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| What's the deal with Rendering? [message #61181] |
Sun, 11 December 2005 05:31  |
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John [1]
Messages: 2229
Registered: September 2005
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Senior Member |
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provide
natural sound when the mics are mounted on a performer in either the head
or chest position. You can, though, also use the grid on instrument miking
to get three different-sounding mics for the price of one. I like the short
grid for most instruments, because it gives you a slight "tilt" in the 8-20
kHz range that you usually expect from a condenser mic. The mics also feature
another interesting design feature: the MicroDot connector system. A tiny
thread-on plug allows you to securely attach a variety of connectors such
as 3-pin XLR, 3-pin Lemo, or Switchcraft TA4F (18 different types in all).
This useful feature effectively multiplies your mic inventory since you can
use the same microphone element on a variety of RF body packs or XLR preamps.
Three sensitivity levels are available: the DPA4060 (134-dB SPL peak); DPA4061
(144-dB SPL peak); and DPA4062 (154-dB SPL peak). I was sent the most sensitive
version (the DPA4060) and was unable to overload them with the instruments
I tried. Really loud situations, however, might require the built-in padding
of the 4061 or 4062. And for the cosmetically inclined, you can get them
in black, beige, or white. A point that, while unimportant to most studios,
is important for on-air talent (...lights, cameras, action!).
I tried them on acoustic piano and guitar in the studio, and the sound
was surprisingly natural considering the small element. But the DPA4060 got
the MVT Award (Most Valuable Transducer) from me at a live/recording concert
with Celtic musician Robin Bullock. The C-Ducer contact pickup in his Cittern
(sort of a round-back, Celtic mandolin) went noisy without a spare in the
house. We simply taped a DPA4060 near the sound hole, and the sound was fantastic.
There was plenty of gain before feedback, and none of the bass build-up you
can get with a cardioid mic. Plus, there was none of the brittle string tone
you often get with a contact pickup. In fact he liked it so much, I loaned
him one to take next week on a quick Paris/Germany tour.
The only thing that's needed to make the system complete is a good mounting
system for instruments. For piano, a pair of soda straws make acceptable
mini-booms, and some double-sided tape works for acoustic guitar, but these
are jury-rigs at best that won't make it on the live stage. No, what's needed
is a variety of clips and mini-booms that can be attached to violins, guitars,
dulcimers, and banjos. Yes, these mics would be right at home with the Celtic
and Bluegrass crowd if only there were a quick mounting system that didn't
require duct tape.
So if you like the sonic integrity of using B&K mics, but used to faint at
the price, try out the DPA4060's. They offer a champagne sound to those
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| Re: What's the deal with Rendering? [message #61183 is a reply to message #61181] |
Sun, 11 December 2005 07:53  |
Don Nafe
Messages: 1206
Registered: July 2005
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Senior Member |
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or standard XLR inputs; different protection grids are supplied that provide
acoustical equalization for different mic positions on a performer.
WEAKNESSES:
No mounts supplied (please don't make me use duct tape again); omni pattern
only.This is a multi-part message in MIME format.
---=_linux439c6a03
Content-Type: text/plain
Content-Transfer-Encoding: 7bit
"gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>
>
>This show has been running on PBS stations. The sound is excellent by Broadcast
>TV standards and one of the main reasons is the wide use of DPA/B&K 4060/4061
>Miniature Condenser Microphones. I have owned a pair of these for several
>years, and I am always surprised that they don’t get more attention from
>the general recording sector.
>I use mine primarily with a dummy head for binaural recordings, but I have
>found these to be quite good in a variety of high end uses. If you watch
>the broadcast and look close, you will see the mics used for all the vocals
>as well as all the solo instruments. It’s not always easy to spot the mics,
>since they are a little smaller than a pencil eraser.
>DPA had/has a CD with recordings of a variety of string, brass, percussion,
>vocals, etc. using the mic and the CD is a real “eye-opener”. (I don’t know
>if the CD is still available.)
>The small size requires careful handling and I wouldn’t recommend purchasing
>a used set without some return warrantee, but even at the new purchase price,
>I consider these among the better mics I have ever used. I made my own mic
>clips using 10-cent plastic spring clips.
>In the studio I find musicians take me more seriously if I put up a large
>dummy mike when I am using 4060s.
