DPA d:mension 5100 Service Manual [de]
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
Cable conguration ............................. 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
Specications & 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
© January 2015, DPA Microphones A/S
Product features and specications are subject to change without notice.
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, 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 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 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 DiPMicTM technology, the appropriate level differences between output channels in the 5100 is obtained using acoustic absorbing bafes
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 downmixing to mono.
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5.1 surround sound playback system
In order for you to benet 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 ve discrete audio channels and 1 LFE channel 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 accessor y 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.
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