DSP-4 KFM 360Digital Microphone Processor for Surround System

with KFM 360 Sphere Microphone

Operating Instructions

2

Contents

page

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Block diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Quick start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Control layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

AC powering and safety fuse . . . . . . . . . . . . . . . . . . . . . . 12

Connecting the microphones . . . . . . . . . . . . . . . . . . . . . . 13

Connecting the outputs . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Setting directional patterns . . . . . . . . . . . . . . . . . . . . . . . 14

Processing the front channels . . . . . . . . . . . . . . . . . . . . . 15

FRONT PANORAMA

L/R BALANCE

Processing the rear channels . . . . . . . . . . . . . . . . . . . . . . 15

F/REAR BALANCE

REAR DELAY/ms

REAR SLOPE/ms

The low-frequency channel . . . . . . . . . . . . . . . . . . . . . . . 15

Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Storing and loading presets . . . . . . . . . . . . . . . . . . . . . . . 16

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Important notices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Subject to change without notice.

Not responsible for errors or omissions

Printed in Germany 040908, © by Schalltechnik Dr.-Ing. Schoeps GmbH

Schoeps GmbHSpitalstraße 20D-76227 Karlsruhe Germany

Tel.: +49 (0)721 943 200Fax: +49 (0)721 495 750E-mail: mailbox@schoeps.deWeb site: www.schoeps.de

3

Overview

Overview

The DSP-4 KFM 360 is a 24-bit processorunit. Together with the sphere microphoneKFM 360 and two bidirectional compactcondenser microphones CCM 8L, it forms acompact 5.1 surround recording systemwith excellent spatial imaging capability.

The processor derives the six 5.1 surroundchannels from only four microphone signals(the two pressure transducers in the KFM360 plus two figure-8s) and offers a widerange of selectable settings.

KFM 360:– for 12 or 48 Volt phantom powering– two pressure transducers built into the

sphere– diameter: 18 cm.– pickup angle: ca. 120°

CCM 8L:– for 12 or 48 Volt phantom powering– to be aimed frontward, toward the sound

source

The primary characteristics of the DSP-4KFM 360 are:– analog and digital inputs and outputs– integrated 48 Volt phantom powering and

microphone preamplification– built-in equalization for the microphones– digital processing can be performed during

or after the actual recording– analog control “feel”– capability to store control “presets”– directionality of the front and rear channel

microphones is independently selectable– the stereo basis width of the front chan-

nels is independently variable– adjustable time delay and low-pass filtering

for the rear channels– sampling rate 44.1, 48 or 96 kHz, 24 bit

In addition to amplifying the microphone sig-nals, in the “B: SURR” operating mode theDSP-4 KFM 360 provides compensation forthe low-frequency response of the figure-8microphones and appropriate diffuse-fieldequalization for the pressure transducers.

The front-channel outputs result from sum-ming the outputs of the pressure transduc-ers with the outputs of the figure-8s, whilethe rear-channel outputs result from sub-tracting these signals (see drawing on nextpage). The resulting “virtual microphones”face frontward and backward as do theactual figure-8s. The directional patterns ofthe front- and rear-facing “virtual micro-phones” may be set independently, fromomnidirectional through cardioid all the wayto figure-8 (though the extreme settings areof only limited usefulness). This permits flexi-ble adaptation to the particular acousticconditions of the recording venue, since thechoice of directional pattern affects theamount of reverberant energy that will be

KFM 360 with two figure-8s (CCM 8L)

4

Overview

picked up.

If the unprocessed microphone signals arerecorded (four channels), the effective direc-tional settings can be chosen retroactivelyduring post-production playback.

The center channel signal is derived fromthe front channels by a matrix. An additionalchannel contains only a low-frequency signalup to 80 Hz, which is obtained by summingthe pressure transducer outputs and reduc-ing the total level by 6 dB.

To prevent the disturbing effect of rear-chan-nel localization of sound sources, the rearchannel signals can be reduced in level,delayed and/or processed by an adjustablelow-pass filter.

In addition to these primary functions, eachselector switch also has a secondary func-tion that allows, for example, the relativefront-to-back channel gain or the left/rightbalance to be adjusted. While recordingthere is also a monitoring function whichpermits twelve different signals to be heardthrough Output III, as determined by the set-ting of the REC MONITOR knob.

