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{"id":636218474542,"title":"DPA d:fine™ 4288 Directional Flex InEar Headset Mic, 120 mm Boom, MicroDot, Single In-Ear","handle":"dpa-d-fine-4288-directional-flex-inear-headset-mic-120-mm-boom-microdot-single-in-ear","description":"\u003cp\u003ed:fine™\u003c\/p\u003e\n\u003cp\u003eIn-Ear Broadcast Headset Microphone\u003c\/p\u003e\n\u003cp\u003eStreamlined broadcast headsets\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic and in-ear monitor integrated in one unique solution\u003c\/li\u003e\n\u003cli\u003eEasy to mount with minimum cable clutter\u003c\/li\u003e\n\u003cli\u003eLegendary microphone capsule technology and sound quality\u003c\/li\u003e\n\u003cli\u003eLightweight and flexible\u003c\/li\u003e\n\u003cli\u003eMinimal visual impact\u003c\/li\u003e\n\u003cli\u003eResistant to humidity\u003c\/li\u003e\n\u003cli\u003eModular adapter system fits most professional wireless systems\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe d:fine™ In-Ear Broadcast Headset Microphones series is the first broadcast solution that gives you uncompromising mic performance and convenient in-ear communication.\u003c\/p\u003e\n\u003cp\u003eNo more fiddling with two parallel systems – one for the mic and one for the in-ear communication. This unique line of mics was developed specifically for broadcast professionals who insist on superior voice reproduction but also appreciate ease of use and outstanding comfort. The d:fine™ In-Ear Broadcast Headset Microphones series is available in both omnidirectional and directional variants.\u003c\/p\u003e\n\u003cp\u003eSetting new standards for the broadcast industry\u003c\/p\u003e\n\u003cp\u003eAlready the worldwide leader in headset mics for theater and broadcast applications, the d:fine™ In-Ear Broadcast Series now adds an integrated in-ear monitor to create a broadcast and communication headset with outstanding acoustic performance and feather-light comfort.\u003c\/p\u003e\n\u003cp\u003eThe in-ear drivers allow no audio leakage to the microphone capsule. They are easily driven due to their high sensitivity. Two sizes of ear-pads are included to fit most ears.\u003c\/p\u003e\n\u003cp\u003eThe cable steer, located at the headset mount, controls the cable run down the neck. You can easily adjust the headset mount size.\u003c\/p\u003e\n\u003cp\u003eThese innovative headsets – the first of their kind – are designed for broadcast professionals who insist on superior voice reproduction without compromising on simple setup and daylong comfort.\u003c\/p\u003e\n\u003cp\u003ed:fine™ 4288 Directional In-Ear Headset Mic\u003c\/p\u003e\n\u003cp\u003eThe d:fine™ 4288 Directional In-Ear Broadcast Headset Microphone combines the legendary sound of the 4088 Directional Capsule with a lightweight and flexible headset system. Staying true to the DPA legacy, d:fine™ offers accurate and natural voice intelligibility and very high-SPL capabilities – users can both speak and sing into the mic with no hint of distortion.\u003c\/p\u003e\n\u003cp\u003eThis mic comes in either a Single In-Ear\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eor Dual In-Ear version. It is available in both black and beige.\u003c\/p\u003e\n\u003cp\u003eA bit about omnis\u003c\/p\u003e\n\u003cp\u003eAn omnidirectional microphone has sensitivity at all angles – in principle picking up sound equally from all directions. This gives you extremely natural and realistic sound compared to a cardioid mic. Omni mics are often used for picking up ambient sounds, as well as miking a large sound source such as a choir in a recording situation. Unfortunately, due to their pickup pattern, omnis can also produce a lot of feedback in live situations.\u003c\/p\u003e\n\u003cp\u003eNonetheless, we recommend that you try a DPA omni first because, when used close to the sound source, the equal frequency response makes these mics a flexible addition in your audio toolbox. It will often give a more natural sound, it can handle extremely high sound pressure levels, it does not suffer from proximity effect and is not as sensitive to wind, pop or handling noise.\u003c\/p\u003e\n\u003cp\u003eA bit about cardioids\u003c\/p\u003e\n\u003cp\u003eNamed for its “heart shaped” polar pattern, a cardioid (or directional) microphone has the most sensitivity at the front and is least sensitive from the sides and at the back. They come in many variations – with wider or narrower angles of sensitivity (supercardioid, hypercardioid, wide cardioid etc.). Although cardioids also pick up sound coming in from the sides, this off-axis sound will normally be more or less colored and damped. The unique DPA capsule technique however skips the colorization of the sound coming from the sides or the rear of the mic and just reduces the sensitivity to these angles and thereby offers perfect sound stages. The amount of damping depends on the exact specifications of the mic.