SPS422B Microphone System

Controls

A) Gain Pot: sets the gain of preamp from 0dB to -30dB, in three 10dB steps.

B) Fine Gain Pot: varies the gain of the preamp over a 10dB range.

C) "End" switch: Sets the processor to operate the microphone properly when it is horizontally pointed at a source (like a flashlight). 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.

D) "Invert" switch: Sets the processor to operate the microphone when it is vertically hung (head end pointed down, connector up), such as in overhead configurations. Correct microphone position is logo out. It can also be used in combination with End Fire mode when the microphone logo is, for whatever reason, facing in.

E) LED Metering: An extremely accurate 32 segment stereo LED meter with overload (clip) indicators monitor output from the microphone/processor over a 52dB range. This is essentially a preamp output level indicator. The Overload lights come on at +22dBu

F) "Filter" switch: This switch engages an 18dB/octave "low cut" filter at 80Hz. It is therefore -18db a 40Hz and -36db at 20Hz.

G) "Mid/Side" switch: Varies the output from a standard mode to Mid Side operation. Mid Side output requires user provided "sum and difference" matrix for decoding.

H) Pattern: 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 (direct and/or ambient). In Cardioid mode, it is rejecting more information from the rear. 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.

I) Width: This control varies the stereo image from zero (mono) to extra wide. It is perhaps easier to envision the SPS422B as a standard stereo microphone, that can be gradually decreased in width to mono, or increased in width to a "wrap around" stereo. You'll love this control for the creative options it opens up to you. Point it at an acoustic guitar, set it to extra wide, and you are in the "middle" of the guitar!

J) Headphone Amplifier: 1/4 inch front panel headphone connector and variable output level control are provided for monitoring of the SPS422B output. It is best when used with higher impedance headphones (400 ohms or greater), as the output is 400 ohms. You'll use this a lot when setting up the mic position to determine the right location for ambient vs. direct balance.

K) Back Panel: An AC input, special 12 pin SoundField Mic Input, and two XLR balanced +4 line level outputs are provided, as well as a rocker on/off switch. Four balanced XLR outputs are provided for B-Format outputs, which are intended to connect to a tape machine or other recorder.

The SPS422B Processor should be mounted with in the immediate proximity of the engineer for "hands on" operation. The advantages the SPS422B control set cannot be underestimated. The ability for the microphone to vary pattern with simple user controls is invaluable to the "flow" of work in a typical recording studio. The output choices are significant (mono/stereo/Mid/Side/B-Format). Optional panel/wall 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.