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Found 21 results

  1. I'm looking to make the switch from Sanken's COS11d to DPA's 606X lavaliers. However, it's not cost effective for me to buy a full set of 6060s and 6061s. And I've seen a good few location sound mixers such as Tom Williams' lavalier collection being made up of 90% 6061 mics, which are the high SPL, low sensitivity variant of the 6060. My instinct would be to think that this isn't good, because it requires more gain out of the tiny transmitter preamps, leading to more noise, but if the top dogs are doing it, it can't be that bad, right? However, with DPA's CORE tech, is the advantage of higher SPL tolerance worth the risk of noise? What are your thoughts on this? My current transmitters are MTP40s Wisycoms, though I do use Audio Ltd. A10s sometimes, if that is relevant.
  2. These mounts are custom made and can be used with any shockmount that accommodates 20mm diameter. They are compatible with the following microphones that utilize remote cables: SCHOEPS KCY/KC5/CMR with MK capsules and CCM ug/lg DPA Lemo style 4023/4028/4053 BUSMAN BSC2 http://www.busmanaudio.com/bsc2.htm PRICES INCLUDE SHIPPING NOS 30cm 90 degrees $70 DIN 20cm 90 degrees $65 DINa 17cm 90 degrees $60 ORTF 17cm 110 degrees $60 Vertical Address or A/B with spacings at 17cm and 20cm $70 MidSide at 0 degrees $65 A/B or Vertical Address w/ Spacings at 36, 43, and 51cm $100 ORDERING INFORMATION: Please email me at nolafishwater @ live.com with what you want to verify stock. ORTF (17cm @ 110°) The French Radio Organization developed this technique. A high quality, matched pair of cardioid condenser microphones are placed 17 cm apart at an angle of 110 degrees. The ORTF stereo technique uses two first order cardioid microphones with a spacing of 17 cm between the microphone diaphragms, and with an 110° angle between the capsules. This technique is well suited for reproducing stereo cues that are similar to those that are used by the human ear to perceive directional information in the horizontal plane. The ORTF stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. Care must be taken when using this technique at larger distances, as the directional microphones exhibit proximity effect and will result in low frequency loss. The distance from the sound source will determine the amount of room reverberation. When further away from the source, the recording will result in more reverb and closer placement will have less room sound. ORTF is very popular for outdoor recording where there's not as much reverberant sound as there are surfaces to reflect sound. A good starting placement for an ensemble would be approximately 7 feet away and 9 feet up. NOS (30cm @ 90°) This technique was developed by Dutch Broadcasting (Nederlandsche Omroep Stichting). The spacing of the microphones emulates the distance between the human ears, and the angle between the two directional microphones emulates the shadow effect of the human head. If used at larger distances to the sound source the NOS stereo technique will loose the low frequencies due to the use of pressure gradient microphones and the influence of the proximity on these type of microphones. The NOS stereo technique is more useful at shorter distances, for example on piano, small ensembles or used for creating stereo on a instrument section in a classical orchestra. The NOS stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. DIN (20cm @ 90°) (Deutsches Institut für Normung)The DIN technique is based on the spacing of the human ears. It is similar to NOS, however the cardioid microphones are 20cm apart and at an angle of 90 degrees. The DIN stereo produces a blend of intensity stereo signals and time delay stereo signals, due to the off-axis attenuation of the cardioid microphones together with the 20 cm spacing. DIN and DIN(a) have the 90 degree angle which reduces the amount of reverberant sound that's coming from bounced sources instead of directly from the source. DINa (17cm @ 90°) A modification of DIN which is designed for use with hypercardiod microphones. It still uses the 17cm (average distance between human ears) which helps to create a natural time delay and stereo image. The closer spacing creates a stereo image is more accurate and less reverberant. DINa results show a slight decrease in low frequencies which can be very pleasant for field recording in cavernous or odd shaped rooms. MIDSIDE This technique uses two microphones placed close to each other. One microphone has a cardioid pick up pattern and the other with a figure 8 pick up pattern. The cardioid microphone faces the ensemble (this microphone picks up the Middle). The figure 8 microphone is at a right angle to the cardioid (this microphone picks up the Sides). The cardioid microphone is panned to center. The figure 8 microphone is split into two channels and panned hard left and right. The phase of the