Please contact us on +45 3120 7021 or email@example.com
Plug-and-play surround sound
- Plug-and-play solution
- Compact, lightweight and portable
- Rich, smooth and fully enveloping sound
- Discrete 5.1 analog output – no processing needed
The 5100 Mobile Surround Microphone is a completely self-contained plug-and-play solution for 5.1 audio capture. It brings engaging surround ambience to sport events, documentaries and other HDTV productions. This microphone is versatile and can be mounted in many ways:, microphone stand, suspended from the ceiling or via a handgrip. It is lightweight and portable. It can also withstand inclement weather conditions due to its robust nature.
The 5100 Mobile Surround Microphone uses five miniature pressure transducers. These transducers have low sensitivity to wind and mechanical noise, low distortion and low frequency response. They also have a large dynamic range.
The three front microphones in this system are time aligned to eliminate comb filtering. This also ensures frequency consistency when down mixing to stereo or mono. In contrast, the rear microphones, with standard omnidirectional patterns, are optimally spaced from both each other and the front array to simulate the most natural time arrival differences. The end result of DPA’s innovative design approach is a surround atmosphere that is rich, smooth and fully enveloping, great in its coherence, channel separation and localization accuracy. The 5100 Mobile Surround Microphone requires no external signal processing.
This solution is targeted at surround sound recording for film, live, broadcast and studio applications. Using full surround sound is an amazing way to record a symphony. Most orchestras are a self-balancing phenomena – each instrumental part can be heard without the need for additional miking. As well, acoustic reflections and a sense of acoustic space are an important aspect of the sound of an orchestra - just as much as the instruments themselves.
For sports applications, the 5100 is easy to set up. It is a no worry, 5.1-ambience solution that is placed centrally to cover the main camera shot and backed up by the usual spot mics for additional effects.
The 5.1 output of the microphone runs through a multipin Lemo connector. This connector carries all six electronically-balanced channels.
- 1x DPA 5100 Mobile 5.1 Surround Mic
- 1x Outdoor Cover - OC5100
- 1x 5m Lemo Multipin to 6x XLR-M cable (DAO5105)
|Principle of operation:||Pressure, with interferece tube and separation baffles|
|Cartridge type:||Pre-polarized condenser element|
|Frequency response:||L, C, R, LS, RS: 20 Hz to 20 kHz; LFE: 20 Hz to 120 Hz|
|Dynamic range:||L, C, R, LS, RS: 103 dB; LFE: 100 dB|
|Effective frequency range ±2 dB:||L, C, R: 200 Hz to 16 kHz; LS, RS: 100 Hz to 12 kHz; LFE: 20 Hz to 120 Hz|
|Sensitivity, nominal, ±3 dB at 1 kHz:||L, C, R: 26 mV/Pa; LS, RS: 28 mV/Pa|
|Equivalent noise level, A-weighted:||L, C, R: Typ. 18 dB(A) (max. 21 dB(A)); LS, RS: Typ. 20 dB(A) (max. 23 dB(A))|
|Equivalent noise level, ITU-R BS.468-4:||L, C, R: Typ. 29 dB (max. 32 dB); LS, RS: Typ. 31 dB (max. 34 dB)|
|Distortion, THD < 1%:||120 dB SPL RMS, 123 dB SPL peak|
|Max. SPL, THD 10%:||132 dB SPL peak|
|Rated output impedance:||50 Ω|
|Cable drive capability:||100 m (328 ft)|
|Output balance principle:||Active Signal balanced|
|Common mode rejection ratio (CMRR):||60 dB, 50 Hz - 20 kHz|
|Power supply (for full performance):||P48 (Phantom Power)|
|Current consumption:||Typ. 5 mA (max. 5.5 mA)|
|Maximum output voltage:||L, C, R, LS, RS: 1,8 Vrms / 2,5 Vpeak; LFE: 1 Vrms / 1,4 Vpeak|
|Polarity:||+V at pin 2 for positive sound pressure|
|Microphone diameter:||W: 240 mm (9.4 in), H: 140 mm (5.5 in), D: 195 mm (7.7 in)|
|Capsule diameter:||5.4 mm (0.21 in)|
|Cable length:||5 m (16.4 ft)|
|Cable diameter:||9.3 mm (0.37 in)|
|Temperature range:||-40°C to 45°C (-40°F to 113°F)|
|Relative humidity (RH):||Up to 90%|