The SoundField SPS422B
Issue 1.7
User Guide
Page 8
Keys to Proper Placement of SoundField Microphones
With SoundField microphones, it is too easy to be lulled into complacency by the excellent stereo
pickup 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 always will become even better.
Be sure to set the Orientation buttons to tell the controller how the mic is facing. Then, before ever
opening the mic up to stereo, it is important to listen to the mic as a
monophonic
pickup. 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 mic around until it does. You also can adjust the Pattern control to focus more on the sound
source (and less on the surrounding environment) if necessary. 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 pickup, should you open-up the mic into stereo. Set the
Pattern control to the polar pickup 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
unequaled 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.