>
>
>http://www.soundpure.com/showProduct.do?id=453
>
>
>Review of DPA 4060: EQ Magazine
>
> DPA4060 by Mike Sokol
> I must confess to an infatuation with Brüel & Kjær mics. I first used B&K
>mics many years ago as part of an OSHA test for noise levels in a noisy
factory,
>and occasionally saw them used in the studio. They always were a little
too
>expensive for my budget, so I figured that maybe someday Santa would bring
>me a pair. Well, Christmas came a little early this year, 'cause I was sent
>a pair of DPA4060's to audition. (Yes, I was a very good boy.) And the price
>is so reasonable that every project studio can afford a pair.
>
>Although designed as a miniature vocal mic to be hidden on the face or chest
>of on-the-air talent, they work surprisingly well for acoustic instruments.
>And since acoustic instrument miking's my main gig, I tried them on different
>instruments in the studio and in live performance.
>
>The DPA capsule is smaller than a pencil eraser. Two different protection
>grids are supplied: one gives you a 3-dB boost in the 8-20 kHz range, while
>the other gives you a 10-dB boost at 12 kHz. The boosts are designed to
provide
>natural sound when the mics are mounted on a performer in either the head
>or chest position. You can, though, also use the grid on instrument miking
>to get three different-sounding mics for the price of one. I like the short
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| Re: What's the deal with Rendering? [message #61188 is a reply to message #61183] |
Sun, 11 December 2005 11:20 |
Aaron Allen
Messages: 1988
Registered: May 2008
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Senior Member |
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standards and one of the main reasons is the wide use of DPA/B&K 4060/4061
>Miniature Condenser Microphones. I have owned a pair of these for several
>years, and I am always surprised that they don’t get more attention from
>the general recording sector.
>I use mine primarily with a dummy head for binaural recordings, but I have
>found these to be quite good in a variety of high end uses. If you watch
>the broadcast and look close, you will see the mics used for all the vocals
>as well as all the solo instruments. It’s not always easy to spot the mics,
>since they are a little smaller than a pencil eraser.
>DPA had/has a CD with recordings of a variety of string, brass, percussion,
>vocals, etc. using the mic and the CD is a real “eye-opener”. (I don’t know
>if the CD is still available.)
>The small size requires careful handling and I wouldn’t recommend purchasing
>a used set without some return warrantee, but even at the new purchase price,
>I consider these among the better mics I have ever used. I made my own mic
>clips using 10-cent plastic spring clips.
>In the studio I find musicians take me more seriously if I put up a large
>dummy mike when I am using 4060s.
>
>
>http://www.soundpure.com/showProduct.do?id=453
>
>
>Review of DPA 4060: EQ Magazine
>
> DPA4060 by Mike Sokol
> I must confess to an infatuation with Brüel & Kjær mics. I first used B&K
>mics many years ago as part of an OSHA test for noise levels in a noisy
factory,
>and occasionally saw them used in the studio. They always were a little
too
>expensive for my budget, so I figured that maybe someday Santa would bring
>me a pair. Well, Christmas came a little early this year, 'cause I was sent
>a pair of DPA4060's to audition. (Yes, I was a very good boy.) And the price
>is so reasonable that every project studio can afford a pair.
>
>Although designed as a miniature vocal mic to be hidden on the face or chest
>of on-the-air talent, they work surprisingly well for acoustic instruments.
>And since acoustic instrument miking's my main gig, I tried them on different
>instruments in the studio and in live performance.
>
>The DPA capsule is smaller than a pencil eraser. Two different protection
>grids are supplied: one gives you a 3-dB boost in the 8-20 kHz range, while
>the other gives you a 10-dB boost at 12 kHz. The boosts are designed to
provide
>natural sound when the mics are mounted on a performer in either the head
>or chest position. You can, though, also use the grid on instrument miking
>to get three different-sounding mics for the price of one. I like the short
>grid for most instruments, because it gives you a slight "tilt" in the 8-20
>kHz range that you usually expect from a condenser mic. The mics also feature
>another interesting design feature: the MicroDot connector system. A tiny
>thread-on plug allows you to securely attach a variety of connectors such
>as 3-pin XLR, 3-pin Lemo, or Switchcraft TA4F (18 different types in all).
