MKV Overview 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. The MKV Microphone is not compatible with the ST250 Processor/Preamp. Tetrahedral describes an equilateral triangle. This tetrahedral capsule array, combined with the SoundField Processor/Preamp, delivers a three dimensional representation of acoustical events with all 3 dimensions originating from the same central point. This is the core difference between SoundField and other stereo or multi-mike set-ups, in that all other microphone set-ups (other than a single mono mike) capture audio from different points in space. The 3 dimensional representation delivered by a SoundField is defined by X (front to back), Y (left to right), Z (up and down) and W (absolute pressure, like an omni). Collectively these four components are called "B Format" and are delivered across four audio channels. While B Format may be new to you, it is extremely important to the SoundField process, because B Format requires that X/Y/Z/W all must begin from a central point in space to be phase accurate. Once in B Format, the central point is defined, and all output variations (mono, stereo, Mid/Side) are derived using the same central point. Past problems such as stereo to mono summing revealing high frequency differences due to phase cancellation are gone. The future of realistic multi-channel presents some serious problems in microphone technique as documenting an event in 5 channels with 5 microphones at 5 different locations will make capsule errors even more apparent. Phase cancellation between Front and Rear microphones as well as left to right will make such recordings difficult to translate to other forms such as mono or stereo. The potential of the SoundField in multi-channel is unlimited. Because you start with B Format as a phase accurate 3 dimensional representation, deriving directional information from any or all of the three planes (X, Y & Z) is simply a matter of decoding. SoundField offers the single best solution for multi-channel that is both backward compatible and easy to operate. What comes with a MKV System? 1) The MKV Microphone head is larger than normal (to hold the 4 capsule array), with a narrow handle and special 12 pin output connector (to use with the supplied SoundField cable). The capsules are all hand made and fitted in the UK at the SoundField factory. The microphone body has no switches or controls on it, as all operational parameters are located on the SoundField MKV Processor. 2) A studio grade Shock Mount, (part # HW2909) holds the microphone body to a conventional mic stand or studio boom. This effectively isolates the microphone from externally induced vibration. 3) A 20 Metre SoundField Cable is included (about 55 feet long) to connect the microphone to its 1U processor. It is a flexible 6 pair cable, which is a similar diameter to standard mic cable and manufactured for SoundField by the Belden Cable Co. 4) 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.  Controls 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. The MKV Processor/Preamp should be mounted within immediate proximity of the engineer for "hands on" operation. The advantages the MKV control set offers cannot be underestimated. The ability for the microphone to be varied in location, direction pattern and width via simple controls is invaluable. Even if you never access the B Format information directly, but just use it to derive stereo, the MKV can do many things no other microphone can do. Optional panel mount connectors, inline connectors and additional cables in lengths up to 100 Meters (300+ Feet) on a drum can be added for flexibility in processor/microphone location. Multi-channel: If you are thinking about 5.1 recording, the MKV will soon have a companion 5.1 decoder. This means that 5.1 playback is possible from a "single" MKV microphone. Where is the MKV made? The SoundField MKV system is fully manufactured in Wakefield (Northern England) UK. All SoundField capsules are hand made, the microphone hand assembled and the processor hand wired. The quality of construction and sonic performance is world class. Failure rates are extremely low, and it is a rarity to see a SoundField come back for service. With normal care, the SoundField should provide many years of problem free service. How does it sound? While SoundField specializes in imaging, it is no less effective in the studio or the field for faithfully recording the sound exactly as it is without additional bass or high frequency. The Mar 5 is a true "flat" performance microphone system free of sharp peaks or dips, bumps in response that change the tone of the real event. It is designed to be flat in distant miking situations, and sounds "warm" in close miking. It will compare favorably to the very best microphones in the world. Click here for rear panel drawing. Specifications Microphone Front Sensitivity: 122dB at 0dB gain Maximum input for less than 0.5% THD: 145dB SPL Frequency Range: 20Hz to 20Khz Equivalent self noise (IEC 179, cardioid): 14dB A weighted Maximum Output Level: +22dBu Minimum Load: Stereo Output 600 ohms, Headphone 400 ohms. Output Impedance: 100 Ohms Balanced UL approved |
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