Suggestions concerning microphoneplacement

The KFM 360’s microphones pick up bothlevel and arrival-time differences betweenthe left and right channels. However, thediameter of the KFM 360 has been madesmaller than that of the sphere stereo micro-phone KFM 6 in order to increase the stereopickup angle. This is because a surroundmicrophone will often be placed closer tothe sound source than a microphone mightbe for conventional stereo pickup. The rear-channel loudspeakers will reproduce com-ponents of the diffuse sound field, thus giv-ing an impression of the hall’s spatial char-acter. This reduces the difficulty of finding amicrophone position that will provide both aclear stereophonic image and also a goodbalance of direct and reverberant sound.

+

−

+

−

+

−

+

−

front channels:sum (omni + figure-8)

rear channels:difference (omni - figure-8)

right front(R)

right surround(RS)

omni omnifigure-8CCM 8

figure-8CCM 8

Derivation of right front (R) and right surround signals (RS)as proposed by Bruck (rough diagram)

KFM 360

Block Diagram

5

Sig

nal p

roce

ssin

g flo

w in

the

DS

P-4

KFM

360

(MO

DE

B:

SU

RR

.)(In

the

“R

EC”

mod

e th

e eq

ualiz

atio

n fo

r om

ni a

nd fi

gure

-8 is

not

act

ive.

)

6

Quick Start

Recording for Post-Production

Simply connect the microphones to a digi-tal four-channel recording device that offers48V phantom power and the needed gain.

The signals of the KFM 360's omnis mustbe connected to input I and the figure-8s toinput II (see bottom of this column; channel I= left side = yellow mark on the SCHOEPSY-cable). This way each pair will correspondto one AES/EBU signal.

For post-processing, the two AES/EBUsignals should be connected to the digitalinputs I (omni) and II (figure-8):

You can use the DSP-4 KFM 360 as amicrophone preamplifier and/or A/Dconverter

You can use the DSP processor as amicrophone preamplifier together with itsA/D converter.

KFM

360

left,yellow mark

13 2 4

right,red mark

channels

front

A red dotindicatesthe front ofthe figure-8

red mark

Setting up and connecting the KFM 360 and CCM 8Ls

Note:When the KFM 360 is suspended (e.g. from the ceil-ing), left and right are reversed.

How to connect the KFM 360 and the CCM 8Ls to theprocessor

A red markingon one screwindicates theright side ofthe KFM 360

Before powering on the unit for the firsttime, please make certain that the volt-age selector is set correctly for yourarea. The voltage selector is on the rearpanel beneath the on/off switch; seephotos and instructions on page 12.

Y-cable

Lemo

XLR-5-or minia-ture con-nector

For alternative hookuparrangements seepage 13, column 1.

7

Quick Start

While F/REAR BALANCE and L/R BAL-ANCE usually should be in the “0” position,the OVERALL GAIN knob controls the basicvolume. It can be adusted when the fifthselector switch is turned so that only oneLED in its surrounding circle lights up. TheOVERALL GAIN serves to control masteringdevices.

With the func-tion control inthe lower posi-tion (orangemode =“GAIN/dBMODE”)...

...this controlmust be set to“A” (only oneLED will be lit).

For processingthe signals thiscontrol must beset to “B”,which is thecase when anypair of LEDslights up.

Signals at the analog outputs (XLR-5):

Signals at the digital outputs:

left

13 2 4

rightchannels

left13 2 4

right

channels

yellow / red end of SCHOEPS Y-adapter cable

end of SCHOEPS Y-adapter cable:yellow / red

Processing and Recording simultane-ously

If processing is to be done while recording,connect the microphones as shown onpage 6. Then set the function control to theGAIN/dB mode (see illustration in column 1on this page). Finally, turn the REARSLOPE/Hz / MODE knob until a pair ofLEDs in its surrounding circle lights up.

