Recording - February 2013 - 50

B Y PA U L V N U K J R .

DPA

2000 Series Reference Standard Mics
The DPA reputation for excellence in a surprisingly affordable format
DPA is short for Danish Pro Audio, a company that manufactures pristine highfidelity microphones in Denmark and distributes them in the US from its headquarters in Colorado. Most of its line falls into what we could call a pencil condenser style of small-diaphragm models as well as varied lines of miniature condensers for instrument and headset use. A few years ago I got my first taste of DPA when I had the pleasure of reviewing multiple models in the d:vote 4099 instrument mic series for violin, mandolin and acoustic guitar. You can read that review in our June 2010 issue. This time around I got to evaluate some of the company’s Reference Standard pencil condensers, with an emphasis on the capsules available in the new 2000 Series. Modular The Reference Standard series is made up of various components rather than actual mics. In this way it’s possible to choose the right preamplifier (body) and capsules to suit specific needs. Among preamps you can choose the MMP-A, the MMP-B that includes a lowcut and high-boost, and the MMP-C which is the compact preamp offering a bit more low-end presence. There is a choice of capsules: MMC4011 Cardioid, MMC4015 Wide Cardioid, MMC4006 Omni, MMC4017 Shotgun, and a pair of more affordable twindiaphragm capsules, the MMC2006 Twin Omni and the MMC2011 Twin Cardioid. For this review I was sent a pair of the MMP-A bodies, a pair of the MMC2006
50
RECORDING February 2013

Twin Diaphragm Omni capsules and a pair of the MMC2011 Twin Diaphragm Cardioid capsules. I was also sent a pair of the coolest pencil-condenser shockmounts I have ever seen or used. Stop by the DPA website and take a look at the DPA SM1500 shockmounts on their accessories page. They are based on the Rycote Lyre system and are very impressive! I was also sent a pair of large foam windscreens and standard mic clips as well. Preamps The MMP-A preamps or mic bodies are a classy jet black and measure 5.8" long with a diameter of 0.75". They have a 138 dB dynamic range and use a transformerless, active circuit. DPA calls this design impedance balancing with Active Drive. There is a whole article on DPA’s website that goes into what this is, what it does and why, but in simple terms the Reference Standard series preamps offer a lower noise floor than transformers, better consistent signal amplitude, and extremely accurate linear phase response. Think ultraclean, ultra-quiet, and ultra-accurate, and you are on the right track. Twin Diaphragm Capsules Both of the 2000 Series capsules use a pair of opposite-facing, pre-polarized, pressure gradient miniature capsules in their design, and the 2011 Cardioid makes use of DPA’s interference tube design. In essence, these are miniature chambers in the capsule, and similar to how a shotgun mic works, hence this capsule’s extended size.

The MMC2011 Cardioid capsule is on the larger side at 2" in length and features a unique outer grill structure. It has a stated frequency response of 20 Hz to 20 kHz, a 10 mV/Pa; –40 dB ref: 1 V/Pa sensitivity, a 74 dBA signal to noise ratio and a 20 dBA ref: 20 uPa equivalent noise level. It’s a fairly flat mic with a slight dip between 50 and 100 Hz and a gentle smooth upward slope from 3 kHz, peaking at 10 kHz and then dropping off around 15 kHz. The MMC2006 Omni capsule is directly descended from DPA’s 4060 miniature Omni capsule. Unlike the 2011, this one does not use interference tubes in its design, and is only 0.67" in length. DPA lists it as having a frequency response of 20 Hz to 20 kHz, a 40 mV/Pa; –28 dB ref: 1 V/Pa sensitivity, a 78 dBA signal to noise ratio, and a 16 dBA ref: 20 uPa equivalent noise level. Frequency response is almost ruler-flat across the board with a very even sloping rise between 6 kHz and 20 kHz, peaking at about 15 kHz. In use Combined with my Millennia Media HV-3D mic pre I put the mics and capsules through their paces on nylon-string classical acoustic, flute, ocarina, African kalimba, wooden shaker eggs, Tibetan singing bowl, tabla, brass-jingle tambourine, and choral voices. Part of my studio life is devoted to sound design, sampling, and ethno-ambient music; these kind of mics, married to a preamp like the Millennia, yield a combination that is about as clean as it gets and are perfect for this kind of work.



