- Limitless applications:
Recording orchestras or other ensembles sometimes requires a compromise between blending in the room reverberation and a more precise localization. The wide cardioid (also known as hemispheric) design covers a greater sound angle and is an excellent choice for grand piano, guitar, marimba, and percussion, or as a spot mic for groups in a symphony orchestra. Likewise, it is an excellent speech, dubbing, or vocal mic as its enhanced richness on the bass end nicely compliments many voices.
- Completely linear, even off-axis:
The off-axis characteristics of the 4015A are totally linear, a unique quality when it comes to authentic sound reproduction. Any leakage that occurs from off-axis sound sources is still a faithful reproduction of these sounds, just softly attenuated.
- Specialists in extreme sound levels:
DPA's wide cardioid microphones are capable of handling extremely high sound pressure levels before clipping occurs. The 4015A even includes a 20 dB pad switch in the center of the XLR connector to prevent overloading of the mic amp.
- DPA 4017B Shotgun premounted in Rycote® Suspension with the Rycote® Windshield
- DPA XLR cable
- DPA Windscreen for 4017B
- Rycote fur windjammer
- Rycote XLR holder
- Rycote brush
The versatile DPA 4006A is without doubt the most popular mic in our standard range and has rightly earned its status as a worldwide recording standard.This highly sought after omni has forged its enviable reputation over the past quarter of a century by repeatedly exhibiting its total transparency in any recording situation, and by picking up incredible detail and depth of sound.The definition of its high-frequency characteristics across a wide range of instruments is undeniably impressive for the vast majority of miking applications.
- Renaissance microphone:
With the 4006A, engineers, broadcasters and musicians alike can achieve extremely clean, natural and precise reproduction in a variety of applications.Ideal for A-B stereo pairs for symphonic concert hall recordings, the 4006A also excels on vocals and for close-miking instruments like grand piano, guitar, double bass and percussion.
- Seven tools in one:
A wide selection of acoustic modification accessories, including pressure equalizers, nose cone and interchangeable protection grids, allows the 4006A to be acoustically transformed into seven different microphone versions, making it the most multifaceted mic in your collection and a tremendous value.By simply changing a grid or mounting an element over the capsule, it is possible to gain seven unique frequency responses and directional characteristics from a single mic.Furthermore, these grids and elements will not produce any phase shift, noise or distortion that would otherwise be introduced by an electrical filter.
The DPA 4011A cardioid condenser microphone is an upgraded version of our classic 4011, renowned in recording studios and live applications around the world as an exceptional mic.State-of-the-art components have been carefully selected to provide optimal neutrality, accuracy, and extremely low distortion.
- Pure linear cardioid:
The principal appeal of the 4011A is its directional quality and attention to detail: everything sounds like the original.The first-order cardioid pickup pattern provides superb separation between sound sources when used as a spot mic on literally any style of live music, from rock 'n' roll to opera.The 4011A is equally suitable for close-up work on acoustic guitar, grand piano, overheads, percussion, wind instruments and vocals as it is for spot-miking symphonies.It can handle incredibly high sound levels and even includes a 20 dB pad switch in the center of the XLR connector to attenuate the output of the microphone.
- Perfectly natural:
A flat on-axis frequency response and excellent phase response deliver a totally faithful reproduction of the original sound.The off-axis response is similarly smooth so that any leakage is an accurate reflection of the original, though attenuated according to the true first-order cardioid pickup pattern.The sensation of "being there" will always be more intense with the DPA 4011A than with any other cardioid.Chosen for its qualities as an all-around performer, the 4011A is a great, clean-sounding colorless mic. The variety of applications is as wide as the imagination of the user.
- Tune out the surroundings:
Extensive research and development has been undertaken to optimize the sound coming from the sides and behind the microphone. Minimizing the often very un-linear response of a shotgun microphone due to its side lobes is one of the key accomplishments of the 4017B.The condenser capsule uses a high voltage pre-polarized back plate, endowing the shotgun with high output as well as wide dynamics, extremely low noise and distortion specifications.
- Small size, big performance:
At just 210 mm (8.3 in.) in length and 71 g (2.5 oz) in weight, the aluminum-bodied DPA 4017B is among the smallest and lightest boom microphones available.But that's not to say that it's small on performance. Fully immune to RF emission, the 4017B's 19 mm (0.75 in.) condenser cartridge is capable of handling peak SPLs of 132 dB before clipping, and has a wide dynamic range of 117 dB across a flat frequency response of 70 Hz - 20 kHz (±2 dB in 60 cm distance).
- Screwdriver-free filter access:
The 4017B features two onboard filters that are activated via an ingenious switching ring design. With the simple twist of two sturdy rings, engineers can implement a high-frequency boost that adds a 4 dB shelf at 8 kHz and a first-order bass roll-off below 120 Hz to minimize handling and wind noise.
The new DPA 2006 microphone has strong references to the acclaimed DPA 4006 omni microphone -by its type number 06, its overall sound character, and its industrial design.The difference is in the capsule technology that in the 2000 series features the new Twin Diaphragm Capsule technology.Comparison with its big brother, the iconic 4006, is inevitable. The relationship between the two is clearly heard from the first 2006 audio glance; the 2000 series simply performs like much more exclusive microphones from the premium class and redefines the term value for money.