Quick Start

+ phase colorchannel pins at pin marking*

Output I: left front 2, 3 2 yellowright front 4, 5 4 red

Output II: center 2, 3 2 yellowLFE 4, 5 4 red

Output III: left surround 2, 3 2 yellowright surround 4, 5 4 red

* with SCHOEPS Y-cable AKSU/2U (XLR-5 to 2x XLR-3)

Processed analog outputs:

Processed digital outputs:

channel

Output I: left frontright front

Output II: centerLFE

Output III: left surroundright surround

Note: The position of the function control deter-mines whether you are using the functionsettings of the first (green) layer or the sec-ond (red) layer. Only the settings in the cur-rently selected layer will be changed.

The center channel is not active when the“FRONT PANORAMA” is in the lowest posi-tion (function control in “PATTERN SURR.”position = green mode).

For lowest noise, the “Analogue Mic Gain”switch on the rear side should be in theupper position (+20 dB). The “+10 dB” posi-tion is reserved for exceptionally high levels.

The indicated polar patterns are nominalsettings which will be precisely valid only ifthe gains of all the record/playback channelsare carefully matched.

8

Quick Start

9

LEVEL/dBREAR SLOPE/HzREAR DELAY/ms

OVERALL GAIN

F/REARBALANCE

L/RBALANCE

-24 -12 -3

DOWN UP

PRESET

STORE

DSP-4 KFM 360FRONT PANORAMAFRONT REAR

PATTERNSURR.GAIN/dBMODE

RECMONITOR

MODE: A: REC B: SURR

7

9

11

1

3

4

2

65

1

75

11

3 9

0

1k

1k6

2k5 4k

6k3

10k

A

A

A

A A

A

B

B B

B

BB

5

15

35

45

55

2518

30

0

6

12 24

8

10

12

-3 +3

+1

+5-5

-10

-3 +3

+1

+5-5

-1

GAIN/dBMODE

PATTERNSURR.

88

Control layout

Front panel

Selector switch 1:polar pattern frontmicrophonesBalance front/rear

Selector switch 3:polar pattern rearmicrophonesMonitor output selector

Selector switch 2:Front stereo widthpos. 12: Center offBalance left/right Number

of thecurrentpreset

Functioncontrol

(determines theset of func-tions of thefive selectorswitches)

Pushbuttonsfor selecting

a preset

Pushbutton for stor-ing the current set-tings as the current

preset

Selector switch 4:delay of the rear

channels

Overall gain control

Indicators for internaldigital signal levels

Selector switch 5:Turnover frequency forrear-channel low-pass

filterA: Raw microphone

signals (for post-pro-duction processing)

B: Processing of micro-phone signalsenabled

off off

0 dB

0ms Hz (low-pass off)

Centeroff

0 dB

GAIN/dBMODE

PATTERNSURR.

In the recording mode(MODE A of selectorswitch 5) this is the onlycontrol that is in effect.

controls which are active inthe recording mode (MODE Aof selector switch 5)

controls which are active inthe surround mode (MODE Bof selector switch 5)

10

11

Control layout

Power on/off switch

Power cordsocket

Safety fuse / AC voltage selector

Analog microphone inputswith 48 V phantom powering(muted if digital master andslave inputs are connected)

Input I:channel 1: left omnichannel 2: right omni

Input II:channel 1: left figure-8channel 2: right figure-8

Digitaloutputs

Gain selectorfor analog

inputs

Sampling rateselector (internal

clock for A/D con-verters)

Master*(AES/EBU)

for synchro-nizing the

internal A/Dconverters

Slave(AES/EBU)

switches overto the digital

inputs

Analogoutputs:

SURR mode (B): REC mode (A):Output I:

channel 1: left front left omnichannel 2: right front right omni

Output II:channel 1: center left figure-8channel 2: bass (LFE) right figure-8

Output III:channel 1: left surround left monitorchannel 2: right surround right monitor

Rear panel

Digital inputs(recorder playback)

Channel assignment just as with the analog in/outputs

*The reason for having the master clock func-tion and the slave input on two separatesockets is that this allows the converters tobe slaved to an external source while the ana-log inputs are being used (see example onpage 17).

