User's Manual DPA D3 Decca Tree DPA D3c
Contents
1. For use as an AB stereo boom Use the Telescopic Extension Unit as a stereo boom and mount a microphone holder at each end Attach a third Microphone Holder on the thin tube part of the Telescopic Extension Unit to make it mountable to a microphone stand The microphone basis can be adjusted from approx 40 to 60 cm 16 to 24 in The integrated microphone cables from D3c or S5c can be drawn internally in the boom and to the holder a O For use as D3 Decca Tree three microphone array For best balancing of the micophone array the D3 is designed so that the three microphone booms can be mounted at the L CG and R markings on the Decca Tree side of the Center Disc This offers a 120 angle between the booms and it is possible but not required to have the microphones in an equilateral triangle ie equal distance between all three microphones Use the Telescopic Booms with microphone holders to change the microphone distance Each mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms Depending on recording angle determined by size and distance to the sound source spacing between microphones should be adjusted properly In the following a few recommendable solutions for different venues and recording angles are presented If you want to know more about recording techniques please consult our Microphone University at wwwdpamicrophones co2. for sound system alignment DPA Hydrophone offers professional recording under extreme conditions The DPA 8011 Hydrophone is the only high quality 48 V Phantom powered under water omnidirectional microphone in the world which has been specially designed to handle high SPLs and high static ambient pressure in fluids It is the optimum choice for professional sound recordings under water in extreme humidity in gas filled rooms or under other extreme conditions Excellent for film and sporting events Miniature Microphones and Miniature Microphone Headbands are perfect for theaters television and close miking instrument applications They have a neutral character with great detail and resolution Tailored to handle heat humidity and sweat as well as wind and popping the miniature mics are completely undetectable and extremely rugged and reliable on stage I SZ A AIN MICROPHONES Headquarters DPA Microphones A S Gydevang 42 44 DK 3450 Alleroed Denmark Te 45 4814 2828 Fax 45 4814 2700 info dpamicrophones com www dpamicrophones com United States DPA Microphones Inc 2432 N Main St Suite 200 Longmont CO 80501 USA Tel 1 303 485 1025 Fax 1 303 485 6470 info usa dpamicrophones com www dpamicrophones com SS da
3. products that require a return for upgrading and or reuse have been pro vided with a waste label This means that at the end of its usable life the product may be returned to the local DPA representative who will return it to DPA for disposal under the national legislation program Furthermore DPA guarantees that any DPA product purchased after 1 January 2000 will be covered by the same program to ensure that end users have adequate means to dispose of obsolete DPA products E Service amp Repair All products from DPA Microphones are covered by a two year limited warranty on both mechanical functionality and docu mented specifications as long as the items are not mistreated abused or modified in any way Invoices are required as warranty registration documents in case of a claim Find your nearest DPA representative on our website www dpamicrophones com or send e mail to info dpamicrophones com DPA Headquarters Denmark Tel 45 4814 2828 Fax 45 4814 2700 DPA Inc United States Tel 1 303 485 1025 Fax 1 303 485 6470 June 2007 DPA Microphones A S Product features and specifications are subject to change without notice 36 Other microphone groups DPA Large Diaphragm Microphones are top of the range one inch capsule omni microphones When choosing the right micro phone for a particular application it is important to consider the diaphragm size With their transpa rency and neutral cha
4. 0 g 88 oz incl briefcase 4300 g 95 lbs 5500 g 12 Ibs Threads 5 8 Center Discs with thread adapters for 3 8 Microphone spacings Continuously variable 60 210 cm 2 7 ft Cables Female XLR Lemo male XLR adapter Length 10 m 33 ft Custom lengths can be ordered Maintenance If the booms get dirty or lightly scratched polish them with vaseline oil on a lint free cloth Accessories available D3X DAO3000 DAO5000 DAO5000Y DAO5000 0 DAO5000 R DAO5000 B DAO5000 G DAD5000 CD5000 RCD5000 TBH5000 SEU5000 LEU5OOO TEU5000 PMH5000 PSM5000 SH5000 MT5000 UA0962 UA0898 Upgrade Kit from D3 to S5 Three Cables and Adapters for D3 10 m 33 ft Five Cables and Adapters for 55 10 m 33 ft Cable for Integration to D3 S5 10 m 33 ft L yellow Cable for Integration to D3 S5 10 m 33 ft C orange Cable for Integration to D3 S5 10 m 33 ft R red Cable for Integration to D3 S5 10 m 33 ft LS blue Cable for Integration to D3 S5 10 m 33 ft RS green Lemo male XLR adapter Center Disc Rear Center Disc Telescopic Boom with Microphone Holders Short Extension Unit Long Extension Unit Telescopic Extension Unit Protractor for Microphone Holder Protractor for Shock Mount Suspension Hook Measuring Tape Microphone Holder for Integrated Cable in D3 55 Shock Mount for Integrated Cable in D3 55 33 34 For use with 5006 4006 IL Surround Microphone Kit 5 x 4006 IL Omnidirectional M
