In both scenarios, a
reference measurement position
should be chosen carefully, since it will be used by the Optimizer to
calculate the loudspeakers’ relative delay and level alignment as well as the Master delay and level. The “M” position is the best
choice for presets to be used for mixing.
The calibration microphone should be placed at the listening position, using the listener’s ears and capsule #4 as a reference for
height. The
red LED
indicates the front of the 3D-Microphone which must be
pointed to the front and towards the center
of the
sound stage. You may use the virtual line passing over capsules #1 and #4 to align it with the axis symmetry.
The 3D-Microphone must be perfectly stable and well settled, horizontally, on its mic stand.
Side View
View from Above
6.4.3.4
CONNECTING THE 3D-MICROPHONE
Once positioned, the 3D-Microphone must be connected to the D-Mon processor.
Note that the connection is required during calibration only.
It is NOT necessary to keep the 3D-Microphone connected to the processor after calibration.
The 3D-Microphone comes with a 4 x male XLR multi-cable (below left). This must connect to Analog Inputs 1-4, available via
SubD-25 on the rear of the D-Mon processor. You can use the optional 4 x female XLR to SubD-25 breakout cable (below right) to
access the inputs or refer to the SubD-25 wiring diagram in Appendix 9.1.1.
3D-Microphone with XLR multi-cable
Optional 3D-Mic Breakout Cable (XLR to SubD-25)
Each microphone output (1-4) MUST connect to the same processor INPUT (1-4), since the Optimizer relies on the
expected capsule positions to perform the 3D measurement. Therefore, using the optional 3D-Mic Breakout cable is
recommended.