\u003c\/p\u003e\n\u003cp\u003eA cardioid microphone is, by definition, damped -6 dB at the 90°side entry of the microphone but for many, the word cardioid generally covers mics with a directional pattern versus omnis, which pick up sound from all directions.\u003c\/p\u003e\n\u003cp\u003eDue to their nature, directional mics are often used on the live stage – both during concerts as well as spoken-word events, to capture the focused sound of an instrument or voice. The narrow angle of sensitivity helps to minimize the bleed from other sounds on a busy stage. One thing to note with cardioid mics is the proximity effect, which causes an increase in bass response the closer the microphone is moved to the sound source. Therefore, when judging mic specs you should always look for a statement stating the distance at which the flat frequency response has been measured. In addition, cardioid mics are far more sensitive to wind, pop and handling noises than omni mics, so be sure to take precautions to guard against this.\u003c\/p\u003e\n\u003cp\u003eAdapter system gives you flexibility\u003c\/p\u003e\n\u003cp\u003eThe adapters for wireless systems give you flexible, simple and affordable possibilities. You are no longer bound to one wireless system. As circumstances change, you can just switch your adapter, instead of incurring the cost of a completely new microphone. When you make the switch, you won't hear any loss or change in sound quality.\u003c\/p\u003e\n\u003cp\u003eThe d:fine™, d:screet™ and d:vote™ series of miniature microphones work with all leading wireless mic solutions, such as Lectrosonics, Sennheiser, Shure, Sony, Wisycom, Zaxcom and many more. DPA Microphones’ ingenious adapter system is one of a kind in the industry. It protects your investment in fantastic sound for years to come.\u003c\/p\u003e\n\u003cp\u003eSpecifications\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDirectional pattern Cardioid\u003c\/li\u003e\n\u003cli\u003ePrinciple of operation Pressure gradient\u003c\/li\u003e\n\u003cli\u003eCartridge type Pre-polarized condenser\u003c\/li\u003e\n\u003cli\u003eFrequency range 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eFrequency range, ±2 dB, Near field 2-3 cm (0.8 - 1.2 in) 100 Hz - 20 kHz (4 - 6 dB soft boost at 15 kHz)\u003c\/li\u003e\n\u003cli\u003eSensitivity, nominal, ±3 dB at 1 kHz 6 mV\/Pa; -44 dB re. 1 V\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level, A-weighted Typ. 26 dB(A) re. 20 µPa (max. 28 dB(A))\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level, ITU-R BS.468-4 Typ. 38 dB (max. 40 dB)\u003c\/li\u003e\n\u003cli\u003eS\/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) Typ. 68 dB(A)\u003c\/li\u003e\n\u003cli\u003eTotal harmonic distortion (THD) \u0026lt; 1% up to 123 dB SPL peak\u003c\/li\u003e\n\u003cli\u003eDynamic range Typ. 97 dB\u003c\/li\u003e\n\u003cli\u003eMax. SPL, peak before clipping 144 dB\u003c\/li\u003e\n\u003cli\u003eOutput impedance From MicroDot: 30 - 40 Ω. From DAD6001: 100 Ω\u003c\/li\u003e\n\u003cli\u003eCable drive capability Up to 300 m (984 ft) with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003eOutput balance principle Signal balanced with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003eCommon mode rejection ratio (CMRR) \u0026gt; 60 dB from 50 Hz to 15 kHz with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003ePower supply (for full performance) Min. 5 V to max. 50 V through DPA adapter for wireless systems\u003c\/li\u003e\n\u003cli\u003eCurrent consumption Typ. 1.5 mA (microphone). 3.5 mA with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003eConnector MicroDot\u003c\/li\u003e\n\u003cli\u003eColor Black, beige or brown\u003c\/li\u003e\n\u003cli\u003eWeight Single Ear: 10 g (0.35 oz)\u003c\/li\u003e\n\u003cli\u003eMicrophone diameter 5.4 mm (0.21 in)\u003c\/li\u003e\n\u003cli\u003eMicrophone length 12.7 mm (0.5 in)\u003c\/li\u003e\n\u003cli\u003eCable length 1.25 m (4.1 ft)\u003c\/li\u003e\n\u003cli\u003eCable color Black, beige or brown\u003c\/li\u003e\n\u003cli\u003eCable diameter 1.6 mm (0.06 in)\u003c\/li\u003e\n\u003cli\u003ePolarity Positively increasing sound pressure produces positive-going voltage at MicroDot pin (and pin 2 on DAD6001 XLR adapter)\u003c\/li\u003e\n\u003cli\u003eTemperature range -40°C to 45°C (-40°F to 113°F)\u003c\/li\u003e\n\u003cli\u003eRelative humidity (RH) Up to 90%\u003c\/li\u003e\n\u003c\/ul\u003e","published_at":"2018-04-18T01:12:56+02:00","created_at":"2018-04-18T01:24:12+02:00","vendor":"DPA","type":"Headset