5. 5000 Suspension Hook 3 pcs 3 pcs 5 pcs 5 pcs General description The DPA Decca Tree D3 and Surround Mount S5 are highly versatile and stylish microphone mounts for two to five microphones The unique building block design of the D3 and S5 mounts provides extreme flexibility allowing for numerous configurations while an integrated custom length cable option adds even more value to the products visual elegance In the concert hall the mount is hardly visible and completely non light reflective The mount is equally suitable for fixed installations and mobile setups and can be neatly packed away into the supplied briefcase for easy transportation Compact and extremely lightweight the DPA mount is very strong and stable Although the array is optimized for use with DPA microphones it accommodates all microphone holders due to its standard 5 8 thread and a broad variety of surround microphone arrays can be set up very neatly In the Decca Tree configuration all three microphones can be spaced 60 to 210 cm 2 to 7 ft apart either aligned in a vintage Decca school I shape or in an equilateral triangle configuration for optimal balance with a centered fixation point Center Disc The Center Disc has mounting information inscribed on both sides Nevertheless always mount the Center Disc with the opening of the disc downwards for cable outlet a D A 3 Suspension Hooks Press th
6. User s Manual DPA D3 Decca Tree TE Ld DPA D3c Decca Tree with Integrated Cables DPA S5 Surround Mount e Y DPA S5c Surround Mount with Integrated Cables SEE MICROPHONES Contents Product overview General description Center Disc Suspension Hooks Measuring Tape and Protractor Horizontal adjustment angle between microphone pairs Vertical adjustment tilt Integrated cable option included in D3c and 5c For use as an AB stereo boom For use as D3 Decca Tree For use as S5 Surround Mount Specifications Environmental Policy Service amp Repair Other microphone groups O ON DU HR HR WW N WN WW WW naaws o e Product overview of assembling components Ref Type no Product D3 D3c S5 S5c Center Disc A e CD5000 a hedd adaptei 1 pc 1 pc 1 pc 1 pc Telescopic Boom with Microphone B Pa TBH5000 Holders 3 pcs 3 pcs 5 pcs 5 pcs C SEU5000 Short Extension Unit 6 pcs 6 pcs 8 pcs 8 pcs D LEU5000 Long Extension Unit 3 pcs 3 pcs 9 pcs 9 pcs d P E i DAO3000 Balanced Mic Cable Female XLR g 3 pcs g 5 pes a amp DAO5000 Lemo Male XLR Adapter 10 m 33 ft ai pat F RCD5000 Rear Center Disc 1 pc 1 pc G TEU5000 Telescopic Extension Unit 1 pc 1 pc H O MT5000 Measuring Tape 1 pc 1 pc 1 pc 1 pc PMH5000 Protractor 1 pc 1 pc 1 pe 1 pc J SH
7. e eyes on the spring together with two fingers and draw the open hook over the Telescopic Boom to the dedicated hook mounting catch Turn the hook to the desired point and secure it by releasing the spring back to its original state The wires to the Suspension Hooks should be as vertical as possible Avoid any bending force to the microphone arms applied by the suspension wires eo Bias the open hooks over the Telescopic Booms Release the spring at the desired point a pring p y Measuring Tape and Protractor In order to keep the simple and elegant look of the microphone mount there are no distance or angle markings on the product besides the three markings on the Telescopic Booms Please refer to the descriptions in this manual regarding microphone array spacings or use the enclosed measuring tape to confirm your desired microphone distances The unique 3D protractor can be mounted on each of the supplied microphone holders to adjust the microphone angle both horizontally outer row and vertically inner row gt a Measuring tape Protractor for shock mount 1 When mounting mics in the shock mount please note that there is a specially designed protractor for this supplied with the surround microphone kits Horizontal adjustment angle between microphone pairs a D Protractor mounted for horizontal adjustment y Click the protractor on to t
