Boundary Mic Array + Decoder
Patented
D-PZM places microphones close to a stable, rigid boundary, shortening the path difference between direct sound and near-boundary reflections to reduce early-reflection comb interference at the source. Its three mounting tracks support mono, M/S, and Double M/S arrays. Two separate macOS and Windows plug-ins provide 2-in/2-out stereo decoding and 3-in/6-out 5.1 decoding. A rigid boundary can produce roughly +6 dB of pressure-zone gain under suitable conditions; the actual result depends on the microphone, boundary, distance, and sound field. D-PZM owners can use the matching Decoder Suite.
Typical Applications
These are typical uses. Confirm product specifications and site conditions for the actual rig.
Application 01
Studios: choir, chamber ensembles and wide-dynamic-range classical recording
Application 02
Studios: kick drum and floor-tom low-frequency capture
Application 03
Live performance and stages: low-profile, wide-area pickup or positions where microphones cannot be moved often
Application 04
Stage-edge and floor pickup with minimal obstruction to performers and audiences
Application 05
Surround and immersive audio: a three-microphone Double MS array decoded to 5.1 by a separate plug-in
Application 06
Stereo / closely spaced MS recording
Application 07
Film and television location sound: a wide sound field from one array position
01 · Highlights
A three-rail boundary pickup plate. Place microphones close to a hard boundary for approximately +6 dB pressure-zone gain under suitable conditions and reduced comb filtering from nearby early reflections.
Direct sound gain
+6 dB
Hemispherical pickup
180°
Phase delay
0 ms
cm boundary plate
24.7×17.8
Effective frequency range
20 Hz - 20 kHz
02 · Principle
At a short distance from a hard boundary, direct sound and short-path reflections arrive at different times, reinforcing or cancelling particular frequencies. D-PZM places the pickup as close to the boundary as possible to reduce that path difference.
01
Reduce early-reflection interference
Placement close to a hard boundary can reduce comb-filter ripples caused by the shortest reflection path. It cannot remove all room reflections or replace a suitable acoustic environment.
02
Start with a more manageable capture
Under suitable boundary conditions, the relationship between direct sound and early reflections becomes more consistent, reducing the work needed to correct hollowness and phase irregularities afterward.
03
Approximately 6 dB of boundary gain
An ideal rigid boundary can provide approximately 6 dB of pressure-zone gain. Actual gain and signal-to-noise improvement depend on microphone directivity, placement, boundary dimensions and ambient noise.
03 · Craft
A one-piece plate reduces joints. Three mounting rails let you position a single microphone, an MS pair or a Double MS array on the same stable boundary.
01
No assembly seams
The one-piece plate reduces joints, loose parts and sources of mechanical noise for repeatable deployment at different locations.
02
High-density composite
A high-density composite plate provides a stable, rigid mounting plane. Acoustic performance still varies with the supporting surface and room.
03
Vibration isolation layer
Reduces some structure-borne vibration between the plate and its support. Strong footsteps or stage vibration still require separate treatment.
04
Stereo / closely spaced MS configurations
One microphone provides mono boundary pickup. The width and localization of a two-microphone array depend on the technique, spacing, directivity and placement.
05
Native Double MS array support
Three rails accommodate a forward-facing Mid, sideways Side and rear-facing Mid microphone for Double MS.
06
Double MS → 5.1
The separate decoder turns a three-microphone Double MS array into L/R/C/Ls/Rs and derives LFE from a low-frequency path, producing 5.1 output.
04 · Applications
Keep the array low and leave sightlines to the performance while capturing the relationship between room, stage and instruments from the boundary. D-PZM suits sessions that need discreet placement and more complete spatial information.
01
Studio applications
Try boundary placement for choir, chamber music, drums or room microphones. The aim is not exaggerated bass, but a more consistent relationship with early reflections near a floor or table.
02
Live performance and stages
Deploy the plate low at a stage edge or on a stable floor to reduce obstruction from hanging rigs and tall stands. Coverage depends on microphone directivity, count and placement.
03
Surround and immersive audio
The three rails accommodate a front cardioid, figure-eight and rear cardioid Double MS array. The separate Double MS plug-in decodes the three recorded signals to 5.1 with an LFE path.
05 · Details
The precision three-rail plate accommodates multiple microphones, from a single microphone or stereo pair to a complete M/S or Double MS array.
