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  • Review
  • The d:facto's microphone head can be used on the DPA wired handle, and can also be unscrewed for mounting onto some wireless microphone systems, offering a high degree of flexibility. The option of wired and wireless modes, combined with DPA's proven technology, has resulted in a live performance vocal mic that encapsulates flexibility and unsurpassed sound quality.

    DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company's purpose-built factory in Denmark.

  • A double-button carbon microphone has a push-pull action that cancels second harmonics. A good microphone with level response from 60 Hz to nearly 10 kHz, except for some wiggles of a few dB near the upper limit, was created. The sensitivity, however, was only about -47 dB, much less than that of a telephone receiver, in microphones optimized for good fidelity. By this time electronic amplification was available, so low output was not a drawback. Such microphones were used in recording and broadcasting in the early days, and gave very good service.

    The outstanding disadvantage of the carbon microphone is noise, the so-called "carbon hiss," that could not be eliminated, though it could be reduced by careful preparation of the granules. This noise is inherent in the source of variable resistance, which was the surface properties of the carbon granules. Carbon by itself, even in bulk, exhibits 1/f (pink) noise, and this was exacerbated in the granules. The noise can be represented as a random voltage or current generator in series with the signal generator, in the usual way for noise analysis. The carbon granules could be damaged, and even fused together, by unusually high currents, such as those produced by inductive kicks. If the hermetic seal of the button was damaged, moisture could cause the granules to pack. The resistance of the microphone would decrease in that case, and it would become much less sensitive.

    Number of Microphones Positioning
    One Use an "overhead"
    Two Kick drum and overhead
    Three Kick drum, snare, and overhead
    Four Kick drum, snare, and two overheads

  • Principle: the air movement associated with the sound moves the metallic ribbon in the magnetic field, generating an imaging voltage between the ends of the ribbon which is proportional to the velocity of the ribbon - characterized as a "velocity" microphone.

    • Adds "warmth" to the tone by accenting lows when close-miked.
    • Can be used to discriminate against distant low frequency noise in its most common gradient form.
    • Accenting lows sometimes produces "boomy" bass.
    • Very susceptible to wind noise. Not suitable for outside use unless very well shielded.
    Example of use
    Microphone discussion

    Sound reproduction concepts
    HyperPhysics***** Sound R Nave
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    DPA developed the d:facto vocal mic to fulfill the live sound market's request for the high-quality sound of DPA's legendary 4011 for live performance and recording needs. Similar to all DPA mics, the d:facto features superior gain before feedback, while the robust three-stage pop-protection grid built into the microphone effectively removes unwanted noise. The supercardioid mic offers superb definition, excellent separation, breathtakingly natural sound and extreme SPL handling. It also boasts a rugged design for professional use, and has an optimized proximity effect specifically designed for vocal use. Designed to last, d:facto features exceptional isolation from handling noise, as well as the ability to accommodate extreme sound levels.

The world's finest ribbon microphone, available now from RØDE

indicates how well the microphone converts acoustic pressure to output voltage. A high sensitivity microphone creates more voltage and so needs less amplification at the mixer or recording device. This is a practical concern but is not directly an indication of the microphone's quality, and in fact the term sensitivity is something of a misnomer, "transduction gain" being perhaps more meaningful, (or just "output level") because true sensitivity is generally set by the , and too much "sensitivity" in terms of output level compromises the clipping level. There are two common measures. The (preferred) international standard is made in millivolts per pascal at 1 kHz. A higher value indicates greater sensitivity. The older American method is referred to a 1 V/Pa standard and measured in plain decibels, resulting in a negative value. Again, a higher value indicates greater sensitivity, so −60 dB is more sensitive than −70 dB.