AC Power Cord Socket

AC power cord socket / Power on/offswitch

AC power is connected to the back of theDSP-4P. A single module contains theon/off switch, the power cord socket andthe main safety fuse holder. The processorcan be powered by 230 VAC or 110 VAC.The normal factory setting of 230 VAC canbe recognized from the fact that the "220 -240 V" label is in the upright position, andthat the arrowhead adjacent to it is theone pointing toward the small, white solidrectangle on the lower border below thefuse compartment. The voltage settingmust be correct for the AC (mains) voltagein your region of operation.

The AC voltage setting / Changing thefuse

The fuse compartment on the back of theDSP-4P provides the means for setting thepower supply voltage:

To change the setting, unplug the ACpower cord from the socket and insert thetip of a flat-blade screwdriver into the slot atthe lower edge of the power cord socket(see photo above on the right side).Carefully pull the fuse compartment out. Tofacilitate changing the fuse, unfold the smalltabs that are on either side of the fuse holder:

When the proper value fuse has beeninserted, turn the fuse holder so that theintended voltage label is right-side-up, and

carefully slide the fuse compartment backinto the DSP-4P.

Please note:Both a 100 mA and a 200 mA fuse are

supplied, each in the corresponding positionof the compartment.

The fuse rating for 230-Volt operation mustbe 100 mA, and for 110-Volt operation, 200mA (slow blow in both cases); fuse size is 5x 20 mm or 6 x 30 mm. It is important forthe fuse to be a 230-Volt type even if theactual AC voltage to be used is much lower.Also, when changing the unit from 110- to230-Volt operation it is important to installthe lower-rated (100 mA) fuse. A 200 mAfuse at 230 Volts would not provide ade-quate protection; operating the unit in thismanner is potentially unsafe and will void theunit's warranty.

Under no circumstances should anyother type of value of fuse be used otherthan the types and values given above.

If fuses burn out continually, send the unitto the factory, dealer or representative forrepair.

slit

230V setting= factory setting

110V setting

12

Setting up the Microphones / Level Setting

Connecting the microphones

Analog inputsInput I: XLR-5; the KFM 360 is connected

here. Input II: XLR-5; The two figure-8s are con-

nected here. The following combinations ofconnecting 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 goesfrom two Lemo connectors on the micro-phone ends of the cable (250 mm longeach) and terminates in an XLR-5M cable10 cm long; XLR-5 cables can be used asextensions.

– 1 Y-adapter KLY 250/5SU (as above, butwith a 5-meter XLR-5M output cable)

– 1 Y-adapter KLY 250/0 I (as KLY 250/0 SU,but with a miniature output connectorinstead of an XLR-5M). Adapter cable KS 5 IU is also available, which goes fromthis type of miniature output connector toan XLR-5M.

Both ends of the right-channel cable (II) aremarked in red on all Y-adapters.

Note: The analogue inputs are exclusivelyintended for connecting condenser micro-phones. Hence the 48 V phantom poweringis 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 signalsfrom one pair of the microphones. Channelassignments match those of the analoginputs: 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. Theprocessor will thus receive word clock fromthe external recorder, and the fact that aconnection has been made to the slaveinput will switch the unit from its analog toits digital signal inputs for audio signals.

If a two-channel digital recorder is con-nected to the master input, an additionalconnection to the slave input will be neededin order to cause the processor to switchover to its digital audio inputs. This is impor-tant when deriving a center-channel signalfrom a two-channel KFM 360 recording orwhen the processor is being used as a two-channel D/A converter.

Setting the analog signal levels

The "Analogue Mic Gain" switch on the leftside of the rear panel sets the input gain forall four analog inputs. "+20 dB" is the nor-mal setting for 10 mV/Pa condenser micro-phones. Only for sound pressure levelsabove 120 dB (with microphones of approx-imately that sensitivity), or when a recorder'sline-level analog outputs are connected forpost-processing, should the "+10 dB" gainsetting be used.

Setting the level of input signals prior toprocessing

The level of input signals-including digitalsignals-can be adjusted in 3 dB steps priorto any other processing within the DSP-4KFM 360. Up to 33 dB of gain may beapplied at this stage. The gain is set byusing the “REAR DELAY/ms”, “OVERALLGAIN” control in its secondary function (setby the function control switch which has gotto be in the “GAIN/dB MODE” position).