8. g between LR C 100 cm 33 ft Spacing between LS RS 100 cm 33 ft Spacing between LR LSRS 250 cm 8 2 ft 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders 6 x C Short Extension Units 9 xD Long Extension Units 1 xF Rear Center Disc I xG Telescopic Extension Unit 250 cm 100 cm E 2 2 An array of this size should only be used as a suspended setup with the Suspension Hook solution If using microphone stands it is necessary to use two stands one on each center disc to stabilize the long rear extension boom 27 28 Surround solution 10 Five wide cardioids 5015 Surround Microphone Kit for use in the WCSA Wide Cardioid Surround Array developed by Mikkel Nymand DPA Microphones Spacing between LC and R C 70 cm 23 ft Spacing between LR C 20 cm 07 ft Spacing between LS RS 150 cm 5 ft Spacing between LR LSRS 150 cm 5 ft 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders 1 xC Short Extension Units gt xD Long Extension Units 1 xF Rear Center Disc I xG Telescopic Extension Unit 150 cm 20 50 cm Surround solution 11 Five omnis equidistant 5006 Surround Microphone Kit for use in a Polyhymnia Array The microphones are spaced equally from a center point the Center Disc Up to 160 cm 52 ft distance from the center point is possible with the S5 kit 1 xA Center Disc 5
9. h mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms Decca solution 4 For microphone spacing from 120 50 cm 4 to 5 ft in an equilateral triangle 1 xA Center Disc 3 x B_ Telescopic Booms with Microphone Holders 3xD Long Extension Units B 20 50 cm D NS A D D YA Y A B s La om o _ 120 50 A cm Each mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms Decca solution 5 For microphone spacing from 150 to 180 cm 5 to 6 ft in an equilateral triangle 1 xA Center Disc 3 xB Telescopic Booms with Microphone Holders 3 x C Short Extension Units 3xD Long Extension Units EO M 150 180 cm Each mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms Decca solution 6 For microphone spacing from 180 to 210 cm 6 to 7 ft in an equilateral triangle 1x A Center Disc 3 xB Telescopic Booms with Microphone Holders 6 x C Short Extension Units 3xD Long Extension Units il O 180 210 cm Each mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms Decca solution 7 For a Vintage Decca setup in a I shape with 2 m 66 ft between Left and Right mic
10. he cylindrical microphone holder on the Telescopic Boom The screw on the microphone holder should be visible through the small round eye in the middle of the protractor When angling the microphone the boom will now act as a pointer to the outer row showing the angle difference between the L C or R C microphone when using any forward pointing L and R microphone boom configuration Two parallel pointing microphones should therefore read out OO when using forward pointing microphone boom configurations When measuring the angle between the LS and RS microphones the protractor reads out the angle to an imagined center line Vertical adjustment tilt The microphone can be angled up or downwards a vertical angle read will make it easy to find the desired inclination Click the protractor on to the cylindrical microphone holder on the Telescopic Boom The bullet will read out any angle offset at the inner row incorporated by either a twist from the specific microphone arm or by the entire mount gt Protractor mounted for vertical adjustment Integrated cable option included in D3c and S5c Disassemble the XLR connection adapter at the male end of the cable kan gt SO Put the small Lemo connector into the opening by the microphone holder and push the cable gently through the pipes to the center disc Then plug the small Lemo connector into the XLR connection adapter
11. icrophones P48 Transformerless 5 x L50B Acoustic Pressure Equalizers 50 mm 197 in Ball 5006 11 4006 IL 4011 TL Surround Microphone Kit 3 x 4006 IL Omnidirectional Microphones P48 Transformerless 3 x L50B Acoustic Pressure Equalizers 50 mm 197 in Ball 2 x 401 TL Cardioid Microphones P48 2 x UA0898 Shock Mounts for Integrated Cable in D3 S5 5015 4015 IL Surround Microphone Kit 5 x 4015 IL Wide Cardioid Microphones P48 5 x UA0898 Shock Mounts for Integrated Cable in D3 S5 Environmental Policy DPA Microphones A S is proud to be known as a green company It is company policy to produce all products in accordance with the best ecological practices to preserve the envi ronment we are all a part of Consequently it is DPA s aim to cooperate with both national and international legislative bodies to fulfil the requirements and recommendations set out in environmental standards and directives Throughout DPA s conduct and in its design of new products the company pursues solu tions that have minimal impact on the eco logy and are in line with the latest legislative requirements at present directive 9002 95 EC at the time a new product is introduced to the market These requirements are not only valid for DPA but also its suppliers With respect to waste disposal DPA fully complies with the WEEE directive 9002 96 EC and will adhere to any amendments and subsequent requirements From 1 January 2006 all DPA
