The remarkable performance of the CSS-5 is based on an
array of five new directional condenser elements, with
new PPS ( Poly-Phenylene-Sulfide ) diaphragms to provide
optimum humidity / temperature stability. Developed in
conjunction with NHK, the CSS-5 is equally responsive
in the horizontal and vertical planes with high sensitivity,
wide frequency response and excellent dynamic range.
For episodic television, film / video documentaries, and
major broadcast events, it has become desirable to record
targeted sounds precisely, with the added option of capturing
realistic stereophonic perspectives. In many cases, multiple
microphone configurations impair field mobility and sonic
consistency. Stereophonic localization depends primarily
on signal accuracy and channel separation in the 400Hz
to 3kHz range. Pattern control of the CSS-5 has been optimized
in this range. Very low and very high frequency response
has been optimized along the frontal axis so that the
"target" on-axis sounds are clearly delineated.
The result in playback accentuates the frontal image,
with side signals positioned slightly behind.
Conventional shotgun microphones use a line capsule array
and a pipe with slits in front of the capsule to create
high directivity by utilizing phase interference inside
the casing. With this design, high directivity at low
frequencies requires a length of more than one meter in
length. In the CSS-5, second-order pressure gradient design
enables excellent directional response by using multiple
cardioid elements in a front-back array. The three directional
capsules combine line microphone performance and second-order
gradient response in a single system. High directivity
is achieved in a microphone less than 12 inches in length.
The revolutionary CSS-5 is small and lightweight with
switchable mono / stereo functions. The standard 19mm
diameter permits use of a wide range of accessories developed
for enhanced performance and field mobility. The CSS-5
provides three switchable modes to satisfy the various
needs of location and studio recording. Normal
In the NORMAL mode, the CSS-5 clearly picks up the targeted
sound as well as extremely accurate stereo localization.
STEREO angle is approx. 115°
Mono
In the MONO mode, sharp directivity is maintained over
a wide frequency range for the aimed frontal sound sources,
using the combination of a second gradient microphone
and a line microphone. It is significant that the CSS-5
picks up the chosen sound source very clearly even in
a noisy ambient situation or in a long reverberation
space.
Wide
The WIDE mode is designed for stereo recording of sound
effects where dialogue will be dubbed in at a later
date. This mode allows a wider 140 degree pickup, whereas
conventional M-S microphones have a maximum of 127 degrees.
Mono-Stereo
Compatibility
In stereo recordings, the frequency response of the
MONO summed output often exhibits interference, or "comb
filtering." This phenomenon is caused by phase
differences between the Left and Right signals. This
does not occur in single point recording, either X-Y
or M-S, but does happen with spaced - AB - microphone
stereo recording because of the time intervals between
the two. In the CSS-5, the three-capsule line array
is for frontal pickup, with its elements arranged vertically
along the same axis, so Mono / Stereo compatibility
is superb.
Non-Proximity
Effect
When a directional microphone is near the sound source,
the proximity effect results in a boosting of certain
low frequencies and slight masking of others. Some designs
utilize this effect to reduce surrounding noise, but
microphone response greatly varies with the changing
distance between the source and the microphone. This
effect becomes more pronounced when the directionality
becomes greater, By contrast, the CSS-5 virtually eliminates
the proximity effect in spite of sharp directivity,
while the sonic characteristics do not change with varied
distances between source and microphone. This is a significant
advantage over all other directional microphones. |
