide
Version 1.0
SOUNDFIELD
System comprises:
• DSF-1 1U Digital Microphone Controller
• DSF-1 Microphone in Leather Case
• 20m SoundField Microphone Cable
• Shockmount
• Mains Power Cable
• Owners Manual
SoundField DSF-1 User Guide
Page 2Table of Contents
TABLE OF CONTENTS
Safety Information - - - - - - - - - - 3
Introduction - - - - - - - - - - - 4
How Does it Work? - - - - - - - - - - 5-6
Getting Started - - - - - - - - - - 7-8
Controls-----------9-13
Post Production Surround Sound:
Using the DSF-1 with SoundField ‘Surround Zone’ Software - - - - 14
Specification - - - - - - - - - - - 15
Warranty-----------16
Shipping and Quality Assurance - - - - - - - 17
12 Pin Connector Wiring Details for SoundField Microphone Cables - - - 18
SoundField DSF-1 User Guide
Page 3Safety Information
SAFETY INFORMATION
• This equipment must be EARTHED.
• Only suitably trained personnel should service this equipment.
• Please read and take note of all warning and informative labels.
• Before starting any servicing operation, this equipment must be isolated from the AC supply (mains) by removing the
incoming IEC mains connector.
• Fuses should only be replaced with ones of the same type and rating as that indicated.
• Operate only in a clean, dry and pollutant-free environment.
• Do not operate in an explosive atmosphere.
• Do not allow any liquid or solid objects to enter the equipment. Should this accidentally occur then immediately
switch off the unit and contact your service agent.
• Do not allow ventilation slots to be blocked.
Cleaning
For cleaning the front panels of the equipment we recommend anti-static screen cleaner sprayed onto a soft cloth to
dampen it only.
Explanation of Warning Symbols
The lightening flash with arrow head symbol within an equilateral triangle is
intended to alert the user to the presence of dangerous voltages and energy levels
within the product’s enclosure that may be of sufficient magnitude to constitute a
risk of electric shock or injury.
The exclamation mark within an equilateral triangle is intended to prompt the user to
refer to important operating or maintenance (servicing) instructions in the
documentation supplied with the product.
SoundField DSF-1 User Guide
Page 4Introduction
INTRODUCTION
The DSF-1 Microphone System has been specifically designed to capture simultaneous high
quality surround and stereo in both live concerts and recording studio environments. Its advantage
over alternative methods is that the multi-channel audio it generates from a ‘single point’ source is
completely phase coherent - therefore making it possible to collapse the surround to stereo or
mono without loss of information, frequency imbalance or any of the other phase problems
associated with spaced microphones or multi capsule ‘dummy head’ arrangements.
All processing is in the digital domain and the 1U controller is equipped with 110Ω AES-EBU
outputs on XLR connectors. The DSF-1 outputs digital stereo Left/Right, stereo M/S and four
channels of digital SoundField B-Format called W, X, Y and Z which is the surround sound
information. A single lightweight multiway cable is used to connect the microphone to the DSF-1
controller which as well as carrying the individual capsule signals also supplies the necessary
power to the microphone. The cable run from the microphone head to the 1U controller can be up
to 250 metres without any loss of audio quality. All microphone parameters can be remotely
adjusted from the DSF-1 controller’s front panel whilst monitoring the results on the provided
headphone monitoring.
The DSF-1 is designed to function as either a variable pattern single (mono) microphone, a
variable pattern, variable width, coincident stereo microphone array or to generate full surround
from the four B-Format outputs which can then be decoded into 5.1 by the SoundField ‘Surround
Zone’ software. This is achieved using four sub-cardioid capsules set in a regular tetrahedron, and
by adding or subtracting the outputs from these four capsules in different proportions, it is possible
to derive all possible polar patterns from omni, through cardioids to figure-of-eights.
For surround recording applications the user should use the four digital B-Format output signals.
These contain the three dimensional information (Height, Width, Depth and Sub Bass LFE)
required for all current and future surround sound formats. If the surround and stereo mixing will
be done at a later time in post production the B-Format signals should be recorded on four tracks
and introduced to the ‘Surround Zone’ software in a post production studio environment.
For further information on using the DSF-1 in conjunction with the ‘Surround Zone’ software see
the ‘Post Production Surround Sound: Using the DSF-1 with SoundField Surround Zone Software’
section of this manual.
SoundField DSF-1 User Guide
Page 5How Does it Work?
The capsules are placed
tightly together to eliminate
the phase problems
associated with ‘spaced’
multi-microphone set-ups.
The SoundField Four Capsule Array
From a single point
source sound is received
from all directions,
reproducing a realistic
listening experience.
The four outputs from the capsules of SoundField microphones (called SoundField A-Format
audio signals) are converted by the DSF-1 processor into four components known as SoundField
B-Format. These convey all of the information of the entire sound field, and are the three
directional vectors - Left/Right, Front/Rear and Up/Down - and absolute pressure.
The signals from the four capsules are fed to the
DSF-1 processor where it is converted into four
channels of SoundField B-Format, entitled W, X, Y
and Z.
Mono, Stereo, Mid-Side, 5.1 and all future surround
formats can be derived from this information.
HOW DOES IT WORK?
SoundField B-Format:
SoundField DSF-1 User Guide
Page 6How Does it Work?
