DPA 5100 on Stand

From Audio Media, Novermber 2009

The Reviewer- Simon Tillbrook.

Overview-

“The DPA 5100 is a 5.1 discreet analogue array housed in a compact sealed padded enclosure that resembles a large bicycle seat in shape. It is extremely lightweight at 18.7 oz, and touted as an HDTV ‘ambience adder.’

On both the top and bottom of the DPA 5100 is a 3/8-inch screw mounting point for stand or boom, or an optional camera mount. The five microphones within require phantom power to operat. This is supplied and signal is received via a sixteen foot balanced Mogami multi-core cable. A multi-pin Lemo connector fits to the DPA 5100, terminating at a set of six color coded XLR’s. A cover is also part of the kit, giving additional protection against wind and resistance to rain.

Array-

The array of microphones in the DPA 5100 needs a little description to fully understand the array and to see the attention to detail taken by DPA.

All of the five microphones used in the DPA 5100 are pressure Omni directional units. These were chosen as they exhibit a number of traits that lend themselves to the applications that the DPA 5100 is clearly aimed at. Low sensitivity to general wind and handling noise, no real proximity effect to speak of, and very low levels of distortion/coloration lead to a more natural representation of the audio source.

The front three microphones within are arranged using DPA’s DiPMic (Directional Pressure Microphone) technology. The three front channel mics are time coincident allowing for solid stereo and mono feeds. The microphones are given a focused directional quality by a number of small baffles separating each, and the use of interference tubes like those used in shotgun microphones.

The two surround microphones are separated by a small baffle, but exhibit an overall wider pickup. The LFE channel is electronically derived from the sum of the front left and right microphones with a roll off set to 120Hz and 100dB of attenuation.

One of the effects of the use of interference tubes is the heighten the effect of the high frequency response of the microphones, so the LFE acts as a natural fill-in when balanced with these channels.

The simple, but well written, accompanying manual for the DPA 5100 gives very clear polar illustrations for the pickup of each microphone, as well as guides to fold down balances for stereo and mono configurations and rear channel delay settings.

The perferred and illustrated monitoring setup for the DPA 5100 conforms to the ITU-R BS.775 standard, and this was the arrangment I used for final listening of my various recorded sources with which I tested the 5100.

In Use-

I first set up the DPA 5100 within the studio to get a sense of the overall sound produced by each of the feeds and some detailed  assessment of the sound space. I had a full surround monitoring system set as previously described to run these initial tests.

One immediate advantage of the DPA 5100 over the other surround arrays is the speed and ease of set up. A simple lead from the DPA 5100 to the preamps and nothing more: a real plug and play arrangement.

The DiPiMic configuration with the front three channels achieves a very tight and defined pattern. Having a sound source mover around the DPA 5100 illustrated great definition without excessive spacing, and a very smooth naturally detailed, and crisp sonic response.

The slightly bright nature of the front channels is superbly supported by the LFE feed derived from the front left and right resulting in excellent balance. Armed with a basic DAW system, and a rack or preamps, I set about running a number of environmental tests with the DPA 5100.

I placed the mic on the touchline to capture a football game, one of the applications that the DPA 5100 will be used for I am sure. The wind noise handling is extremely good indeed with no real effect to speak of, and use of the additional weather protection cover did not significantly impact the detailed sonic characteristics of the microphones.

Great definition and, once again, it is worth mentioning the very natural output of the DPA 5100.

The lightweight DPA 5100 was no real problem with boom mounted with no handling noise transferring through to the microphone. The internal mounting of the DPA 5100, wich is impossible to see without destroying the microphone, must be well dampened I suspect. I would expect that, with the additional camera mounting, noise levels would be equally low.

DPA 5100 on Camera

Conclusion-

The DPA 5100 is a dream in its simplicity of setup, and produces very natural sounding smooth results with great phase coherence and channel definition.

As a straightforward plug and play microphone for broadcast use, I can see the DPA 5100 finding a lot of fans very quickly. As a surround microphone for studio applications, the DPA 5100 may not have the positional flexibility of a separated microphone array, but I did not miss this with such an enveloping performance. “

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DPA has won a 2009 TEC Award for outstanding technical achievement in professional audio product design for the 4099 clip microphone. The DPA 4099, launched in September 2008, won in the Microphone Technology/Sound Reinforcement category, reinforcing the positive market reaction and surge in demand that has greeted the mic since its launch.

TEC Awards nominations are made by a panel of industry professionals and voted upon by members of various professional organisations and audio industry websites. The award ceremony was held at a special event during the 127th AES convention in New York.

DPA 4099 condenser mics and mounting systems are designed for a wide range of instruments, including guitar, violin, trumpet and sax. Representing years of R&D, the 4099 features supercardioid polar patterns for superior gain-before-feedback. Capable of handling intense SPLs, it shares the same high quality and transparent sound characteristics as DPA’s other world-class microphones.

Tiny, discreet and lightweight, the 4099 is extremely rugged, and the versatile gooseneck provides stable positioning. The mic can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed to leave no mark on precious instruments. New instrument clips to fit the 4099 will be available in the New Year.

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DPA Microphones 4099 Wins 2009 TEC Award

DPA has won a 2009 TEC Award for outstanding technical achievement in professional audio product design for the 4099 clip microphone. The DPA 4099, launched in September 2008, won in the Microphone Technology/Sound Reinforcement category, reinforcing the positive market reaction and surge in demand that has greeted the mic since its launch.