left remains normal while the right is reversed. By increasing the level of the figure 8 microphone the room acoustics (reverb) will increase. The MS stereo technique is excellent for mono compatibility. This mount requires the use of two rubber rings placed at the end of the mount to secure the microphones in place (see picture for placement). Vertical or Front Address: 17/20 or 36/43/51 These two mounts are designed for use with the vertical address series (V) or for A-B stereo recordings with front address condenser microphones. The smaller of the two mounts has spacings at 17 and 20cm allowing the user to accurately reproduce the following recording techniques: • DIN (20cm @ 90°) • DINa (17cm @ 90°) • ORTF (17cm @ 110°) • OLSON (20cm @ 135°) The larger mount has spacings at 36, 43, and 51cm. It utilizes the principals of the The A-B Stereo Technique, which uses two spaced microphones. The microphone spacing introduces small differences in the time or phase information contained in the audio signals (according to the relative directions of the sound sources). As the human ear can sense time and phase differences in the audio signals and use them for localisation, time and phase differences will act as stereo cues to enable the listener to "capture the space" in the recording, and experience a vivid stereo image of the complete sound-field, including the positioning of each separate sound-source and the spatial boundaries of the room itself. Since the stereo width of a recording is frequency-dependent, the deeper the tonal qualities you wish to reproduce in stereo, the wider your microphone spacing should be. Using a recommended microphone spacing of a quarter of the wavelength of the deepest tone, and taking into account the human ear's reduced ability to localise frequencies below 150Hz, leads to an optimal microphone spacing of between 40 and 60 cm. Smaller microphone spacings are often used close to sound-sources to prevent the sound image of a particular musical instrument from becoming "too wide" and unnatural. Spacings down to 17 to 20 cm are detectable by the human ear, as this distance is equivalent to the distance between the two ears themselves. A user can also use the larger mount with the Vertical Address capsules when recording on stage or from distance. This technique creates a large sound stage and helps to capture the feeling of the room. The large 36/43/51 mount requires the use of one rubber ring per side to secure them in place (see picture for placement).
  3. Have you ever used the MMP-A preamp with the 4018 cap? 1. Do you have any samples to share, compared with the B or C? 2. If not, what was or is your opinion/impression of the A. The reason I'm asking and what has peaked my curiosity is that there are no dialogue audio samples online anywhere, yet I'm reading about how the MMP-A is "superior" to the others. Hhmmm....while that may be just an opinion of some reviewers, it still intrigues me. Hopefully, I'll be able to get one in my hands soon to try it myself. But in the meantime, any feedback about your direct experience with the MMP-A would be so greatly appreciated. Thanks everyone!
  4. Hi! Do you know if there's a specific name within the rycote world for this spare part I need for my dpa windshield? Also, do you know any place that can sell me the piece? I'm located in Mexico and the local reseller option won't work. Thank you, Axel.
  5. Hey all, just wanted to let you know my button-down lav mounts are now available at Pro Sound. You can get them in black or white for the COS-11, DPA 4060 series, or B6. http://www.pro-sound.com/p/SABEMICMOUNT.html I made these to deal with a really awful work shirt on a show I've been on this summer. Starchy, crackly and dense, it responded weakly to some of my favorite tricks but was still a pain. I had the idea to brute-force a solution that would give the mic some clearance and also create a dead space in the shirt, movement-wise. I tried a couple of different materials and this is the result. The mounts are very flexible, vibration-absorbent, and strong - they hold up to a lot of abuse. I use the COS-11 version every day on this show and it's been a lifesaver. It doesn't prevent truly awful things like arm-crossing, but normal movement is now totally acceptable in my case. I recommend using it vertically, between the shirt buttons near the solar plexus, so the mic is barely hidden. You can use 1/2" Topstick, or Joe's Sticky Stuff if you need extra isolation. The mic comes out at an angle because I like the way it sounds better than purely horizontal. Any questions please ask! Thanks, Abe
  6. bschir


    I pulled out my old DPA windpac and the rain 'cover' is falling apart and full of holes. Anyone got a large size cover they want to sell or know any business that would still have one of these in stock? DPA doesn't make these anymore....wish I bought the medium size one instead.
