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DPA Slim or 4060/61?


RyanDoesSound
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I'm about to jump onto the DPA bandwagon. This going into my first wireless kit (only two at first), been renting before and used the 4061s. I'm debating with between buying the Slims and 60s. Which ones see more action or are better all arounders for mostly narrative work for you guys? And also if it's the 60s, the 60 or 61? 

 

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2 hours ago, OnTheSoundSideOfLife said:

I would like to record ambiences and sounds via xlr aswell, would you guys still recommend the 4061 as an all allrounder?

I would choose DPA 4060 over 4061. The DPA 4060 & 4071 via hardwired it's a whole different microphone. I am a little bit skeptical about this setup. First because the low-mid wind situation. Second about stereo technique, only AB comes to my mind.

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13 hours ago, VAS said:

I would choose DPA 4060 over 4061. The DPA 4060 & 4071 via hardwired it's a whole different microphone. I am a little bit skeptical about this setup. First because the low-mid wind situation. Second about stereo technique, only AB comes to my mind.

I want to use them primarily as lav mics on talent. I know the noise floor is not ideal for ambiences and stuff. That for I have the Sennheiser 8000 series. But it's great to mount them to whatever object you're recording, to get a super close perspective, without a lot of room/ambience. Like attaching them to a gun for gun recordings. It could be a studio situation aswell. So I'm wondering which one would cover everything as good as possible. I would go for the 4060, because of the slightly lower noisefloor, but if it's not capable of recording loud actors or sounds, I would go for the 4061. The 4061 stereo kit is also a bit cheaper than the 4060 one.

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On 5/24/2017 at 2:45 PM, Constantin said:

For me it's the the 4061, sometimes 4060, even less times the Slim. The Slim is a great mic, but it's definitely not an allrounder.

I find the 4060 slims excel in NYC's high-rumble background BS and are therefore my first thought. Lo-sens 4063's for the biggest/bassiest voices. High-sens 4060's for the whisperers. At least that's what I'm doing now and I think I like it.

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22 hours ago, VAS said:

... stereo technique, only AB comes to my mind.

AB it is, perfect for film ambiences. And I often stick them either side of an object (even a bag) for a mild baffle. Or lower them into places the 8040s will never be lowered ...

 

9 hours ago, OnTheSoundSideOfLife said:

I want to use them primarily as lav mics on talent. I know the noise floor is not ideal for ambiences and stuff. That for I have the Sennheiser 8000 series. But it's great to mount them to whatever object you're recording, to get a super close perspective, without a lot of room/ambience. Like attaching them to a gun for gun recordings. It could be a studio situation aswell. So I'm wondering which one would cover everything as good as possible. I would go for the 4060, because of the slightly lower noisefloor, but if it's not capable of recording loud actors or sounds, I would go for the 4061. The 4061 stereo kit is also a bit cheaper than the 4060 one.

I don't think either are 'compromise' solutions - if you want to record ambiences or normal level sounds the 4060 is the right choice (and as I've told many people I recommend a pair as an FX option wholeheartedly). If you're looking to generally record louder stuff (too loud for the 20mV 4060) then ok the 4061; racing cars or guns CU probably the 4062.

Despite the (relatively) high noise floor of the 4060 it is perfectly OK for much ambient recording. Most importantly they sound great for a mic that tiny. I rarely if ever overload the 4060 even (noisy-ish atmos, ordinary car interiors or even close mounted on say a string instrument) - though I have the option of the 4061 and other mics.

I'd agree with Constantin that, if lav use is the primary function, your choice is between shouters or whisperers in your daily routine. (And probably at least one swap in the kit for a new talent arriving in town).

Best, Jez

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Anyone who talks about overloading the MIC needs to clarify how they would know they have overloaded the microphone. The DPA 4060, for example, is rated at 134 dbSPL --- the mic needs to be connected to something to he operational and if you hear any clipping or distorsion I am fairly certain it is something else in the chain that is being overloaded. 

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6 minutes ago, Jeff Wexler said:

Anyone who talks about overloading the MIC needs to clarify how they would know they have overloaded the microphone. The DPA 4060, for example, is rated at 134 dbSPL --- the mic needs to be connected to something to he operational and if you hear any clipping or distorsion I am fairly certain it is something else in the chain that is being overloaded. 

This

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I'm less in the front line than many here (not prod recording) but as I said I don't remember overloading a 4060 (although I have the option of having one 'down' a few dbs or a 4061 to use). You have to remember these (4061s) are used on stage where transients from professional singers really are high, and the general level is far higher than speech. BUT one might suit better than the other depending on local talent generalisms (same as other lav sensitivity available options). But overloading as said is most likely and first checked at transmitter stage etc.

Jez

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22 hours ago, RyanDoesSound said:

Even on shouting you never overload the 4060s?

Hey Ryan,

its not the 4060 that overloads. I think myself, Nevo and Constantin use Lectro smv and with that transmitter the 4060 is quite hot. With very loud shouting actors it's the transmitter that clips, not the mic, the 4061 being 10db less gives you more headroom to play with. I can't speak for other wireless systems. If you let us know what wireless system you're planning to use them with then we can advise.  

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51 minutes ago, shug said:

Hey Ryan,

its not the 4060 that overloads. I think myself, Nevo and Constantin use Lectro smv and with that transmitter the 4060 is quite hot. With very loud shouting actors it's the transmitter that clips, not the mic, the 4061 being 10db less gives you more headroom to play with. I can't speak for other wireless systems. If you let us know what wireless system you're planning to use them with then we can advise.  

Thanks Shug! I was planning to get 2x kit of Lectro LMb and LR. Very good point.

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Re Shug and others, just to clarify, I was talking about my experiences of using 4060s and 4061s direct into preamps, not into transmitters (re spls). Shug's request for info of wireless system will be key to a decision I'm sure.

Jez

But you'll find 4061s very different beasts than 4060s for fx work, particularly atmos and low level sounds.

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I went through a similar debate between the 60 and 61, at over $500 each I wanted to first invest in what would be most useful.  I chose the 4060's because I wanted to record ambiance, music, and voice...so far I have never been close to "clipping" them even mounted inside a piano during a recital.  Really I think you'll get awesome results with either, but if you do expect to go over 134 dB, which is really the realm of gun fire, then get the 61's, otherwise the 60's are great and have never failed me.  I bought the stereo kit.

I use them with various wireless, but mostly direct into my Maxx recorder.

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  • 6 months later...

Hello everyone!

 

I have a Sennheiser SK2000 and a G3 transmitter. I am debating weather I should get 4060s or 4061 to use with them. If I could also use them for ambient or sfx recording too, that would be great. Which mic would you pick? Would 4060 be too hot for the Sennheiser transmitters with the TX gain turned down, or would that potentially cause any other issues?

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