Note: The higher the gain, the smaller isthe dynamic range (headroom).

13

14

Outputs / Settings

Settings:

Setting the directional pattern:(FRONT, REAR)

To make this setting, the function switchmust be in the upward position ("Pattern,SURR.").

The directional patterns of the front-chan-nel microphones can be set with rotaryselector switch 1 ("FRONT") in the upperrow, and the patterns of the rear-channelmicrophones can be set with rotary selectorswitch 3 ("REAR"). The selected directionalpattern is shown by LEDs that surround

each rotary switch. For example:

Note: If the knob for the front channels isturned until the LED directly underneath itlights up, these channels will be turned off.

If, however, the corresponding knob forthe rear channels is put into this position,their characteristic will be identical withthose of the front channels.

Level indicators

The "Level" LEDs indicate the digital signallevels within the DSP-4P. At any givenmoment they display the highest leveloccurring anywhere within the signal-pro-cessing system.

The -3 dB LED should light only during thehighest peak inputs, i.e. only very rarely.Otherwise, in an extreme case digital clippingcould occur, which might become audible.

Connecting the Outputs

MODE: A: RECThe signals at outputs I and II are un-

processed, i.e. without frequency responsecompensation. This operating mode leavesoutput III free for use as a monitor output. Inmode "B: SURR" output III will carry the rearchannel signals, so it may be necessary toreroute these signals to the front or mainloudspeakers. See following page for furtherdetails concerning the monitoring function.

MODE: B: SURRProcessed signals are present at the out-

puts as follows:Output I: channel I: L (front left)

channel II: R (front right)Output II: channel I: Center

channel II: Bass (LFE)Output III: channel I: LS (rear left)

channel II: RS (rear right)

selector switch 1 in “cardioid” position

selector switch 1 in position between omniand wide cardioid

15

Settings / Monitor

Additional processing for the rear chan-nels:F/REAR BALANCE, REAR DELAY/msREAR SLOPE/Hz

To avoid hearing the rear loudspeakers--ormore precisely, to avoid localizing soundsources in them in a distracting manner--there are three independent settings whichcan be used in any desired combination:

1. Lowering the rear channel level relativeto the front channels (F/REAR BALANCE);

2. Delaying the rear channels relative tothe front channels by up to 55 ms (REARDELAY/ms)--in the bottom-center setting,the delay is 0.

3. Rolling off the high-frequency responseof the rear channels (REAR SLOPE/Hz) at a12 dB/octave slope--in the bottom centersetting, no high-frequency rolloff is applied

Please note: Although adjustable delayis a feature normally included only in moreambitious digital mixing desks, the DSP-4KFM 360 processor offers such a function.However, the amount of the delay shouldnot be changed while the unit is recordingin Surround mode, because such achange may produce audible side effects.

Additional Low-Frequency ChannelThe LFE ("low frequency enhancement")

channel contains the blended, low-pass-fil-tered information from the two pressuretransducers of the KFM 360 ((L + R)/2). Itdoes not correspond in function to the LFEchannel of a cinema surround sound system[i.e. special effects such as earthquakes].

The -3 dB point of the low-pass filter is 80 Hz. It is critically damped with a fourth-order rolloff (24 dB/octave).

Monitor function REC MONITORIn recording mode "MODE: A: REC" the

input signals are passed through and arepresented unchanged (apart from the possi-ble A/D and D/A conversions) at outputs Iand II. Output III in this mode is used for

The Center ChannelThe center channel is formed by matrixing

the front-channel signals. It can be turnedoff by setting the "FRONT PANORAMA"selector switch to its lowest position.However, it will then no longer be possibleto adjust the stereo soundstage width.

Additional processing for the frontchannels:

The center channel and the "FRONTPANORAMA" setting

The center channel is formed by matrixingthe front-channel signals and thus containstheir correlated signal components (thosecommon to the two channels). The use ofthis channel makes it necessary to decorre-late the front left and right loudspeaker sig-nals in order to keep the stereo image frombecoming weighted too heavily toward thecenter. The degree of decorrelation is con-trolled by the "FRONT PANORAMA" knob. Ifthis knob is set to the bottom position, thecenter channel signal is not produced, thematrix is turned off and the decorrelation cir-cuitry will have no further effect on the L andR signals.