  7. Hi All, I found an old 1980 Bruel and Kjaer 4125 measurement mic that was given to me, while going through my old bits and pieces. I've never had this mic hooked up at all but it still has me intrigued. I would like to hear it at least once before it goes back into the box. I have the accompanying "type 2810 power supply" that appears to have a "battery" function. I cracked open the box but there is no battery slot that I can see. The mic itself is quite DPA-like, very miniature with a mini lemo connector. I don't see a battery compartment in the mic body either. Perhaps I could have the connector adapted for a more common power supply? The printed info label on the mic capsule storage vial says the following: Type 4125 Condenser Microphone Cartridge, Open circuit sensitivity at 1013 mbar, 23 degrees Celcius and 50% R.H. 140.8 dB re. 1 V per Pa. Capacitance : 14.5 pF (typically), Polarization voltage : 28 V, Frequency : 250 Hz, Date : 3-11-80 If anyone has any ideas about how to power this mic or has used one before, I'd love to hear your thoughts. Thanks kindly and have a great evening. Cheers, Dave
  8. I case you haven't heard about this, Lectrosonics teamed up with DPA US to offer a $150 rebate for the purchase of an SSM transmitter and d:screet lav microphone. The offer is good through January 20 for customers purchasing these products from US Authorized Dealers. I've attached the form for anyone interested. DPA Lectro Offer Form_FINAL.pdf
  9. Nir

    Dpa slim

    Hey guys, After several months that the Slim is on the market I would like to hear from your experience some feedback. How is the color of the mic? Is it easy to work with it? how is the concealers? Does the "button hole holder" works good? Since the mic's grill is also open in the front (and not only in the upper-side like at the 406x) how does it work with Rycote over/under covers? Thank you and Best regards, Nir
  10. Audio Department, DPA Microphones and Zaxcom present: SOUND DRIVEN - An exploration into automotive miking techniques for dialogue and SFX. We will have a car on stage rigged for sound in various ways. You will be able to independently listen to the differences between diverse types of microphone placement. We will also be examining the importance of flat frequency response and wide dynamic range when recording dialogue and SFX with an array of mics from DPA Microphones. Zaxcom's NeverClip (tm) technology and belt-pack internal recording capabilities will be investigated as well. Food and beverages will be provided. Come join us for a fun hands on experience! Please RSVP at sound-driven.eventbrite.com so we know how many to expect. You can also join register for the event on FaceBook https://www.facebook.com/events/574998729342981/
  11. DPA Microphones, K-Tek, Lectrosonics and Sound Devices are teaming up to host the next Sound Summit. The event will be located at Full Sail University on the afternoon of Wednesday, March 9. Registration is free! We hope to see you there. http://thesoundsummit.org/orlando/
  12. Trew Audio is hosting an open house at our Burbank Location this Thursday, November 19 (tomorrow), from 10am-1pm to showcase the new DPA "Slim" lavaliere microphones. Pedro Rocha of DPA will be on hand to raffle a Slim lav, as well as other specials. Trew Audio, Los Angeles 2243 N Hollywood Way Burbank, CA 91505 I’m in LA this week, so I look forward to seeing a lot of you there. Glen Trew
  13. Hi guys, During a shooting day the talented talent fell down to a lake (sweet water, but very dirty) and my Dpa 4061 capsule was full covered with water. The production got me a new capsule (and a new transmitter), but I wonder do you clean your capsules? or if it sounds good and nothing happened you don't? if you do clean, how you clean it? some people suggest me to dip the head of the capsule in distilled water for few seconds and hang it in the air for a while, some tell me to to dip it for hours in tap water, etc. I would like to hear your opinions and methods, Nir
  14. We've done LA, Chicago, Atlanta, and now New York! This ought to be the biggest one yet. The event takes place at NYU Tisch School for the Arts, between 3:00 and 8:00 PM on Wednesday, October 28. Co-hosts are DPA Microphones, Lectrosonics, and Sound Devices. The idea is to promote networking within our profession along with discussions about technology and technique including "best practices". Registration is free, and we look forward to seeing you there! http://www.thesoundsummit.org/newyork/
  15. Sound Summit Atlanta coming up in less than 2 weeks! If you're in the Atlanta area, please join DPA, Lectrosonics and Sound Devices for this collaborative gathering. Register here for free: http://www.thesoundsummit.org/atlanta/ Hope to see you there!
