Használati útmutató DPA d:mension 5100

DPA mikrofon d:mension 5100

Olvassa el alább 📖 a magyar nyelvű használati útmutatót DPA d:mension 5100 (12 oldal) a mikrofon kategóriában. Ezt az útmutatót 12 ember találta hasznosnak és 6.5 felhasználó értékelte átlagosan 4.7 csillagra

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Oldal 1/12

User’s Manual

DPA 5100 Mobile Surround Microphone

W W W . D P A M I C R O P H O N E S . C O M

Please visit our website and learn more about DPA Microphones.

Product features and specications are subject to change without notice.

DPA 5100 User’s Manual

General description 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5.1 surround sound playback system 4 . . . . . . . . . . . . . .

Mounting the microphone .......................4

Connecting and disconnecting the cable ...........5

Cable conguration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Application notes 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Outdoor Cover 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Extension units 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The LFE output 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mixing the signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Adding time delay to rear channels ...............6

Fold-down to stereo or mono 6 . . . . . . . . . . . . . . . . .

Down-mix algorithms ........................6

Care of microphone 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Specications & graphs for DPA 5100 ............. 7

Frequency responses 8 . . . . . . . . . . . . . . . . . . . . . . . . . . .

Polar patterns 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Accessories included 10 . . . . . . . . . . . . . . . . . . . . . . . . . . .

Accessories available 10 . . . . . . . . . . . . . . . . . . . . . . . . . . .

Service and repair 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Warranty 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CE marking and environmental policy . . . . . . . . . . . . 11

General description

The DPA 5100 is an easy-to-use plug and play Mobile Surround Microphone. It has real-time 5.1 discrete analog output channels without any need for further signal

processing. The sound character is very rich and has an enveloping three-dimensional surround atmosphere, yet with appropriate coherence, channel separation and

localization accuracy.

The unit has an enormous dynamic range and low distortion, and is extremely light-weight (530 g/18.7 oz). It is primarily designed for professional use in (HDTV) televi-

sion surround sound production as a “surround ambience adder”, especially in connection with sports events, ambience recor-ding at different venues, documentaries,

talk shows, lm ambience and live music recording.

All microphones in the unit are pressure types as these types exhibit the lowest sensitivity to wind and a consistent low frequency response no matter the distance to

the sound source. In order to reach adequate directional characteristics from a small unit with pressure-only capsules, the new unique DiPMic

technology, designed by

DPA Microphones, has been applied to this design.

DiPMic

stands for Directional Pressure Microphone, and refers to the fact that even though we use pressure microphone capsules that natively result in pure omnidi-

rectionality, directionality is obtained by mounting specially developed interference tubes on the microphones. This combines the best of two worlds: the pressure type’s

advantages in wind, handling and low distortion, and the directionality created by the acoustical grids.

To locate sound direction, the brain picks up crucial information about time, level and spectral differences. The 5100 Mobile Surround Microphone makes use of all these

cue types. Besides using the DiPMic

technology, the appropriate level differences between output channels in the 5100 is obtained using acoustic absorbing bafes

between the microphones, as known from the Jecklin Disc A-B stereo principles.

To create enough spaciousness to the surround eld, some time arrival differences (decorrelation) is also needed. The rear microphones are spaced from each other

and the front array, creating the desired time differences. The front microphones, on the other hand, are time coincident to ensure frequency consistency when down-

mixing to mono.