The "L/R BALANCE" control has the samefunction as in a conventional stereo system,except that its bottom-center setting has thesame effect as the top-center setting: thebalance of the two channels is not altered.

Monitor / Presets

monitoring. Selector switch 3 allows the fol-lowing options to be chosen:

1. KFM 360 with frequency response cor-rection applied

2. Figure 8s with frequency response cor-rection applied

3. L and R (FRONT PANORAMA not used;no center channel signal available)

4. L and R (FRONT PANORAMA active)5. Center channel6. LS and RS without low-pass filter7. LS and RS with low-pass filterThe next two monitor settings allow the

effect of the delay to be monitored:8. LS channels with low-pass filter: left

channel with delay / right channel with-out delay

9. SR channels with low-pass filter: leftchannel with delay / right channel with-out delay

10. KFM 360 with no frequency responsecorrection applied

11. Figure 8s with no frequency responsecorrection applied

12. Additional Low-Frequency Channel (LFE)

Buttons and display for preset functions

Storing and Recalling Presets

Certain groups of settings will probablyreveal themselves as your favorite ways ofusing the DSP-4P. To set these up rapidly,the unit is capable of memorizing ten groupsof settings and of calling them up instanta-neously as "presets" 0 through 9.

Please note: The groups of stored set-tings include the position of the five mainknobs in their primary functions, all of whichare controlled in the “green mode”: FRONTpattern, FRONT PANORAMA, REAR pat-tern, REAR DELAY and REAR SLOPE/Hz.The settings of the secondary functions arenot stored.

Storing presets:

The numeric display will always show thenumber of the most recently recalled orstored preset. The current settings will bestored as that number of preset wheneverthe "Store" button is pressed. If a group ofsettings has been associated with a givenpreset number, a small red point will light upwithin the display alongside the numeral.

If you intend to store a group of settingsas a certain preset number, press the“store” button and keep it pressed whileusing the up and down buttons to find thedesired number. If then you release the"store" button, the settings will be stored asthe indicated preset. To store a group ofsettings as the preset number which isalready being displayed, merely press andrelease the “store” button.

Recalling presets

Stored presets are recalled simply bypressing the "Up" and "Down" buttons untilthe desired preset number appears. Thecurrent knob settings are replaced immedi-ately by the stored settings of the indicatedpreset number.

16

17

Synchronization

KFM

360Polarflex

DSP no. I is the master of DSP II and the digital recorder:

DSP I DSP II

KFM

360

Polarflex

The digital recorder is the master of DSPs I and II:

DSP I DSP II

digital recorder inputs digital outputs

digital inputsdigital recorder

digital outputs

left

left

right

left

right

left right

right

Master

Master

How to synchronize two DSP-4 KFM360 or a DSP-4 KFM 360 + DSP-4PPolarFlex processor with one recorder

If it should be necessary to synchronize twoDSP-4 processors, connect the units asshown here:

Please: If settings are called up and thenchanged by turning one or more of theknobs, these changes will be lost if the userpresses the "Up" or "Down" button withoutfirst storing the new settings as a preset.

Technical Specifications

18

Specifications:Analog inputs (2 pairs, with 48 Volt phantom pow-ering)

“Analogue Mic Gain”:“+10 dB” “+20 dB”Gain: +10 dB +20 dBMaximum input level: -5 dBU -15 dBUMaximum sound pressure level with CCM 2 S (omni-directional) : 130 dB SPL 120 dB SPLAnalog outputs (3 pairs, balanced):2 pairs of pass-through outputs, one pair of

processed signal outputsMaximum analog output level: +4.5 dBUDigital inputs (2 pairs):Data format: AES/EBUDigital outputs (3 pairs):2 pairs of pass-through outputs, one pair ofprocessed signal outputsData format: AES/EBUSynchronization/clock frequency:

with internal synchronization: 44,1/48/96 kHzwith external synchronization (via master inputs):25 - 100 kHz

Maximum digital gain: 33 dBDynamic range:

A/D converter: 98 dB (peak)/CCIR110 dB (RMS)/A-weighted(108 dB (RMS)/unweighted)