Microphones","tags":["Connector_MicroDot","DPA","Egypt","Microphones","Microphones \u0026 Wireless","Polar Pattern_Cardioid","Price Range_$750 to $1000","Shop by brand_DPA","Shop by category_Earset Microphone Shop by category_In-Ear","Shop by category_Headset Microphones","Shop by category_Legacy","Shop by category_Microphones \u0026 Wireless","Shop by category_Studio \u0026 Recording","Shop by category_Wireless Microphone","Shop by category_Wireless 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Broadcast Headset Microphone\u003c\/p\u003e\n\u003cp\u003eStreamlined broadcast headsets\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic and in-ear monitor integrated in one unique solution\u003c\/li\u003e\n\u003cli\u003eEasy to mount with minimum cable clutter\u003c\/li\u003e\n\u003cli\u003eLegendary microphone capsule technology and sound quality\u003c\/li\u003e\n\u003cli\u003eLightweight and flexible\u003c\/li\u003e\n\u003cli\u003eMinimal visual impact\u003c\/li\u003e\n\u003cli\u003eResistant to humidity\u003c\/li\u003e\n\u003cli\u003eModular adapter system fits most professional wireless systems\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe d:fine™ In-Ear Broadcast Headset Microphones series is the first broadcast solution that gives you uncompromising mic performance and convenient in-ear communication.\u003c\/p\u003e\n\u003cp\u003eNo more fiddling with two parallel systems – one for the mic and one for the in-ear communication. This unique line of mics was developed specifically for broadcast professionals who insist on superior voice reproduction but also appreciate ease of use and outstanding comfort. The d:fine™ In-Ear Broadcast Headset Microphones series is available in both omnidirectional and directional variants.\u003c\/p\u003e\n\u003cp\u003eSetting new standards for the broadcast industry\u003c\/p\u003e\n\u003cp\u003eAlready the worldwide leader in headset mics for theater and broadcast applications, the d:fine™ In-Ear Broadcast Series now adds an integrated in-ear monitor to create a broadcast and communication headset with outstanding acoustic performance and feather-light comfort.\u003c\/p\u003e\n\u003cp\u003eThe in-ear drivers allow no audio leakage to the microphone capsule. They are easily driven due to their high sensitivity. Two sizes of ear-pads are included to fit most ears.\u003c\/p\u003e\n\u003cp\u003eThe cable steer, located at the headset mount, controls the cable run down the neck. You can easily adjust the headset mount size.\u003c\/p\u003e\n\u003cp\u003eThese innovative headsets – the first of their kind – are designed for broadcast professionals who insist on superior voice reproduction without compromising on simple setup and daylong comfort.\u003c\/p\u003e\n\u003cp\u003ed:fine™ 4288 Directional In-Ear Headset Mic\u003c\/p\u003e\n\u003cp\u003eThe d:fine™ 4288 Directional In-Ear Broadcast Headset Microphone combines the legendary sound of the 4088 Directional Capsule with a lightweight and flexible headset system. Staying true to the DPA legacy, d:fine™ offers accurate and natural voice intelligibility and very high-SPL capabilities – users can both speak and sing into the mic with no hint of distortion.\u003c\/p\u003e\n\u003cp\u003eThis mic comes in either a Single In-Ear\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eor Dual In-Ear version. It is available in both black and beige.\u003c\/p\u003e\n\u003cp\u003eA bit about omnis\u003c\/p\u003e\n\u003cp\u003eAn omnidirectional microphone has sensitivity at all angles – in principle picking up sound equally from all directions. This gives you extremely natural and realistic sound compared to a cardioid mic. Omni mics are often used for picking up ambient sounds, as well as miking a large sound source such as a choir in a recording situation. Unfortunately, due to their pickup pattern, omnis can also produce a lot of feedback in live situations.\u003c\/p\u003e\n\u003cp\u003eNonetheless, we recommend that you try a DPA omni first because, when used close to the sound source, the equal frequency response makes these mics a flexible addition in your audio toolbox. It will often give a more natural sound, it can handle extremely high sound pressure levels, it does not suffer from proximity effect and is not as sensitive to wind, pop or handling noise.\u003c\/p\u003e\n\u003cp\u003eA bit about cardioids\u003c\/p\u003e\n\u003cp\u003eNamed for its “heart shaped” polar pattern, a cardioid (or directional) microphone has the most sensitivity at the front and is least sensitive from the sides and at the back. They come in many variations – with wider or narrower angles of sensitivity (supercardioid, hypercardioid, wide cardioid etc.). Although cardioids also pick up sound coming in from the sides, this off-axis sound will normally be more or less colored and damped. The unique DPA capsule technique however skips the colorization of the sound coming from the sides or the rear of the mic and just reduces the sensitivity to these angles and thereby offers perfect sound stages. The amount of damping depends on the exact specifications of the mic.