Setting up the Microphones / Level Setting
Connecting the microphones
Analog inputs
Input I: XLR-5; the KFM 360 is connected
here.
Input II: XLR-5; The two figure-8s are con-
nected here. The following combinations of
connecting cables can be used:
– 2 adapter cables of type K 5 LU (as
included with the CCM 8 Lg) plus one Y-
adapter AK 2U/SU (2x XLR-3 to XLR-5)
– 1 Y-adapter KLY 250/0 SU, which goes
from two Lemo connectors on the micro-
phone ends of the cable (250 mm long
each) and terminates in an XLR-5M cable
10 cm long; XLR-5 cables can be used as
extensions.
– 1 Y-adapter KLY 250/5SU (as above, but
with a 5-meter XLR-5M output cable)
– 1 Y-adapter KLY 250/0 I (as KLY 250/0 SU,
but with a miniature output connector
instead of an XLR-5M). Adapter cable
KS 5 IU is also available, which goes from
this type of miniature output connector to
an XLR-5M.
Both ends of the right-channel cable (II) are
marked in red on all Y-adapters.
Note:
The analogue inputs are exclusively
intended for connecting condenser micro-
phones. Hence the 48 V phantom powering
is permanently enabled.
If, however, a device is connected here with-
out any decoupling, this can lead to a seri-
ous damage of its outputs.
Digital inputs:
These inputs are designed for connecting
a four-channel recorder with AES/EBU out-
puts. The raw (unequalized) microphone sig-
nals can thus be processed after the record-
ing. Each input should receive the signals
from one pair of the microphones. Channel
assignments match those of the analog
inputs: Input pair I = KFM 360; input pair II =
the two figure-8s.
A four-channel recorder will use both the
master and the slave input sockets. The
processor will thus receive word clock from
the external recorder, and the fact that a
connection has been made to the slave
input will switch the unit from its analog to
its digital signal inputs for audio signals.
If a two-channel digital recorder is con-
nected to the master input, an additional
connection to the slave input will be needed
in order to cause the processor to switch
over to its digital audio inputs. This is impor-
tant when deriving a center-channel signal
from a two-channel KFM 360 recording or
when the processor is being used as a two-
channel D/A converter.
Setting the analog signal levels
The "Analogue Mic Gain" switch on the left
side of the rear panel sets the input gain for
all four analog inputs. "+20 dB" is the nor-
mal setting for 10 mV/Pa condenser micro-
phones. Only for sound pressure levels
above 120 dB (with microphones of approx-
imately that sensitivity), or when a recorder's
line-level analog outputs are connected for
post-processing, should the "+10 dB" gain
setting be used.
Setting the level of input signals prior to
processing
The level of input signals-including digital
signals-can be adjusted in 3 dB steps prior
to any other processing within the DSP-4
KFM 360. Up to 33 dB of gain may be
applied at this stage. The gain is set by
using the “REAR DELAY/ms”, “OVERALL
GAIN” control in its secondary function (set
by the function control switch which has got
to be in the “GAIN/dB MODE” position).
Note:
The higher the gain, the smaller is
the dynamic range (headroom).
13
Summary of Contents for DSP-4 KFM 360
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