06 · Chamber Recording
These photographs document low-profile D-PZM placement in chamber and choral recording. Boundary placement can reduce comb filtering from the shortest reflection path; the final sound still depends on microphones, distance and room acoustics.
07 · Stage
Place D-PZM at the stage edge to use the boundary effect over a 180° hemisphere. Its low profile keeps it discreet for performers and audiences.
08 · Compatibility
D-PZM is a passive acoustic plate and does not change a microphone's circuitry. Check dimensions, support, directivity, array geometry and phantom-power safety. Different microphones will not produce identical results.
Condenser microphones (SDC/LDC)
Small-diaphragm microphones are usually easier to position precisely close to the plate. For larger microphones, first check weight, center of gravity and rail mounting clearance.
Dynamic microphones
Suitable for near-boundary stage or drum pickup. Frequency response and boundary gain depend on microphone directivity and placement.
Ribbon microphones
Check mounting stability, air-pressure risks and phantom-power requirements before use. Boundary gain does not replace a suitable preamp.
Boundary / button microphones
For microphones already designed for boundary operation, follow the manufacturer's guidance and compare recordings to decide whether an extra plate is useful.
09 · Best Practices
Boundary pickup depends strongly on a stable reflecting plane, microphone orientation and source distance. Treat the following values as starting points and use listening and test recordings to finalize placement.
01
Pickup distance
Start around 0.6–1.3 m from the source. Instruments, rooms and recording objectives vary widely; no fixed distance suits every session.
02
Stable placement
Place the PZM plate on a stable reflecting plane such as a floor or solid table. Soft tabletops or beds undermine the boundary effect.
03
MS calibration
For closely spaced MS, use compatible microphones and calibrate gain. Differences between the M and S channels' frequency responses directly affect decoding.
10 · Lab Test
The figure preserves nine existing DADAO sweep measurements to show response differences between microphone patterns and the plate. It is not a universal frequency-response guarantee for every microphone and room. The companion decoder's fixed high-frequency compensation can be bypassed for comparison.
Compensation EQ
The curve represents the fixed PZM high-frequency compensation in both current decoders: approximately 16.25 kHz, +18.4 dB, Q 5, applied to the M channel before MS decoding. It is part of the companion workflow, not a guarantee of flat response with every microphone and location. Compare with bypass to decide whether it suits the recording.
DADAO Acoustic Lab · 20 Hz - 20 kHz · 500 points · Peak +18.44 dB @ 16250 Hz
11 · Free Decoder
Two separate plug-ins for the D-PZM workflow: one for MS stereo and one for Double MS 5.1. Both include the product's fixed PZM high-frequency compensation and are available to D-PZM users.
DADAO MS PZM-Decoder
Standard Mid-Side stereo decoding with width adjustment and D-PZM response compensation. Stereo decoding / width control / D-PZM filter.
DADAO Double MS PZM-Decoder
Decodes a Double MS array to L/R/C/Ls/Rs and derives LFE from a low-frequency path for 5.1 output. 5.1 surround / front and rear MS arrays / D-PZM filter.
12 · Pickup Patterns
The three-rail D-PZM layout supports classic MS stereo and three-microphone Double MS. Each uses its own separate decoding plug-in.
01
MS stereo
A forward-facing M microphone and sideways figure-eight S microphone form a classic MS array. The example starts with a cardioid M; verify other patterns against your recording goals and compatibility requirements.
02
Double MS surround
Three-microphone array: forward-facing cardioid toward the source, central figure-eight and rear-facing cardioid away from the source. Decodes to 5.1 surround. Front: cardioid · center: figure-eight · rear: cardioid.
13 · Get Started
D-PZM includes the plate and two companion decoders. The MS plug-in decodes two signals to stereo; the Double MS plug-in decodes three signals to 5.1.
Ready for board + bundle
Pickup plate + companion decoders · one complete system
D-PZM includes the plate and two companion decoders. The MS plug-in decodes two signals to stereo; the Double MS plug-in decodes three signals to 5.1.
14 · Decoder Suite
The D-PZM plate itself produces no signal; audio comes from the mounted microphones. MS decoder processes M/S, while Double MS decoder processes front M, S and rear M to produce 5.1. They are separate plug-ins sharing the current D-PZM high-frequency compensation settings.
