 George
Shilling reviews:
DPA 3541 Vocalist and Instrument Microphone Kit
 When
scouring the microphone cupboards of the commercial studios I use, I
am always delighted to encounter Brüel & Kjær models, (now
available under the DPA name). Frequently, these are Type 4006
omni-directional condensers, known for their bright, clear and true
characteristics. Now, with the introduction of the 4041 models, two
derivatives are available which utilise a larger diaphragm capsule
(Type MMC4041). This provides all the traditional benefits of a
larger capsule, although at 1" (24mm) across, it is not huge.
Another DPA end-firing design, this is similar in performance to the
special gold and glass limited edition Type 4040. With that model
both solid state and valve preamplifiers are included in one
microphone. Here, separate bodies are provided for valve or solid
state pre-amplification
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Type
3541 is a kit that includes one of these capsules, together with the
two alternative microphone bodies: the MMP4000-S solid-state
preamplifier and the MMP4000-T valve preamplifier. Both of these are
similar in appearance to previously available 4000 series
microphones, with black anodised metal finish and narrow cylindrical
bodies which flare out at the top to accommodate the new larger
capsule. These bodies are terminated with six-pin XLR type
connectors. The supplied cable connects to the HMA4000 two-channel
microphone amplifier. Also included in the kit is a robust
suspension mount with rubber straps, and an ingenious dual-layer
vocal pop-shield which includes an adaptor to enable both the
suspension mount and pop shield to be mounted securely on one
microphone stand. Furthermore, the pop shield mount ingeniously
slides and locks to enable different spacing between itself and the
microphone capsule. A large foam windshield is included for direct
fitting over the microphone. All components fit into a sculpted foam
insert inside a luxurious protective Samsonite briefcase, to form a
neat portable kit for the mobile engineer.
The
microphone amplifier is a compact yet weighty box, which is designed
to optimally handle the output of either the solid state or tube
microphone and provide a 200V polarisation voltage. The connector
panels are painted a garish orange, not what you normally expect
from the reserved Danes! On the front face are two six-pin XLR
connectors and a small Gain switch for each channel. This enables
coarse matching of gain, with -20/0/+20dB positions, enabling the
vast dynamic range of the microphones to be most appropriately
utilised in a given situation. Maximum SPL of 144dBA can be handled
before clipping. However, without any finer adjustment, one will
normally need further line amplification of some type before
connection to the recorder. Of course, in many situations one will
connect to a mixer of some type for balancing, panning or EQ. For
direct recording, I found it easiest to set appropriate recording
levels by inserting a high quality compressor, with or without
compression. However, the inclusion of a fine level control on the
HMA4000 would benefit many users. On the rear panel are traditional
3-pin XLR outputs and an IEC socket.
The
diaphragm is uniquely manufactured from stainless steel. Unscrew the
grill and you can see your face reflected in it! Fitted onto a
precision made stainless steel housing, this is said by DPA to give
the capsule a unique immunity against ambient temperature
differences. It also has an extremely low self-noise (6dBA) and wide
dynamic range (113dB). A treble lift of some 5dB around 8kHz gives a
tremendous clarity on-axis; as might be expected with an end-fire
microphone, the very high frequencies tail-off rapidly off-axis.
Swapping
the barrel from the solid state to the valve is a simple matter of
unscrewing the capsule, which is located with a central pin.
However, the grill unscrews from the top of the capsule, and the
diaphragm also unscrews from the connector, so one has to be careful
to twist the correct parts.
In
use, the difference between the two microphones is subtle on some
sources, but certainly noticeable with most singers. The immediate
impression with either preamplifier is of a wonderful 'openness' of
sound, terrific natural transparency with no discernable colouration.
The response is extremely flat down to 10Hz, and this makes the 4041
a wonderful performer on all manner of instruments, as well as
vocals. The tube microphone seems to subtly enhance, particularly in
the upper frequency range. A pleasant blurring lends a magical aura
to certain voices and instruments. The solid-state preamplifier,
meanwhile, provides a beautifully accurate and detailed picture of
the sound source. It is horses for courses, naturally, but if you
are indecisive, it can be a nuisance to keep the singer waiting
while you extract the microphone from its mount to swap the capsule
over.
This
kit provides similar performance to the extremely exclusive and
desirable Type 4040. Although the two bodies are less convenient, I
know of one incident where an owner broke the beautiful yet slightly
impractical glass housing of the 4040. There are no such worries
here: these microphones are extremely robust, and packed in a tough
case. This is an excellent way to acquire what I believe are two of
the best microphones currently available, although ideally I would
like a second capsule to make direct comparison easier.
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Reproduced
with kind permission from www.George.Shilling.Com. Copyright ©1997
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