TEC Awards nominations are made by a panel of industry professionals and voted upon by members of various professional organisations and audio industry websites. The award ceremony was held at a special event during the 127th AES convention in New York.

DPA 4099 condenser mics and mounting systems are designed for a wide range of instruments, including guitar, violin, trumpet and sax. Representing years of R&D, the 4099 features supercardioid polar patterns for superior gain-before-feedback. Capable of handling intense SPLs, it shares the same high quality and transparent sound characteristics as DPA’s other world-class microphones.

Tiny, discreet and lightweight, the 4099 is extremely rugged, and the versatile gooseneck provides stable positioning. The mic can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed to leave no mark on precious instruments. New instrument clips to fit the 4099 will be available in the New Year.

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DPA 4099 Instrument Microphones

Representing years of research and development, the 4099 condenser microphones feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the guitar’s dynamic range and subtle details, these microphones live up to their pedigree with sound as accurate as DPA’s other world-class microphones.

DPA Microphones 4099 Guitar

4099-G for Guitar, Dobro, Ukulele, Mandola and more.

• Superior gain-before-feedback
• Wireless compatible
• Flexible and easy one-hand mounting
• Holder gentle to the instrument

Perfect for PA amplification and live recording of acoustic guitar, mandolin, banjo and dobro, the 4099G offers practically unlimited placement possibilities as well as a sound that is considerably more natural than an internal microphone or pick-up.

The 4099G is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new instrument microphone. The 4099 microphone and mounting system is meticulously designed and optimized for the guitar family. This is to ensure the best possible mount and audio reinforcement is achieved when performing live. The 4099G fits instruments with a body depth between 35 mm (1.4 in) and 122 mm (4.8 in).

Representing years of research and development, the 4099 condenser microphones feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the guitar’s dynamic range and subtle details, these microphones live up to their pedigree with sound as accurate as DPA’s other world-class microphones.

Despite its tiny, discreet size and elegant, lightweight design, 4099G is extremely rugged. The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument.

Reduce cable clutter on stage by using the DAO4099-G Guitar Double Cable. The cable carries both the 4099 mic extension cable and a pick-up jack connection in one dual cable run in a nylon sock. The jack uses high quality Mogami cable and gold Neutrik connectors. At the instrument end there is a right-angled connector. The microphone extension is the DPA miniature cable.

Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector.

Fleet owners of 4099s will appreciate the multiplicity of using the microphone for a number of different instruments simply by moving the microphone/gooseneck part to another instrument clip from the range.

With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musician’s mic without equal.

DPA Microphones 4099 Violin

4099-V for Violin, Viola, Mandolin, Banjo and more.

• Superior gain-before-feedback
• Wireless compatible
• Flexible and easy one-hand mounting
• Holder gentle to the instrument

Violin and viola players will appreciate how gently the 4099V adheres to a prized instrument while its elegantly lightweight, unobtrusive design keeps it from getting in the way of a passionate performance.

The 4099V is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new instrument microphone. The 4099 microphone and mounting system is meticulously designed and optimized for the string family. This is to ensure the best possible mount and audio reinforcement is achieved when performing live. The 4099V fits other instruments with a body depth between 35 mm (1.4 in) and 55 mm (2.1 in).

Despite its tiny, discreet size and elegant, lightweight design, 4099V is extremely rugged. The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument.

Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector.

Fleet owners of 4099s will appreciate the multiplicity of using the microphone for a number of different instruments simply by moving the microphone/gooseneck part to another instrument clip from the range.

With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musician’s mic without equal.

DPA Microphones 4099 Saxophone

4099-S for all Saxophones, bass clarinet and more.

• Superior gain-before-feedback
• Wireless compatible
• Flexible and easy one-hand mounting
• Holder gentle to the instrument
  

Soprano, alto, tenor or baritone, the 4099S fits them all, providing exceptional gain-before-feedback and a broad spectrum of uncompromised tonal possibilities depending on the microphone placement.

The 4099S is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new instrument microphone. The 4099 microphone and mounting system is meticulously designed and optimized for the saxophone family. This is to ensure the best possible mount and audio reinforcement is achieved when performing live.

Despite its tiny, discreet size and elegant, lightweight design, 4099S is extremely rugged. The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument.

Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector.

With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musician’s mic without equal.

DPA Microphones 4099 Trumpet

4099-T for Trumpets

• Handles extreme sound pressure levels
• Wireless compatible
• Flexible and easy one-hand mounting
• Fits any mute
  

An ideal tool for trumpet, trombone and other brass instruments, with or without mute, the 4099T effortlessly handles even the highest sound pressure levels. Its innovative mounting mechanism makes it easy to move the mic between instruments with only one hand.

The 4099T is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new range of instrument microphones. The 4099 microphone and mounting system is meticulously designed and optimized for the brass family. This is to ensure the best possible mount and audio reinforcement is achieved when performing live.

Despite their tiny, discreet size and elegant, lightweight design, 4099 models are extremely rugged. The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument. Any mute can be used together with the microphone and it is easy to place the trumpet in a stand while keeping the 4099 clip on the instrument.

Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector.

With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musician’s mic without equal.

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