SoundField MKV Issue 1.1 User Guide
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10 Dominance - in effect, this is a form of zoom control allowing the generated microphone to be
moved closer to or further away from the original sound source than the actual microphone. The
effect in stereo is not exactly the same as moving the microphone because the stereo image does
not widen as would be expected, in fact it narrows slightly, but this effect can be corrected with the
‘Capsule angle’ control. In surround sound the apparent movement is even more realistic.
11 SoundField In Button - routes the B-Format signal through the SoundField control section. If
no SoundField correction is to be made the section should be switched out of circuit to avoid
accidental adjustment.
12 SoundField Rec Button - In normal or dub operation the SoundField controls are inserted into
the B-Format signal after the B-Format record outputs and only affect the stereo output.Rec allows
their insertion into the B-Format record outputs, enabling corrections to be made onto 4 track tape
as well as the stereo output.
13 Metering- the 4 bargraph LED meters show the signal levels of the 4 components of the B-
Format signal W, X, Y and Z as they appear either at the B-Format output or off tape at the B-
Format input. In either case they show the effect on signal level of any SoundField adjustments and
directlyrepresentthesignal level attheB-Format outputs.Whenused directly asastereo
microphone or on subsequent mixdown of a B-Format signal to stereo they only show the energy
being fed to the stereo output circuits and do not show the energy level of the stereo output.
The bar-graphs are calibrated to illuminate 13 green segments at 0dBu line-up tone, and the panel is
marked at this position. The calibration is such that the alignment tone only just illuminates
segment 13 so that if a tape machine is being aligned prior to recording, the recorder replay gain
should be set so that segment 13 just turns on.
Segments14 - 23are red representing 0- 20dB in intervalsof -2dB.
The indicators have very approximate ‘Peak programme meter’ attack and decay times and are not
intended as a serious replacement for superior programme metering.
14 Stereo Microphone controls - the polar pattern control is graduated from omni-directional (0) at
the anti-clockwise end through cardioid at ‘12 o’clock’ to figure-of-eight at the clockwise end and
smoothly adjusts the polar pattern of the generated microphone(s) through all the intermediate sub-
cardioid and hyper-cardioid positions. The capsule angle control is graduated from 0° to 180° and
smoothly adjusts the angle of the generated microphones between the two extremes. With the
control set to 0° the two outputs would be of two microphones pointing in exactly the same
direction from exactly the same point in space and would therefore be identical mono signals.
5Monitor.- controls the signal level of the stereo output to the headphone socket.
16 High pass filter - on the stereo outputs at 40Hz, 18dB per octave. Used to remove ‘rumble’ and
wind noise. Affects the stereo and M/S outputs only.
17 M/S - switches the microphone into M and S mode outputs. The Left socket becomes M and
the Right socket becomes S.