12. m Decca solution 1 If placement of the three microphones is desired to be in front of the conductor and the microphone stand behind mounting the microphones in L and R marks on the Surround side of the Center Disc could be a solution If using long booms a counter weight mounted on an extension unit in the LS RS marked hole is recommended for better balance For better control of long booms in a large array always start from the Center Disc mounting the Extension Units before the Telescopic Booms When dismounting start from the outside with the microphones then the booms and extension units For microphone spacing from R0 to 50 cm 4 to 5 ft for the microphones to be aligned 1 xA Center Disc 3 xB Telescopic Booms with microphone holders 2 xD Long Extension Units 20 50 cm V Decca solution 2 For microphone spacing from 60 to 90 cm 2 to 3 ft in an equilateral triangle 1 xA Center Disc 3xB Telescopic Booms with Microphone Holders 60 90 60 90 N Each mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms Decca solution 3 For microphone spacing from 90 to R0 cm 3 to 4 ft in an eguilateral triangle lxA Center Disc 3xB Telescopic Booms with Microphone Holders 3 x C Short Extension Units Eac
13. nal More extension units can be added to the Telescopic Extension Unit to obtain desired distance between front and rear microphones Surround solution 5 50 180 cm 5 6 ft spacing between LGR and LS RS 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders 4x C Short Extension Units 1 x C Short Extension Unit for 180 cm on center boom 8 xD Long Extension Units 1 xF Rear Center Disc I xG Telescopic Extension Unit G C C F D D B B 150 180 cm Optional More extension units can be added to the Telescopic Extension Unit to obtain desired distance between front and rear microphones 23 Surround solution 6 180 200 cm 6 7 ft spacing between LGR and LS RS 1 xA Center Disc 5 x B_ Telescopic Booms with Microphone Holders 8 x C Short Extension Units 9 xD Long Extension Units I xF Rear Center Disc 1 xG Telescopic Extension Unit 180 200 cm Optional More extension units can be added to the Telescopic Extension Unit to obtain desired distance between front and rear microphones 24 Surround solution 7 Large Decca Tree Front Largely Spaced Cardioids Rear 5006 11 Surround Microphone Kit Spacing between LCR 200 cm 66 ft Spacing between LS RS 200 cm 66 ft Spacing between LR LSRS 150 cm 49 ft 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders 8 x C Short Extension Units 9 xD Long Extension Units xF Rear Center Disc 1 xG Tele
14. om pole Only use this solution if the array is not too big since the angling option will not hold too much bending force 20 Surround solution 2 60 90 cm 2 3 ft spacing between LGR and LS RS 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders 1 xC Short Extension Unit for 90 cm center boom 1 xD Long Extension Unit 1 x F Rear Center Disc 1 xG Telescopic Extension Unit O A 60 90 cm Optional More extension units can be added to the Telescopic Extension Unit to obtain desired distance between front and rear microphones Surround solution 3 90 120 cm 3 4 ft spacing between L GR and LS RS lxA Center Disc 5xB Telescopic Booms with Microphone Holders A xC Short Extension Units lx C Short Extension Unit for 120 cm on center boom lx F Rear Center Disc lxG Telescopic Extension Unit Mm O 90 120 cm a 90 120 E cm Optional More extension units can be added to the Telescopic Extension Unit to obtain desired distance between front and rear microphones 21 22 Surround solution 4 120 DO cm 4 5 ft spacing between LGR and LS RS 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders 1 x C Short Extension Unit for 150 cm on center boom 7 xD Long Extension Units xF Rear Center Disc lxG Telescopic Extension Unit 20 50 cm D 120 150 cm Optio