D/A converter: 100 dB (peak)/CCIR113 dB (RMS)/A-weighted(110 dB (RMS)/unweighted)

Characteristic impedance of the cables which areconnected to the digital outputs: 110 Ohm

AC mains voltage: switchable 110-120 V / 220-240 VPower consumption: 15 VAFuse: 230 V: 100 mAT; 110 V: 200 mATDimensions (W×H×D): 220 × 90 × 246 mm

(8,66 × 3,54 × 9,69 ”)Weight: 2.7 kg (6 lbs)

Modes of operation

Since the DSP-4 KFM 360 offers both ana-log and digital inputs and outputs, several operating modes are possible:

Analog signals from microphones

Digital signals from a recorder

Digital input signals (e.g. from a record-ing device)

Passed-through input signal (analog anddigital)Processed signal (analog and digital)

Passed-through input signal (analog anddigital)Processed signal (analog and digital)

Internal clock: 44.1, 48 or 96 kHzExternal clock: via MASTER AES/EBU input (25 - 100 kHz)

The DSP-4KFM 360 will switch over to its digital inputs if a signal is presented at the"Slave" AES/EBU input socket.

The unit connected to the MASTER AES/EBU socket will determine the clock fre-quency (25 - 100 kHz).

Input Output

Declaration of Conformity / Warranty

ImportantThe DSP-4P is designed for indoor use only.To prevent damage to the unit and shockhazard to the user, do not allow liquids toenter the housing.

Do not operate the unit in strong, direct sun-light because of the risk of overheating. Forthe same reason the openings for coolingmust not be covered.

Proper use: We hereby state that the DSP-4P is for use only in studios, domesticinstallations, concert halls, churches etc.; itis not designed for use in vehicles of anykind, especially in airplanes, airborne equip-ment or public transport, nor in hospitals orin any other setting in which the existingequipment may be sensitive to electromag-netic radiation.

Cables: For the digital connections use onlyshielded cable with 90% or better shieldcoverage in order to prevent undue radiationof radio-frequency signal energy. AllSCHOEPS cables meet this requirement.

If any such cables should exceed 20 metersin length, they must have a characteristicimpedance of 110 Ohms and must also beterminated with 110 Ohms according to thestandard AES 3-1992. This is automaticallythe case with the DSP-4 KFM 360.

Declaration of conformity For the DSP-4P Schalltechnik Dr.-Ing.

SCHOEPS GmbH herewith declare that itcomplies with the directive 89/336/EWG onEMC (electromagnetic compatibility) of theEC council.

This product is not subject to further direc-tives.

For the judgement of this product inrespect of EMC the following standards areapplicable:

EN 55103–1, EN 55103–2The manufacturer accepts full responsibility

for this declaration.

WarrantyWe guarantee our products for a period oftwenty-four months, except for cables, bat-teries and cells (including rechargeable bat-teries and cells) and any other products ofother manufacturers for which SCHOEPS isonly the reseller; for these products the peri-od of guarantee is six months. The guaran-tee period begins on the date of purchase.Please provide your bill of sale in all casesas proof of guarantee; without it, repairs willbe undertaken only at the owner’s expense.

We reserve the right to satisfy all warrantyrequirements regarding defects of workman-ship or materials by means of repair or par-tial or complete replacement of the unit, atour sole discretion.

Excluded from this guarantee are defectsdue to misuse (e.g. incorrect operation;mechanical damage), abuse or “acts of God.”This guarantee is nullified in the event oftampering by unauthorized persons or agen-cies.

To secure your rights under this guarantee,send the unit with all included accessoriesand proof of purchase, at your expense,either to SCHOEPS (if you are a customer inGermany), or to our representative (if you area customer outside of Germany).

In exceptional cases you can, by priorarrangement with SCHOEPS, send a unitdirectly to us from a foreign country. Butsince any return shipment to a foreign cus-tomer must be prepaid, this would be slow-er especially when the conditions for serviceunder guarantee are not met; all paymentmust then be carried out before the repaireditem could be returned to the customer.

This guarantee does not affect any contrac-tual agreements which may exist between thebuyer and seller of the equipment.

This guarantee is world-wide.

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