Dpa 5100 User manual

User’s Manual

DPA 5100 Mobile Surround Microphone

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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

Cableconﬁguration.....................5

Applicationnotes.......................5

OutdoorCover......................5

Extensionunits......................5

TheLFEoutput.....................6

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

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

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

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

Careofmicrophone.....................6

Speciﬁcations & graphs for DPA 5100 . . . . . . . 7

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

Polarpatterns..........................9

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

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

Serviceandrepair......................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) television surround sound production as a “surround ambience adder”, especially in connection with sports events, ambience recor-

ding at different venues, documentaries, talk shows, ﬁlm 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 mat-

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

unique DiPMicTM technology, designed by DPA Microphones, has been applied to this design.

DiPMicTM stands for Directional Pressure Microphone, and refers to the fact that even though we use pressure microphone capsules that natively

result in pure omnidirectionality, 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 DiPMicTM technology, the appropriate level differences between output channels in the 5100 is

obtained using acoustic absorbing bafﬂes between the microphones, as known from the Jecklin Disc A-B stereo principles.

To create enough spaciousness to the surround ﬁeld, 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.

5.1 surround sound playback system

In order for you to beneﬁt fully from the intended surrounding effect of the 5100, it is advisable that you are familiar with the 5.1 surround

playback setup.

“5” refers to the number of full range discrete channels, “.1” refers to the frequency limited range of the LFE (Low Frequency Effects) channel.

• Twofullfrequencyrangechannelsforspeakersatthefront:Left(L)andRight(R).

• Onefullfrequencyrangechannelforspeakerbetweenleftandright:Center(C).

• Twofullfrequencyrangechannelsforsurroundspeakersattherear:LeftSurround(LS)andRightSurround(RS).

• OneLowFrequencyEffectschannel(LFE).

5.1 surround (also known as 3-2 Stereo: three front speakers and two rear speakers) delivers ﬁve discrete audio channels and 1 LFE chan-

nel from a six-channel source. Source media, usually DVD and satellite/digital cable, is often branded with “Dolby Digital” and/or DTS logos.

Publically available digital discrete coding formats are Dolby Digital 5.1, Dolby AC-3, and DTS (Digital Theater System).

Placement: 5.1 speaker layouts should conform to the ITU-R BS.775 standard:

The ITU (International Telecommunication Union) standard states that the left and right speakers

are located at ±30˚, while the rear speakers should be positioned approximately ±110˚ off center axis.

• Threeidenticalfrontspeakers.

• Equalarrivaltime(radius)betweenmixpositionandeachspeaker.

• Ifplacedbehindasilverscreen,thescreenshouldbeacousticallytransparent.

• Surroundspeakersplacedwithin100˚and120˚.

If more than two surround speakers, symmetrically placed on radius between 60˚ and 150˚.

• LFErunstoseparatesubwooferorequallytoleft/right,andisplayedbackat+10dBlevel.

Mounting the microphone

The 5100 has a standard 3/8” microphone stand thread above and below the unit.

Any third part mounting accessory having 3/8” thread can be mounted

– microphone stand, hand grip or the like. Remove the inner thread a

the bottom to acces American 5/8” thread.

Connecting and disconnecting the cable

The 5.1 output of the 5100 runs through a multi-pin Lemo connector carrying all six channels electronically balanced. The enclosed DAO5105 5

m (16 ft) six-pair Mogami cable breaks out to six Neutrik XLR-M connectors. Other cable lengths are available as optional accessories.

Note

To align the two red marks, gently push the connector into the terminal beneath the 5100 until it locks with a click.

Disconnect the cable by drawing it away from the 5100 at the cylinder. This will unlock the connector.

Cable conﬁguration

5.1 channel Cable no. Color code Memory aid

L 1 Yellow Lin yeLlow and Left

R 2 Red Rin Red and Right

C 3 Orange Combination color between yellow and red

LFE 4 Gray Gray (LFE) does not have full bandwidth

LS 5 Blue Dark colors for Rear Channels:

Lin BLue and Left, Rin GReen and Right

RS 6 Green

48V Phantom power should be applied to all six cables. Note, the LFE output is only active when phantom power is applied to Left and Right.

Application notes

The DPA 5100 can be used handheld, mounted on a camera, on a microphone stand

or suspended. Further shock absorption is not necessary.

DPA OC5100 Outdoor Cover

When using the 5100 outdoors, always mount the DPA OC5100 Outdoor Cover,

which both protects the unit against rain and reduces wind noise.

Extension units

When mounted on a handheld camera, it may be necessary to

increase the distance between the microphone and any noise

sources such as camera zoom and breathing.

4 5

The LFE output

The LFE output is derived from a sum of the left and right microphones and is running through a low pass ﬁlter at 120 Hz and is attenuated

10 dB conforming with the LFE level standard.

Mixing the signals

The unit is in perfect surround balance and does not need any level off-sets. Simply gain all microphones equally (including the LFE signal).