>This useful feature effectively multiplies your mic inventory since you
can
>use the same microphone element on a variety of RF body packs or XLR preamps.
>
>Three sensitivity levels are available: the DPA4060 (134-dB SPL peak); DPA4061
>(144-dB SPL peak); and DPA4062 (154-dB SPL peak). I was sent the most sensitive
>version (the DPA4060) and was unable to overload them with the instruments
>I tried. Really loud situations, however, might require the built-in padding
>of the 4061 or 4062. And for the cosmetically inclined, you can get them
>in black, beige, or white. A point that, while unimportant to most studios,
>is important for on-air talent (...lights, cameras, action!).
>
>
> I tried them on acoustic piano and guitar in the studio, and the sound
>was surprisingly natural considering the small element. But the DPA4060
got
>the MVT Award (Most Valuable Transducer) from me at a live/recording concert
>with Celtic musician Robin Bullock. The C-Ducer contact pickup in his Cittern
>(sort of a round-back, Celtic mandolin) went noisy without a spare in the
>house. We simply taped a DPA4060 near the sound hole, and the sound was
fantastic.
>There was plenty of gain before feedback, and none of the bass build-up
you
&
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| Re: What's the deal with Rendering? [message #61190 is a reply to message #61181] |
Sun, 11 December 2005 12:31 |
Martin Harrington
Messages: 560
Registered: September 2005
|
Senior Member |
|
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d to those
on
>a beer budget. Bottom line: A real value, offering tremendous sonic bang
>for the buck.
>
>MANUFACTURER:
>DPA Microphones (formerly known as Bruel & Kjaer). Distributed by TGI North
>America, 300 Gage Avenue, Unit 1, Kitchner, Ontario, Canada N2M 2C8. Tel:
>519-745-1158. Web: www.dpamicrophones.com
>APPLICATION:
>Miniature voice/performance microphones that also can be used for acoustic
>instrument miking.
>SUMMARY:
>Brings legendary B&K sound within price range of every studio.
>STRENGTHS:
>Connection adapters allow mics to be used with a variety of RF body packs
>or standard XLR inputs; different protection grids are supplied that provide
>acoustical equalization for different mic positions on a performer.
>WEAKNESSES:
>No mounts supplied (please don't make me use duct tape again); omni pattern
>only.
>
>
>Hi Bill,
I'll post the order Monday Morning :)
So Far - No one has been able to pick the right order -
I'll make it easy -
The U47 is considered to be the Holy Grail
Just Pick the U47a - and the Prize is yours !!
Morgan
Bill Lorentzen wrote:
> So how do we find out which is which?
>
> Bill L
>
> "Morgan" <morganp@ntplx.net> wrote in message news:43997c34$1@linux...
>
>>Greetings,
>>
>>Tony Benson has been kind enough to offer his web-site
>>for hosting some cool PARIS and Audio files etc...
>>
>>As many of you know - I am always looking for cool and Unique
>>sounding products that are in the Spirit of this PARIS Community.
>>
>>I believe the SE Mic company has some really Great Mics that deserve
>>a listen.
>>http://www.seelectronics.com/whatsnew.html
>>
>>
>>Tony will post some MP3 and Wav files that were Recorded By
>>Roger Nichols for NARAS
>>( National Academy of Recording Arts and Science )
>>http://www.rogernichols.com/
>>
>>Here is the Challenge - there are 5 mics in the Shoot out:
>>TELEFUNKEN U47
>>SOUNDELUX U95 (AKG C12)
>>SE GEMINI
>>SE 5600A
>>SE ICIS
>>
>>These are all Tube Mics - The Telefunken and Soundelux
>>cost Thousands $$$ More !!
>>
>>Listen to the Samples - then Properly identify the Mics in order.
>>
>> http://www.mercysakes.com/paris/Morgan%20Pettinato/Mic%20Con test/
>>
>>You can open any audio app and imort the wave file in order -
>>or listen to the NUENDO Mp3 file ( Last one in directory )
>>
>>Anyone that can Properly identify these Mics will Win -
>>
>>SE Microphone Deluxe Windscreen $ 59 Value
>>http://www.seelectronics.com/popscreen.html
>>Planet Waves Mic Cable $69 Value
>>Report message to a moderator
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