01
MS decoder (D-PZM) · 2 IN / 2 OUT Stereo
Stereo M/S decoder. An M+S / M−S matrix produces L/R with fixed PZM high-frequency compensation. Adjustable Center Level (−10 to +10 dB), Center Position (−100 to +100%), Width (0–200%) and Main (−10 to +10 dB), plus Deep / Punch / Body bass shaping, an approximately 4 ms lookahead safety stage and bypass.
02
Double MS decoder (D-PZM 5.1) · 3 IN / 6 OUT 5.1
Three-input M/S to 5.1 matrix decoder. Dual MS matrices derive L/R/C/Ls/Rs from front M, S and rear M. PZM EQ calibrates M-Front and M-Rear independently. Front Width, Center Level and Rear Width controls; separate LFE channel with a 100–120 Hz low-pass filter; Space delay of 0–50 ms for Ls/Rs envelopment; and real-time libebur128 BS.1770-4 loudness metering.
15 · Pickup Patterns
Use any of the plate's three microphone slots. Stereo decoding requires at least two microphones (one cardioid and one figure-eight); 5.1 decoding requires three (front cardioid, rear cardioid and central figure-eight).
01
Three slots · use any combination
D-PZM has three microphone slots. Any slot can be used independently for mono recording without a decoder.
02
Two microphones → MS stereo
MS stereo decoding requires a forward-facing Mid and a sideways figure-eight Side microphone.
03
Three microphones → Double MS 5.1
Double MS requires front Mid, rear Mid and a sideways figure-eight Side microphone. The companion plug-in uses these signals to generate 5.1 output.
16 · Decoder UI
Left: MS decoder (D-PZM), 2 in / 2 out stereo decoding. Right: Double MS decoder (D-PZM 5.1), 3 in / 6 out surround decoding with BS.1770 loudness metering. Both share DADAO's black-and-gold interface and PZM pickup EQ settings.
17 · Decoder Technology
Both decoders share fixed PZM high-frequency compensation but have different channel structures and controls. The stereo version includes bass shaping and a lookahead safety stage; the 5.1 version includes LFE, rear Space and BS.1770 loudness metering. The host does not automatically switch between these separate plug-ins based on channel count.
01
PZM pickup EQ
The current implementation uses fixed high-frequency compensation at approximately 16.25 kHz, +18.4 dB, Q 5 on the M channel before MS decoding. The stereo version processes one M channel; the 5.1 version processes front and rear M channels.
02
LFE and bass shaping
The stereo version offers Deep / Punch / Body; the 5.1 version offers Sub / Punch / Body, with 0–100% intensity. These are audible bass treatments; choose the amount for your material and monitoring environment.
03
Rear Space (5.1)
Applies 0–50 ms delay to Ls / Rs for rear-field distance and air. With a standard 5.1 monitoring layout, rear reflections can feel closer to those of a natural room.
04
5.1 loudness and LRA
Double MS decoder uses libebur128 to measure Momentary, Short-term and Integrated LUFS plus LRA across L/R/C/Ls/Rs. Surround channels receive standard weighting; LFE is excluded. True Peak is not currently displayed.
18 · Plugin Specs
Both plug-ins are available as macOS AU / VST3 / AAX and Windows x64 VST3 / AAX.
Plug-in formats
macOS: AU · VST3 · AAX；Windows x64: VST3 · AAX。
Supported platforms
macOS and Windows x64; verify DAW compatibility on the target system.
Sample rate
Follows the host project's sample rate. Validate your target rate, DAW and interface before production work.
Bit depth
Internal floating-point processing does not eliminate clipping or distortion risks. Maintain input and output headroom.
Processing latency
MS includes an approximately 4 ms lookahead path. Double MS Ls/Rs Space can add 0–50 ms. Check host-reported latency and actual monitoring.
License model
D-PZM users can use the companion Decoder Suite. Refer to the current delivery instructions for access and activation.
01 · Overview
D-PZM places microphones close to a stable, rigid boundary, shortening the path difference between direct sound and near-boundary reflections to reduce early-reflection comb interference at the source. Its three mounting tracks support mono, M/S, and Double M/S arrays. Two separate macOS and Windows plug-ins provide 2-in/2-out stereo decoding and 3-in/6-out 5.1 decoding. A rigid boundary can produce roughly +6 dB of pressure-zone gain under suitable conditions; the actual result depends on the microphone, boundary, distance, and sound field. D-PZM owners can use the matching Decoder Suite.
02 · Specifications
These are the published technical specifications for this model, ready for product selection, installation, and deployment planning.