Table of Contents for the Digital Edition of Recording - February 2013

Recording - February 2013
Fade In.
Contents
Talkback.
Fast Forward.
The Production Of Clare Fischer’s CD ¡Ritmo!
Big Money Drums.
Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Sonodyne SM200Ak Studio Monitors.
AKG D12 VR Reference Kick Drum Microphone.
Shure KSM9HS.
Radial Engineering Firefly Tube DI.
Audio-Technica AT4047MP.
Zoom Q2HD Handy Video Recorder.
iOS Music Tools: Take Control!
Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
DPA Microphones Reference Standard Mics.
Sony Creative Software Sound Forge Pro Mac.
Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Readers’ Tapes.
Miking An Orchestra—Rock Band And Symphony.
Stereo From A Mono Mic.
Advertiser Index.
Fade Out.
Recording - February 2013 - Recording - February 2013
Recording - February 2013 - Cover2
Recording - February 2013 - 1
Recording - February 2013 - 2
Recording - February 2013 - 3
Recording - February 2013 - Fade In.
Recording - February 2013 - 5
Recording - February 2013 - Contents
Recording - February 2013 - 7
Recording - February 2013 - Talkback.
Recording - February 2013 - 9
Recording - February 2013 - Fast Forward.
Recording - February 2013 - 11
Recording - February 2013 - 12
Recording - February 2013 - 13
Recording - February 2013 - The Production Of Clare Fischer’s CD ¡Ritmo!
Recording - February 2013 - 15
Recording - February 2013 - 16
Recording - February 2013 - 17
Recording - February 2013 - 18
Recording - February 2013 - 19
Recording - February 2013 - Big Money Drums.
Recording - February 2013 - 21
Recording - February 2013 - 22
Recording - February 2013 - 23
Recording - February 2013 - 24
Recording - February 2013 - 25
Recording - February 2013 - Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Recording - February 2013 - 27
Recording - February 2013 - 28
Recording - February 2013 - 29
Recording - February 2013 - Sonodyne SM200Ak Studio Monitors.
Recording - February 2013 - 31
Recording - February 2013 - AKG D12 VR Reference Kick Drum Microphone.
Recording - February 2013 - 33
Recording - February 2013 - 34
Recording - February 2013 - 35
Recording - February 2013 - Shure KSM9HS.
Recording - February 2013 - 37
Recording - February 2013 - Radial Engineering Firefly Tube DI.
Recording - February 2013 - 39
Recording - February 2013 - Audio-Technica AT4047MP.
Recording - February 2013 - 41
Recording - February 2013 - Zoom Q2HD Handy Video Recorder.
Recording - February 2013 - 43
Recording - February 2013 - iOS Music Tools: Take Control!
Recording - February 2013 - 45
Recording - February 2013 - 46
Recording - February 2013 - 47
Recording - February 2013 - Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
Recording - February 2013 - 49
Recording - February 2013 - DPA Microphones Reference Standard Mics.
Recording - February 2013 - 51
Recording - February 2013 - Sony Creative Software Sound Forge Pro Mac.
Recording - February 2013 - 53
Recording - February 2013 - Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Recording - February 2013 - 55
Recording - February 2013 - Readers’ Tapes.
Recording - February 2013 - 57
Recording - February 2013 - 58
Recording - February 2013 - 59
Recording - February 2013 - 60
Recording - February 2013 - 61
Recording - February 2013 - Miking An Orchestra—Rock Band And Symphony.
Recording - February 2013 - 63
Recording - February 2013 - 64
Recording - February 2013 - 65
Recording - February 2013 - 66
Recording - February 2013 - 67
Recording - February 2013 - 68
Recording - February 2013 - 69
Recording - February 2013 - Stereo From A Mono Mic.
Recording - February 2013 - 71
Recording - February 2013 - 72
Recording - February 2013 - Advertiser Index.
Recording - February 2013 - 74
Recording - February 2013 - 75
Recording - February 2013 - 76
Recording - February 2013 - 77
Recording - February 2013 - 78
Recording - February 2013 - 79
Recording - February 2013 - Fade Out.
Recording - February 2013 - Cover3
Recording - February 2013 - Cover4
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