  16. Simple question here: do you prefer the DPA brand concealer (DMM0012) or the LMC Sound C Mount Vampire Clip for hiding 4063's. I'm interested in all of the obvious performance benchmarks, such as transmission of clothing noise. LMC: http://lmcsound.com/products/c-mount/ DPA: http://www.bhphotovideo.com/c/product/545888-REG/DPA_Microphones_DMM0012_DMM0012_Miniature_Concealer_for.html
  17. I have bought a DPA 4067 with no connector, I'd like to wire it for my zaxcom TRX900 or sennheiser sk50. As it has only two wires, how do i wire them?
  18. Hello, I have done my fair bit of research on the web and within this forum concerning the DPA 406X series, but I haven't found a general answer to my specific question. Is the microdot connector really as faulty as people are saying? Is it better to just get it terminated to TA-5F for use with my Lectro wireless system? If I didn't hear the horror stories about the microdot I would be more inclined to get it because they offer both the 4060 and 4061 in a stereo set. The set also includes 2 microdot - XLR belt clip adapters; and I try to use a wire when possible so this would be very convenient. If I get the mics terminated to TA-5F I would need either the Lectro or Remote Audio TA-XLRF adapter. Is anyone using these adapters? I noticed the Lectro to be 3x the price. I'm afraid this would make my setup too bulky. I suppose by not getting the stereo set I could then get one 4060 and one 4061, but that would keep me from using the mics for stereo ambiences and SFX and limit me to film+ENG dialog. I'm at a loss of what to do and any further information on the microdot connector or TA-5F-XLRF adapters would be great. Thanks,
  19. Danish Professional Audio, or DPA, have an excellent reputation for making high quality condenser microphones and have announced new capsules and preamps to form the basis of a new range, called d:dicate. As well as two new capsules – a supercardioid and an omni – DPA have rebranded their Reference Standard series as d:dicate microphones. The new capsules are the MMC4018 supercardioid capsule, which is based on the MMC4018V capsule used in the d:facto range of vocal microphones, and the MMC4007 high-SPL omnidirectional capsule, formerly the 4007. All 4000-series and 2000-series capsules can be used with any of the three available preamps. These are the A pre-amp, B pre-amp that includes low cut and high boost filters, and C pre-amp which is more compact and suitable for discreet mic placement. The new mics and peramps will be available from August, with Reference Standard series products available immediately. http://goo.gl/Mv9Vz
  20. Hey All, I’ve just posted the next entry in my blog. This time I'm covering my time in the Jungle village of Sauraha. http://soundrelated.com/elephants-and-tigers-and-a-rhino-oh-my/ Elephant football and beauty pageants, canoe rides and jungle treks, wild rhinos and getting stoned off a milkshake is all to be had here. There is also a recording I made at the elephant breeding centre, it's a little disturbing. Enjoy! Jo
  21. Hi, Does anyone know if it's possible to get hold of DPA microdot connectors? And if so, would it be possible to wire them to a Sanken Cos 11? I'd like to have a little flexibility with my lav mics. I have used DPA mics, although it was a good few years ago. I seem to remember the microdot connectors being comparable to SMA connectors, i.e. just a screw in pin and screen connection. My memory could be failing me here but if that's right then how would the Sanken's three wires connect into the microdot? I've read a little about a similar connector that Rode are now using but as far as I know they don't do a 6 pin Lemo connector, which I need to fit to my Audio Ltd tx. Any ideas?
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