\u003c\/p\u003e\n\u003cp\u003eA cardioid microphone is, by definition, damped -6 dB at the 90°side entry of the microphone but for many, the word cardioid generally covers mics with a directional pattern versus omnis, which pick up sound from all directions.\u003c\/p\u003e\n\u003cp\u003eDue to their nature, directional mics are often used on the live stage – both during concerts as well as spoken-word events, to capture the focused sound of an instrument or voice. The narrow angle of sensitivity helps to minimize the bleed from other sounds on a busy stage. One thing to note with cardioid mics is the proximity effect, which causes an increase in bass response the closer the microphone is moved to the sound source. Therefore, when judging mic specs you should always look for a statement stating the distance at which the flat frequency response has been measured. In addition, cardioid mics are far more sensitive to wind, pop and handling noises than omni mics, so be sure to take precautions to guard against this.\u003c\/p\u003e\n\u003cp\u003eAdapter system gives you flexibility\u003c\/p\u003e\n\u003cp\u003eThe adapters for wireless systems give you flexible, simple and affordable possibilities. You are no longer bound to one wireless system. As circumstances change, you can just switch your adapter, instead of incurring the cost of a completely new microphone. When you make the switch, you won't hear any loss or change in sound quality.\u003c\/p\u003e\n\u003cp\u003eThe d:fine™, d:screet™ and d:vote™ series of miniature microphones work with all leading wireless mic solutions, such as Lectrosonics, Sennheiser, Shure, Sony, Wisycom, Zaxcom and many more. DPA Microphones’ ingenious adapter system is one of a kind in the industry. It protects your investment in fantastic sound for years to come.\u003c\/p\u003e\n\u003cp\u003eSpecifications\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDirectional pattern Cardioid\u003c\/li\u003e\n\u003cli\u003ePrinciple of operation Pressure gradient\u003c\/li\u003e\n\u003cli\u003eCartridge type Pre-polarized condenser\u003c\/li\u003e\n\u003cli\u003eFrequency range 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eFrequency range, ±2 dB, Near field 2-3 cm (0.8 - 1.2 in) 100 Hz - 20 kHz (4 - 6 dB soft boost at 15 kHz)\u003c\/li\u003e\n\u003cli\u003eSensitivity, nominal, ±3 dB at 1 kHz 6 mV\/Pa; -44 dB re. 1 V\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level, A-weighted Typ. 26 dB(A) re. 20 µPa (max. 28 dB(A))\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level, ITU-R BS.468-4 Typ. 38 dB (max. 40 dB)\u003c\/li\u003e\n\u003cli\u003eS\/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) Typ. 68 dB(A)\u003c\/li\u003e\n\u003cli\u003eTotal harmonic distortion (THD) \u0026lt; 1% up to 123 dB SPL peak\u003c\/li\u003e\n\u003cli\u003eDynamic range Typ. 97 dB\u003c\/li\u003e\n\u003cli\u003eMax. SPL, peak before clipping 144 dB\u003c\/li\u003e\n\u003cli\u003eOutput impedance From MicroDot: 30 - 40 Ω. From DAD6001: 100 Ω\u003c\/li\u003e\n\u003cli\u003eCable drive capability Up to 300 m (984 ft) with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003eOutput balance principle Signal balanced with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003eCommon mode rejection ratio (CMRR) \u0026gt; 60 dB from 50 Hz to 15 kHz with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003ePower supply (for full performance) Min. 5 V to max. 50 V through DPA adapter for wireless systems\u003c\/li\u003e\n\u003cli\u003eCurrent consumption Typ. 1.5 mA (microphone). 3.5 mA with DAD6001-BC XLR Adapter\u003c\/li\u003e\n\u003cli\u003eConnector MicroDot\u003c\/li\u003e\n\u003cli\u003eColor Black, beige or brown\u003c\/li\u003e\n\u003cli\u003eWeight Single Ear: 10 g (0.35 oz)\u003c\/li\u003e\n\u003cli\u003eMicrophone diameter 5.4 mm (0.21 in)\u003c\/li\u003e\n\u003cli\u003eMicrophone length 12.7 mm (0.5 in)\u003c\/li\u003e\n\u003cli\u003eCable length 1.25 m (4.1 ft)\u003c\/li\u003e\n\u003cli\u003eCable color Black, beige or brown\u003c\/li\u003e\n\u003cli\u003eCable diameter 1.6 mm (0.06 in)\u003c\/li\u003e\n\u003cli\u003ePolarity Positively increasing sound pressure produces positive-going voltage at MicroDot pin (and pin 2 on DAD6001 XLR adapter)\u003c\/li\u003e\n\u003cli\u003eTemperature range -40°C to 45°C (-40°F to 113°F)\u003c\/li\u003e\n\u003cli\u003eRelative humidity (RH) Up to 90%\u003c\/li\u003e\n\u003c\/ul\u003e"}

