SCHOEPS DSP-4 KFM 360 À NIEUL SUR MER

Schoeps DSP-4 KFM 360 This unit is in good cosmetic condition and turns on, but I did not test it myself. I bought it used from the exclusive Schoeps French distributor Areitec in 2017, so it should be in good working condition. Invoice is available. I never had any opportunity to use this fantastic piece of gear. Sold as is. Comes in its original Schoeps wooden box with a Schuko power cord (France), a stereo XLR cable (5 pins) and a XLR split Y cable. The DSP-4 KFM 360 is a 24-bit processor unit. Together with the sphere microphone KFM 360 and two bidirectional compact condenser microphones CCM 8L, it forms a compact 5.1 surround recording system with excellent spatial imaging capability. The processor derives the six 5.1 surround channels from only four microphone signals (the two pressure transducers in the KFM 360 plus two figure-8s) and offers a wide range of selectable settings. The primary characteristics of the DSP-4 KFM 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 channels 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 signals, in the “B: SURR” operating mode the DSP-4 KFM 360 provides compensation for the low-frequency response of the figure-8 microphones and appropriate diffuse-field equalization for the pressure transducers. The front-channel outputs result from summing the outputs of the pressure transducers with the outputs of the figure-8s, while the rear-channel outputs result from subtracting these signals (see drawing on next page). The resulting “virtual microphones” face frontward and backward as do the actual figure-8s. The directional patterns of the front- and rear-facing “virtual microphones” may be set independently, from omnidirectional through cardioid all the way to figure-8 (though the extreme settings are of only limited usefulness). This permits flexible adaptation to the particular acoustic conditions of the recording venue, since the choice of directional pattern affects the amount of reverberant energy that will be picked up. If the unprocessed microphone signals are recorded (four channels), the effective directional settings can be chosen retroactively during post-production playback. The center channel signal is derived from the front channels by a matrix. An additional channel contains only a low-frequency signal up to 80 Hz, which is obtained by summing the pressure transducer outputs and reducing the total level by 6 dB. To prevent the disturbing effect of rear channel localization of sound sources, the rear channel signals can be reduced in level, delayed and/or processed by an adjustable low-pass filter. In addition to these primary functions, each selector switch also has a secondary function that allows, for example, the relative front-to-back channel gain or the left/right balance to be adjusted. While recording there is also a monitoring function which permits twelve different signals to be heard through Output III, as determined by the set- ting of the REC MONITOR knob.