DPA Mics

T

TBSHVX

Member
Hey,

I was thinking of using some dpa mics too shoot a feature using the hvx,

can anyone tell me if these mics are good? and what mixer/boom poles I should use with them?

Im going to be shooting in doors, out doors and inside of moving vehicles.

here is the shotgun specs


Principle of operation:
Pressure gradient
Cartridge type:
19 mm (0.75 in) pre-polarised condenser
Power supply:
48 V Phantom power
Frequency range, ± 2 dB:
40 Hz - 20 kHz
Directional characteristics:
Cardioid
Equivalent noise level A-weighted:
Typ. 19 dB(A) re. 20 µPa (max. 20 dB(A))
Sensitivity, nominal, ±2 dB:
10 mV/Pa; -40 dB re. 1 V/Pa
Equiv. noise level ITU-R BS.468-4:
Typ. 25 dB (correct with the attenuator in 0 dB or -20 dB setting)
Capsule diameter:
19 mm (0.75)
Total harmonic distortion (THD):
<0.5% up to 110 dB SPL peak
<1% up to 116 dB SPL peak
Preamplifier frequency range:
20 Hz to 40 kHz -3 dB (loaded with 2x10 kOhm// 10 nF - equivalent to 100 m cable)
Output impedance:
<200 Ohm
Cable drive capability:
Up to 100 m (328 ft)
Microphone length:
175 mm (6.89 in)
Max. SPL, peak before clipping:
158 dB
Weight:
165 g (5.82 oz)
Dynamic Range:
Typ. 97 dB
Switchable attenuator:
0 dB, -20 dB
S/N ratio, re. 1 kHz at 1 Pa (94 dB SPL):
75 dB(A)
Connector:
3-pin XLR-M (Standard P48)
Current consumption:
2.60 mA

Hmm, I cant find the lavalear on the website. But I was told I should use one for in car scenes? Any advice?
 
DPA certainly makes some great mics, but I don't know of anyone who uses them on a boom pole. What model are you talking about, and why do you choose DPA for this application? Do you have 'em already?
 
Type 4011-TL Cardioid Microphone, P48 . Umm, I was asking around the CSIF and they told me to check DPA out, made a phone call and they told me it was the ferarri of boom microphones, not sure if I am being mis-led or not. The mic is $2000.00
 
the 411 and others not in use for film business , probably becouse of luck for hyper cardioid pattern , they are grate mic for music recording .
you can live with this in indoor situations and not moving or dragged vehicles but it would be very hard work them in noisy places where you need much tighter pattern
the do a grate lavalieres as well , 4060 is most usable for dialog recording
the 4061 for very loud voice applications , 4062 low sensitivity for opera singers and instruments
the 4071 dedicated for film as it has bump in high fq for compensation if you place them under clothes .

if you get the mics for free its fine , if you are going to buy, look for other brands which cheaper and more friendly for tv business
for the price of one dpa you probably grab 3 descent mics with different patterns ,

the lavalieres are very good not that i prefer other options and use the 4061 only for very loud talkers .
about boom and suspention check the board its full of information.

you really need very good preamp to justify these microphones
 
Well are some other good mics in the 1000.00-2000.00 dollar price range?

I want to step up from the RODE equiptment , I spent close to 1000.00 on my rode boom setup and it sounded like garbage indoors, in moderately windy conditions, inside running vehicles. It picked up any traffic with in 200 ft radius,
the slightest shake of the hand brings out quite an annoying rattle from time to time. Im not looking for a cheap fix, I want to go the distance with audio, with in a couple of thousand dollars.
 
look for akg 480 +63+ swivwel for indoor /cars
sanken or AT pzm for cars and as plant mic
at -4073 shot gun for out door
ktek zeppelin and suspention
AT suspension for the akg

some nice boom pole from ambient or k-teck - allot of models -allot of prices :-)
for lavalieres check the countryman emw or sankens , that really depends on your budjet ( 180 to 400 for hard wire )

who robed you for a grand on rode - the boom , suspention , dead cat and rode boom pole are not more then 400us$?:-)

i think for 2 grand + what you get for your old stuff you can rise some nice mic package
 
Check the stickies at the top of the forum. There are some great starter packages listed in various price ranges.

Phil
 
I suppose I got robbed by parkland audio. They are the only place in my city that carried microphone equiptment.

can you help me find a link on the sanken or AT websites for the pzm having a bit of trouble finding that one. And does it matter what ktek or At suspension I use?

Thanks again,
 
sanken cub-1 (cardioid)
ar i think its at 851 or 841 , look for omny vesion( round microphone) not the cardioid, sound better
ktec gpss
AT- i dont remeber the number .
 
Oleg 2 said:
the 411 and others not in use for film business
Click to expand...
Some time ago we used a DPA 4011 to shoot some interior foley. Nice, transparent sound, with an exceptionally low noise floor. We were able to push it a lot farther than the Sennheiser `416 and Neuman TLM103 we usually use. That said, I still prefer the flexibility of the `416 and `103. I also wonder how the relatively fragile DPA 4011 would stand up to the wear-and-tear of film post (to say nothing of production or effects recording).

I can definitely vouch for the DPA 8011, though. By far the best hydrophone on the market.

Has anyone had an opportunity to check out any of Holophone's surround mic kits? I seem to recall that they use DPA capsules in the H2 Pro.
 
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