DPA d:fine™ 4288 Directional Flex InEar Headset Mic, 120 mm Boom, MicroDot, Single In-Ear

Product Description
$792.79
Maximum quantity available reached.

d:fine™

In-Ear Broadcast Headset Microphone

Streamlined broadcast headsets

  • Mic and in-ear monitor integrated in one unique solution
  • Easy to mount with minimum cable clutter
  • Legendary microphone capsule technology and sound quality
  • Lightweight and flexible
  • Minimal visual impact
  • Resistant to humidity
  • Modular adapter system fits most professional wireless systems

The d:fine™ In-Ear Broadcast Headset Microphones series is the first broadcast solution that gives you uncompromising mic performance and convenient in-ear communication.

No more fiddling with two parallel systems – one for the mic and one for the in-ear communication. This unique line of mics was developed specifically for broadcast professionals who insist on superior voice reproduction but also appreciate ease of use and outstanding comfort. The d:fine™ In-Ear Broadcast Headset Microphones series is available in both omnidirectional and directional variants.

Setting new standards for the broadcast industry

Already the worldwide leader in headset mics for theater and broadcast applications, the d:fine™ In-Ear Broadcast Series now adds an integrated in-ear monitor to create a broadcast and communication headset with outstanding acoustic performance and feather-light comfort.

The in-ear drivers allow no audio leakage to the microphone capsule. They are easily driven due to their high sensitivity. Two sizes of ear-pads are included to fit most ears.

The cable steer, located at the headset mount, controls the cable run down the neck. You can easily adjust the headset mount size.

These innovative headsets – the first of their kind – are designed for broadcast professionals who insist on superior voice reproduction without compromising on simple setup and daylong comfort.

d:fine™ 4288 Directional In-Ear Headset Mic

The d:fine™ 4288 Directional In-Ear Broadcast Headset Microphone combines the legendary sound of the 4088 Directional Capsule with a lightweight and flexible headset system. Staying true to the DPA legacy, d:fine™ offers accurate and natural voice intelligibility and very high-SPL capabilities – users can both speak and sing into the mic with no hint of distortion.

This mic comes in either a Single In-Ear  or Dual In-Ear version. It is available in both black and beige.

A bit about omnis

An omnidirectional microphone has sensitivity at all angles – in principle picking up sound equally from all directions. This gives you extremely natural and realistic sound compared to a cardioid mic. Omni mics are often used for picking up ambient sounds, as well as miking a large sound source such as a choir in a recording situation. Unfortunately, due to their pickup pattern, omnis can also produce a lot of feedback in live situations.