- Modular upgradability:
2006A is part of the flexible DPA Reference Standard series.The 2006A with the MMP-A preamplifier is the audiophile's choice with low distortion and total accurate and faithful sound, where the 2006C MMP-C compact preamplifier offers a subtle character alteration with a bit more "body" to the low end -in addition to its easier-to-position approach.At any time and with no tools necessary it is possible to transform the basic 2006 microphone into a new configuration by combining it with another DPA microphone capsule or preamp.
- Twin Diaphragm Capsule technology:
The overall distinctive sound image from the DPA miniatures is so well balanced that it meets the high demands of the DPA Reference Standard league.In a 2006 capsule two opposite facing miniature capsules are custom re-built into a double diaphragm, one-capsule composition. This combines the advantages of small capsules (fast impulse response and large frequency bandwidth) with lower inherent noise achieved from a larger diaphragm area.The capsules are loaded to the supreme Reference Standard preamps instead of the tiny miniature FET preamp from the miniature mics, offering even more air and precision.
- Dedicated to acoustic authenticity:
Every engineer and musician concerned with getting the precise acoustic fingerprint on track will be pleased by the true tone delivered by the 2006. Acoustic piano, guitar, wind instruments and choirs are among the most evident applications.As main AB stereo pair the 2006s offer an impeccable combination of two ordinary frequency responses from the 4006 with specially tailored high frequency response that lies perfectly in between the responses from the near-field (silver) grid and the diffuse-field (black) grid.
The new DPA 2011A microphone has strong references to the acclaimed close-miking and hi-SPL handling specialist DPA 4011 cardioid microphone -not only by its type number 11, also in its all-round capture abilities.2011 is primarily optimized for on-stage use and the technology combines the new Twin Diaphragm Capsule and DPA's strong know-how within interference tube technology.While 4011 has gained worldwide admiration for its total linearity at all sound confrontations, the 2011 is purposely aimed differently; the off-axis response is still linear but in a smaller frequency bandwidth making stage separation and gain-to-feedback higher and mic level easier to control.
- Modular flexibility:
2011A is part of the flexible DPA Reference Standard series. The 2011A with the MMP-A preamplifier is the audiophile's choice with low distortion and total accurate and faithful sound, where the 2011C with the MMP-C compact preamplifier offers a subtle character alteration with a bit more "body" to the low end -in addition to its easier-to-position approach.At any time and with no tools necessary it is possible to transform the basic 2011 microphone into a new configuration by combining it with another DPA microphone capsule or preamp.
- Twin Diaphragm Capsule: cutting edge technology:
The overall distinctive sound image from the DPA miniatures is so well balanced that it meets the high demands of the DPA Reference Standard league.In a 2011 capsule two opposite facing miniature capsules are custom re-built into a double diaphragm, one-capsule composition.The use and control of interference tubes has become a DPA specialty and the 2011 is no exception; the capsules are loaded to the supreme Reference Standard preamps instead of the tiny miniature FET preamp from the 4060 miniature series, offering even more air and precision.
- Stage addict:
The 2011 has found its use on numerous stages and recording sessions. Exhibiting a previously unheard blend of clarity, richness and dynamic range, the 2011 performs like a much more exclusive microphone and redefines the term value for money.
Wherever a small, lightweight, inconspicuous microphone for top-quality recording is required, the compact design and clean, transparent sound of our versatile 4006C makes it the perfect choice. They are particularly popular as A-B stereo pairs in concert halls where quality recordings can sometimes be compromised by classic architecture. The 4006C can be mounted, hung or concealed to create clean, transparent recordings. It is ideal in theatres, opera and concert halls or places of worship where there is a live audience, and for film applications, both in the studio and on location. These mics are also popular with musicians for close-miking instruments such as double bass, trumpet and piano. At the same time they are wonderful for ambience miking on soundstages, in sports stadiums and other environments where audience sound needs to be recorded.
- Seven tools in one:
A wide selection of acoustic modification accessories, including pressure equalizers, nose cone and interchangeable protection grids, allows the 4006C to be acoustically transformed into seven different microphone versions, making it the most multifaceted mic in your collection and a tremendous value. By simply changing a grid or mounting an element over the capsule, it is possible to gain seven unique frequency responses and directional characteristics from a single mic. Furthermore, these grids and elements will not produce any phase shift, noise or distortion that would otherwise be introduced by an electrical filter.
DPA's Compact Cardioid range is proof that stunning clarity and absolute neutrality are not solely the characteristics of full-sized studio condenser mics alone.Designed to be hidden from view, the diminutive design and high performance of the DPA 4011C makes it the outstanding choice for unobtrusively miking all types of television, film, theatre, concert and studio performances.
- Limited in size, not application:
Capable of handling high SPLs without distortion, the 4011C is perfectly tailored for close-miking applications, minimizing bleed from other instruments.When used to spot-mike larger orchestras, these mics are hard to beat, and in film and TV studios, they are excellent for off-camera voice recording or Foley work.For live on-camera recordings, their matte black finish gives them a classic yet inconspicuous appearance, while for sound reinforcement in concert halls, theatres and houses of worship, they provide clean, natural sound while reducing the noticeable effect of lighting reflection.