However, some applications may beneﬁt from minor adjustments to achieve the desired level balance on the 5.1 outputs:

• Newsgathering/interview:Attenuateallchannelsbutcenter

• Concerthallwithlargedistancetosource:Attenuaterearchannels

• Acousticalzoomfunction:Attenuateallchannelsbutcenter

Adding time delay to rear channels

To increase the sensation of spaciousness it is a recommendable trick to add time delay to the rear channels by typically 10 – 15 ms (corres-

ponds to the rear microphones being placed approximately 3 – 5 m (10 – 16 ft) behind the front microphones). This technique works best

when the surround directions are consistent, and may lack front-to-back localization accuracy when recording moving surround environments from

the rear.

Fold-down to stereo or mono

The surround signals from the 5100 can easily be folded down for stereo or mono. Since the three front microphones are time coincident, no

comb ﬁltering occurs when summing L, C and R.

Down-mix algorithms

5100 surround outputs Stereo fold-down Mono fold-down

L R Mono

Left 0 dB - -3 dB

Right - 0 dB -3 dB

Center -3 dB -3 dB 0 dB

LFE +7dB +7dB +10dB

Left Surround -6 dB - -6 dB

Right Surround - -6 dB -6 dB

Care of microphone

DPA 5100 is designed to be very robust and protective materials are used in the construction, including the extremely strong black fabric. Do not

try to clean the microphone as it may be damaged. Avoid all kinds of spray or ﬂuids containing chemical components to remove static electricity

on or close to the microphone as this could cause permanent damage to the pre-polarized layer in the capsules.

DPA 5100 is very resistant to water and can easily be used outdoors with the OC5100 mounted, but keep it away from unnecessary exposure to

water and cleaning ﬂuids.

CRITERIAS LEFT, CENTER & RIGHT LEFT SURROUND & RIGHT SURROUND LFE UNIT

Directional characteristics

Principle of operation

Cartridge type

Frequency range

Sensitivity, nominal +/- 3 dB at 1 kHz

Equivalent noise level, A-weighted

S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL)

Total Harmonic Distortion (THD)

Dynamic range

Max. SPL, peak before clipping

Output impedance

Cable drive capability

Output balance principle

Common Mode Rejection Ratio (CMRR)

Power supply

Current consumption

Connector

Color

Dimensions

Weight

[LxWxH]

Capsule diameter

Cable (length / color / diameter / connector)

Maximum output voltage

Polarity

For L/R and LS/RS

Matching front/back (frequency response and

sensitivity)

Directional Directional 3 / 2 / 1

DiPMic™ (Pressure, with interference tube)

and separation baffles Pressure, with separation baffles Electronically derived

from L + R

Pre-polarized condenser element Pre-polarized condenser element

20 Hz - 20 kHz

200 Hz -16 kHz (+/- 3 dB)

20 Hz - 20 kHz

100 Hz -16 kHz (+/- 3 dB) 20 Hz - 120 Hz (+/- 3 dB)

26 mV/Pa 28 mV/Pa

Typ. 18 dB(A) (max. 21 dB(A)) Typ. 20 dB(A) (max. 23 dB(A))

Typ. 76 dB(A) Typ. 74 dB(A)

<1% up to 123 dB <1% up to 123 dB

103 dB 103 dB 100 dB

132 dB 132 dB

50 Ohm 50 Ohm 50 Ohm

100 m (328 ft) 100 m (328 ft) 100 m (328 ft)

Active signal balanced

60 dB, 50 Hz - 20 kHz 60 dB, 50 Hz - 20 kHz 60 dB, 50 Hz - 20 kHz

Phantom power P48

Typ. 5 mA (max. 5.5 mA) Typ. 5 mA (max. 5.5 mA) Typ. 5 mA (max. 5.5 mA)

Lemo multipin

Black

530 g (18.7 oz)

195 / 240 / 140 mm (7.7 / 9.4 / 5.5 in)

5.4 mm (0.2 in) 5.4 mm (0.2 in)

5 m (16.4 ft) / black / 9.3 mm (0.4 in) /

XLR

1.8 Vrms / 2.5 Vpeak 1.8 Vrms / 2.5 Vpeak 1 Vrms / 1.4 Vpeak

Positive Positive Positive

All 3 microphones are factory selected to the

unit typical within 1 dB.

Both microphones are factory selected to the

unit typical within 1 dB.

Speciﬁcations & Graphs for DPA 5100

6 7

5100 Polær SL

250 Hz 500 Hz 8 kHz 4 kHz

2 kHz

1 kHz

5 dB

5100 Polær Left

250 Hz 500 Hz 8 kHz

16 kHz

4 kHz

2 kHz

1 kH

5 dB

5100 Polær Right

250 Hz 500 Hz 8 kHz

16 kHz

4 kHz

2 kHz

1 kHz

5 dB

5100 Polær RS

250 Hz 500 Hz 8 kHz 4 kHz

2 kHz

1 kHz

5 dB

Typical directional charateristics of DPA 5100 (normalized)

Left Surround

5100 Polær Center

250 Hz 500 Hz 8 kHz 4 kHz

2 kHz

1 kHz

5 dB

16 kHz

Center

RightLeft

Right Surround

Frequency responses for DPA 5100 Polar patterns for DPA 5100

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