Nonetheless, we recommend that you try a DPA omni first because, when used close to the sound source, the equal frequency response makes these mics a flexible addition in your audio toolbox. It will often give a more natural sound, it can handle extremely high sound pressure levels, it does not suffer from proximity effect and is not as sensitive to wind, pop or handling noise.

A bit about cardioids

Named for its “heart shaped” polar pattern, a cardioid (or directional) microphone has the most sensitivity at the front and is least sensitive from the sides and at the back. They come in many variations – with wider or narrower angles of sensitivity (supercardioid, hypercardioid, wide cardioid etc.). Although cardioids also pick up sound coming in from the sides, this off-axis sound will normally be more or less colored and damped. The unique DPA capsule technique however skips the colorization of the sound coming from the sides or the rear of the mic and just reduces the sensitivity to these angles and thereby offers perfect sound stages. The amount of damping depends on the exact specifications of the mic.

A cardioid microphone is, by definition, damped -6 dB at the 90°side entry of the microphone but for many, the word cardioid generally covers mics with a directional pattern versus omnis, which pick up sound from all directions.

Due to their nature, directional mics are often used on the live stage – both during concerts as well as spoken-word events, to capture the focused sound of an instrument or voice. The narrow angle of sensitivity helps to minimize the bleed from other sounds on a busy stage. One thing to note with cardioid mics is the proximity effect, which causes an increase in bass response the closer the microphone is moved to the sound source. Therefore, when judging mic specs you should always look for a statement stating the distance at which the flat frequency response has been measured. In addition, cardioid mics are far more sensitive to wind, pop and handling noises than omni mics, so be sure to take precautions to guard against this.

Adapter system gives you flexibility

The adapters for wireless systems give you flexible, simple and affordable possibilities. You are no longer bound to one wireless system. As circumstances change, you can just switch your adapter, instead of incurring the cost of a completely new microphone. When you make the switch, you won't hear any loss or change in sound quality.

The d:fine™, d:screet™ and d:vote™ series of miniature microphones work with all leading wireless mic solutions, such as Lectrosonics, Sennheiser, Shure, Sony, Wisycom, Zaxcom and many more. DPA Microphones’ ingenious adapter system is one of a kind in the industry. It protects your investment in fantastic sound for years to come.

Specifications

  • Directional pattern Cardioid
  • Principle of operation Pressure gradient
  • Cartridge type Pre-polarized condenser
  • Frequency range 20 Hz - 20 kHz
  • Frequency range, ±2 dB, Near field 2-3 cm (0.8 - 1.2 in) 100 Hz - 20 kHz (4 - 6 dB soft boost at 15 kHz)
  • Sensitivity, nominal, ±3 dB at 1 kHz 6 mV/Pa; -44 dB re. 1 V/Pa
  • Equivalent noise level, A-weighted Typ. 26 dB(A) re. 20 µPa (max. 28 dB(A))
  • Equivalent noise level, ITU-R BS.468-4 Typ. 38 dB (max. 40 dB)
  • S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) Typ. 68 dB(A)
  • Total harmonic distortion (THD) < 1% up to 123 dB SPL peak
  • Dynamic range Typ. 97 dB
  • Max. SPL, peak before clipping 144 dB
  • Output impedance From MicroDot: 30 - 40 Ω. From DAD6001: 100 Ω
  • Cable drive capability Up to 300 m (984 ft) with DAD6001-BC XLR Adapter
  • Output balance principle Signal balanced with DAD6001-BC XLR Adapter
  • Common mode rejection ratio (CMRR) > 60 dB from 50 Hz to 15 kHz with DAD6001-BC XLR Adapter
  • Power supply (for full performance) Min. 5 V to max. 50 V through DPA adapter for wireless systems
  • Current consumption Typ. 1.5 mA (microphone). 3.5 mA with DAD6001-BC XLR Adapter
  • Connector MicroDot
  • Color Black, beige or brown
  • Weight Single Ear: 10 g (0.35 oz)
  • Microphone diameter 5.4 mm (0.21 in)
  • Microphone length 12.7 mm (0.5 in)
  • Cable length 1.25 m (4.1 ft)
  • Cable color Black, beige or brown
  • Cable diameter 1.6 mm (0.06 in)
  • Polarity Positively increasing sound pressure produces positive-going voltage at MicroDot pin (and pin 2 on DAD6001 XLR adapter)
  • Temperature range -40°C to 45°C (-40°F to 113°F)
  • Relative humidity (RH) Up to 90%
Sku: 4288-DL-I-B00-LH-1
Vendor: DPA

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