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DPA d:dicate ST 2006A

DPA d:dicate ST 2006A, stereo microphone set containing 2x modular Reference-Standardmicrophone, Twin-Diaphragm-Capsule technology, Kugel, 20 - 20.000 Hz, dynamic range 114 dB, 48 V Phantom Power, Sensitivity, nominal, ± 2 dB at 1 kHz: 40 mV/Pa; -28 dB re. 1 V/Pa, Equivalent noise level, A-weighted: Typ. 16 dB(A) re. 20 µPa (max. 18 dB(A)), black housing, new model of the DPA 4006, incl. case

Further information

Battery Powered No
Directional Microphone No
Stereo Pair Yes
switchable lowcut No
switchable pad No
characteristic ball
3 customer ratings:
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  • 4
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  • 1
3.3 / 5.0
  • features
  • sound
  • quality
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Almost like the 4006

Paul559, 21.08.2012
I have used omnidirectional microphones for the last 20 years in many recordings of orchestras, choirs, etc.

My previous omni microphones were mostly Earthworks QTC30, Neumann KM83 (old model), and some Schoeps.

But I always wanted a pair of DPA 4006, which I used a lot but could not afford, so I risked buying the 2006, even though they know they are not the same (they cost half).
My first impression in the auditorium of Valladolid, which is about 4006, was a little disappointing: along with the 4006 they give a more "fine" sound, not so global, more detailed even, but less crowded.

However I have met them and now I think the purchase was worth it. They are quiet, very good stereo image, and give a powerful bass even moving them away.
The only fault that I blamed them at the beginning although I have already become accustomed is that they are too bright. In any case, you can always remove a couple of dBs in treble to the recording (live I do not use omnis, I would not know).

They are actually omnidirectional, more than Earthworks, which can be bad if there are noise, air conditioning, etc. in the recording environment. The stereo image is very wide, so you have to measure the distance between them if you want good mono compatibility. I bring them closer to each other than those of other brands.

In summary; Are very good in large spaces (auditoriums, churches), almost comparable to the 4006, but are even better up close: as battery overheads much better than the AKG 414 in a good studio, and for acoustic guitars, percussion, piano etc. they are perfect. That yes: I less often review the treble in the mix with very bright guitars, dishes ...
For lower budgets the DPA 4060 seems an even better option, though only in close mic.
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High quality microphones

Oren, 18.09.2014
I use the DPA 2006a for stereo recordings of classical music in churches and halls. Basically, this is a real pressure receiver (spherical characteristic), which is more for the middle and near. Its equalization is a bit of a puzzle for me - in the range 2 to 10 KHz one hears the distance-dependent height decrease very clearly, but above 10 KHz remains a recognizable high-concretion.

The equalization of pressure receivers is a chapter in itself. There are many half-knowledge and false assumptions. Nobody should be surprised if this microphone, 7m away from an organ or a choir placed, sounds dull. Schoeps MK2 and any other so-called "free-range ball" will sound like this. So it does not mean that the microphone sounds dull or bad! The same applies to the pure "diffuse-field sphere" - this has a distinct elevation at the sound source close to the sound source. This is the case with the Schoeps MK2S, Neumann KM183, 130 and others. This does not mean that the microphone sounds like a shaft! Many experienced musicians are also deceived because they do not know the physical principles. At the end of the day, the producer of the clay has to decide which equalization he would like to use for which application. This equalization can already happen at the microphone (normally mechanically), or later in the DAW with an EQ. There are many religious wars, which method is the right one. I consider it rather unimportant, as long as the desired result can be achieved quickly.

The DPA 2006a is supposed to be an intermediate between the free-field and the diffuse-field sphere. For me, it is more of a free-field ball, but you can also easily place it far away from the sound source and compensate for the height drop. If you think it is wrong to manipulate the sound with EQ, the microphone signal should sound right - so not too dull or sharp - buy several balls and capsules. For example, Jörg Wuttke (a microfondesigner and chief engineer at Schoeps) said that he does not mind if his customers order several ball capsules - MK2, MK2H, MK2S, but he always tells them honestly that they do not have to do. It is sufficient to buy only the free-field ball, and depending on the distance to the source of sound (and space, of course) to compensate for the loss of height itself by means of EQ.

The DPA 2006a is not a real free-field or diffuse-field sphere. Therefore, I find the equalization harder than other microphones (such as KM183). I can always do it, but with a little more effort.

The sound is excellent DPA. The noise behavior is good. The competitors of the same price class are rushing less. This is, however, in my opinion not critical.

The DPA 2006a provides a very hot signal (40mV / Pa!). A pad switch is located in the XLR connector. Something impractical but it makes no sense anyway, the signal from the microphone to dampen (which many do not know!). Much better is to attenuate the incoming signal only at the preamplifier.

An important communication to the marketing department at Thomann: in the product description, the DPA 2006a is called "successor of the DPA 4006". This is absolutely False advertisement because the DPA 2006a is a completely new creation from DPA, while the true successor of the legendary Bruel & Kjaer 4006 (a development from a measuring microphone) would be the DPA 4006a. The capsule MMC 4006 is still manufactured by Bruel & Kjaer for DPA, while the capsule MMC2006 is produced by DPA itself. These are two very different ball capsules and have nothing to do with each other! A description can be found on the website of the manufacturer. At the end of 2006, 2006a meets the high demands of DPA.

- Very good and detailed sound.
- Very good workmanship, robust design.
- High output voltage from the microphone (hot signal) - Advantage when using with low-priced preamps or mobile phone recorders, since the pre-amplification does not have to go so far.

- The equalization of the microphone signal is somewhat tricky since the microphone is not a clear free-field or diffuse-field ball. For voice and vocals you have to be sent with the EQ (hissing).
- The modular design, in my opinion, brings less advantages than with the competitors. The other capsules on offer are very expensive. The cheaper kidney capsule MMC2011 rushes too much for this price class.
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