The four channels of the B-Format signal are represented by three bidirectional and one
omnidirectional pickup, all centred at a single point in space, and are labelled W (pressure), X
(Front/Rear), Y (Left/Right), and Z (Up/Down). These signals contain all of the information
required to describe a soundwave and are the essential elements needed to create any conventional
mono, stereo, or surround format where the microphone positions and polar patterns can be fully
variable. By recording the four B-Format outputs from the DSF-1 controller these components can
be preserved for subsequent production and processing of current and all future surround formats.
B-Format Illustration
B-Format is three dimensional acoustical
information and consists of three figure of eight
polar patterns called X, Y and Z plus one omni
called W.
X gives Front to Rear depth information, Y
gives Left to Right horizontal information and Z
gives vertical height information. From the omni
W sub-bass (LFE) is extracted.
SoundField are the only microphones in the
world that generate B-Format.
THE FOUR PRIME COMPONENTS GENERATED BY
SOUNDFIELD MICROPHONES
PLAN VIEW ELEVATION VIEW PERSPECTIVE VIEW
SoundField DSF-1 User Guide
Page 7Getting Started
GETTING STARTED
WARNING: The DSF-1 microphone is not compatible with other SoundField Control Units
in the product range. SoundField Ltd will not accept any responsibility for damage caused by
the interconnection of these units.
WARNING: The DSF-1 1U digital controller should be sited in a cool operational
environment in a well ventilated rack with 1U free space above the unit.
BEFORE USE
Before applying mains power to the DSF-1 system, connect the microphone to the controller with
the interconnection cable provided. When connecting the microphone, make sure the red dot on the
Lemo Female 12 Pin In-Line Connector is aligned with the red dot at the base of the microphone
before insertion. To disconnect the cable push the disc forward on the base of the microphone and
release the connector.
When connecting the microphone cable to the DSF-1 controller, ensure the red dot is facing
upwards. To disconnect, pull back on the silver connector grip and release.
It is essential that the microphone be powered up a few minutes before use to allow the capsule
charging process to stabilise. If the microphone has been used recently, the time taken to stabilise
may be shorter, but turning the microphone on fifteen minutes or so before it is needed is a good
habit to acquire.
In conditions where condensation is likely to be a problem, for example, when bringing the
microphone from a cold vehicle to a warm venue, it is advisable to leave the microphone switched
on for up to half an hour before use so that the internal heating system can clear the capsules of all
condensation.
The DSF-1 system does not require Phantom Power (48V) if it is connected to a mixing console.
Please ensure that the Phantom Power on the mixer input channels is turned off.
Push silver disc on microphone
base at the ‘red dot’ position to
release connector.
SoundField DSF-1 User Guide
Page 8Getting Started
MICROPHONE ORIENTATION GUIDE
The illustrations below show the correct status of the End-Fire and Invert switches on the DSF-1
controller relative to the orientation of the microphone.
KEYS TO PROPER PLACEMENT OF SOUNDFIELD MICROPHONES
Getting the mic in the right place is the first step in making a good recording. With SoundField
microphones, it is too easy to be lulled into complacency by the excellent stereo and surround
sound pick-up they provide. The temptation is to put it up, turn a few knobs, and go with it.
However, with a little more attention to detail this “good” sound will always become even better.
Be sure to set the appropriate Orientation mode (Side Fire or End Fire ) to tell the DSF-1
processor how the microphone is facing. Then, before ever opening the mic up to stereo, it is
important to listen to the microphone as a monophonic pick-up. Set the Pattern control to Omni
and the Width control to 0° and listen to the overall sound. Pay particular attention to the balance
within the sound source - i.e. the balance among the performers, the relationship of direct-to-
reverberant sound, extraneous noises, etc. If it doesn’t sound right, move the microphone around
until it does. At this point adjust the Pattern control to focus more on the sound source and less on
the surrounding environment by utilising the cardioid and figure-of-eight patterns.
Remember that the essence of SoundField microphones is based on the Mid/Side technique, where
the Mid microphone provides the basic sonic balance. Therefore, once it sounds good in mono, it
always will sound great in stereo; the converse, however, is not necessarily true. Only after you are
satisfied with the mono pick-up, should you open-up the microphone into stereo. Set the Pattern
control to the polar pick-up you think will be a good starting point and adjust the Width control for
your desired stereo image. You can adjust both controls to achieve exactly the right stereo
perspective for your recording. Pay particular attention to the direct-to-reverberant sound.
Remember that too much reverb makes a recording sound “mushy” and vague. The beauty of
SoundField microphone systems is their unequalled clarity and articulation. Don’t waste this by
including too much extraneous sound - unless, of course, that is want you want to do! Also keep
an eye on the level meters to be sure that you are not likely to overload the microphone’s
electronics.
SoundField DSF-1 User Guide
Page 9Controls
CONTROLS
INPUT SECTION
Provides all parameters relating to gain, microphone pick-up orientation and bargraph metering.
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 where sudden crowd
applause can create high sound pressure levels. A amber 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 SoundField ‘Surround Zone’
software, 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
1 2 3 4 5
SoundField DSF-1 User Guide
Page 10Controls
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.
MIC ROTATE
1. 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 surround image. 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 audio.
2. 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.
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