15. racter DPA s large diaphragm microphones are ideal for use with vocals strings or other acoustic instruments with a high dynamic range DPA Standard Microphones are high quality studio microphones comprised of omnis cardioids and wide cardioids Featuring stylish slim housing and distinctive grid these mics are designed for sonic integrity in any venue DPA s audio philosophy is based on the notion of zero sound coloration and the complete and honest accuracy of these microphones is unequalled DPA Compact Microphones are the smaller cousins of the standard microphones and are also available as omni cardioid and wide cardioid models They are especially valuable for low profile use together with DPA s elegantly designed stands mounts and holders for the close miking of instruments as table and podium mics and as reinforcement mics in live performance venues The compact microphones com bine the trademark DPA sound with aesthetic and functional design solutions DPA 4090 Series are instrument micro phones for studio recording and live perfor mance Discreet and versatile these micro phones are characterized by a natural and open sound They are made specifically to suit the needs of musicians as well as the rigors of the stage The flat frequency response of the 4090 and 4091 further more enable FOH engineers to use these micro phones
16. rophones and 1 m 33 ft between the Center microphone and the LR basis lxA Center Disc 3xB Telescopic Booms with Microphone Holders 4 xC Short Extension Units only for Left and Right 2xD Long Extension Units only for Left and Right E IEO Each mark on the Telescopic Boom indicates 10 cm 4 in increments in microphone spacing when extending all three booms For use as S5 Surround Mount five microphone array The possibilities with the S5 are numerous due to the extreme flexibility of the S5 kit All microphone spacings from 60 to 200 cm 2 to 7 ft are possible between all five microphones with a variable frontto rear distance from 60 to 250 cm 2 to 82 ft depending on the boom lengths In the following a few recommendable solutions for different venues and recording angles are presented Please note that some arrays are heavy and should only be used as a suspended setup with the Suspension Hook solution If you want to know more about recording techniques please consult our Microphone University at wwwdpamicrophones com Surround solution 1 Portable Surround Array lxA Center Disc 5xB Telescopic Booms with Microphone Holders 1 xF Rear Center Disc I xG Telescopic Extension Unit Attach an optional Microphone Holder UA0962 to the Telescopic Extension Unit This will make it possible to mount a number of Extension Units as an array bo
17. scopic Extension Unit 200 cm 150 cm G 200 cm Use the DPA 5006 11 Surround Microphone Kit to make a configuration with matched 4006 IL omnis in the front and backwards faced 4011 IL cardioids for the rear channels Consider using the L50B Acoustic Pressure Equalizers for the distinctive vintage Decca sound character and angling the cardiods upwards for more height information 25 26 Surround solution 8 Five omnis with Small Decca Iree Front and spaced omnis far rear 5006 Surround Microphone Kit Spacing between LGR 100 cm 33 ft Spacing between LS RS 100 cm 33 ft Spacing between LR LSRS 250 cm 8 2 ft 1 xA Center Disc 5xB Telescopic Booms with Microphone Holders A xC Short Extension Units 6xD Long Extension Units xF Rear Center Disc I xG Telescopic Extension Unit 250 cm Use the 5006 4006 IL Surround Microphone Kit to make a configuration with matched 4006 IL omnis consider using the L50B Acoustic Pressure Equalizers for the distinctive vintage Decca sound character An array of this size should only be used as a suspended setup with the Suspension Hook solution If using microphone stands it is necessary to use two stands one on each center disc to stabilize the long rear extension boom Surround solution 9 Five omnis with vintage I shaped Decca Iree front and spaced omnis far rear 5006 Surround Microphone Kit Spacing between LR 200 cm 66 ft Spacin
18. xB Telescopic Booms with Microphone Holders 8 x C Short Extension Units 9xD Long Extension Units 1 xF Rear Center Disc I xG Telescopic Extension Unit 160 cm G 29 Other commonly used microphone arrays OCT Optimized Cardioid Triangle by Gunther Theile Spacing between LR 60 90 cm 2 3 ft Spacing between GLR 40 cm 13 ft 1x A Center Disc 5xB Telescopic Booms with Microphone Holders 2x C Short Extension Units xF Rear Center Disc I xG Telescopic Extension Unit OCT 2 OCT Surround 60 90 cm LR 20 cm max 100 cm m For OCT surround an optional CD5000 is required 30 Hamasaki Sguare by Kimio Hamasaki NHK Japan 1 x A Center Disc 4 xB _ Telescopic Booms with Microphone Holders 9 xD Long Extension Units xF Rear Center Disc 1 xG Telescopic Extension Unit 180 200 180 200 180 200 cm cm 180 200 cm 31 32 Fukada Tree by Akira Fukada NHK Japan 1 xA Center Disc 5 xB Telescopic Booms with Microphone Holders 7 xC Short Extension Units 9 xD Long Extension Units 1 xF Rear Center Disc I xG Telescopic Extension Unit 1G 200 cm Specifications D3 55 Color Black Black Material Alu steel Alu steel Weight w microphone holders 1300 g 46 oz 250
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