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DPA preamplifier MMP-A vs MMP-C
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fafalio
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#1
23rd March 2013
Old 23rd March 2013
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DPA preamplifier MMP-A vs MMP-C

ABOUT MMP-C DPA say:"Has a slightly softer character than the other preamps in the DPA Reference Standard series"

somebody had the opportunity to compare the two preamp?

Second question. The new serie DPA 4006A is an update of the 4006 or 4006TL?
Some comparison about?

Thanks!

A.
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23rd March 2013
Old 23rd March 2013
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Yes marginally softer. Not a bad thing.
The pair of 4006A I tried were a bit sharper than my TLs. Another A pair I used were not as sharp and also had lower self noise (not measured, only by ear).
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23rd March 2013
Old 23rd March 2013
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Are you saying there was a discernable difference between two examples of the same model?
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24th March 2013
Old 24th March 2013
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Sorry, should have been clearer. I used them about two years apart and could of course not compare the two A pairs. The first time i used an A pair, I compared them directly on an organ, to my TL pair. I felt the As were sharper. The next time I had the opportunity to listen to (another) pair i exchanged the TLs to As on another organ. Not so big different in tone this time but slightly quieter - though i must stress that i could not compare these as directly as I couldn't mount them together.
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26th March 2013
Old 26th March 2013
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The new reference series 4006A is the last update of 4006... and now it is modular - you can exchange the capsules...

The compact preamplifier is used when you need small size of the mic... otherwise the MMP-A is the better option - the low end extends to 8Hz while it "only" goes to 15Hz with MMP-C, has slightly better dynamic range than the compact version and sligthly less noise than the compact version... So if you buy 4006A - you don't buy the compact version for the sound, but for the practicality of its small size while the overall sound is not that different... Didn't compare the two though. Just what the seller said to me about the difference and what the specs can tell you.

The most obvious audible difference is of course if you use different protection grids that are supplied with the new mics - you should be aware which one is screwed on - the silver free field one, the black diffuse field one or the trapezoid "close-micing" one that makes it sound softer... The mic sounds very different with different grids and if comparing by memory to some older versions, especially over a few years one should be careful to compare the mics having the same protection grid on...
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26th March 2013
Old 26th March 2013
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Quote:
Originally Posted by The Listener View Post
The most obvious audible difference is of course if you use different protection grids that are supplied with the new mics - you should be aware which one is screwed on - the silver free field one, the black diffuse field one or the trapezoid "close-micing" one that makes it sound softer... The mic sounds very different with different grids and if comparing by memory to some older versions, especially over a few years one should be careful to compare the mics having the same protection grid on...
Not sure if this is directed to me or just general comments, but as I said the first comparison was side by side with identical grids (of course). The second time it was a switch. I'm quite aware of the grids' properties, they're a great asset.
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27th March 2013
Old 27th March 2013
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Quote:
Originally Posted by JonesH View Post
Not sure if this is directed to me or just general comments, but as I said the first comparison was side by side with identical grids (of course). The second time it was a switch. I'm quite aware of the grids' properties, they're a great asset.
Your post made me think of it, but is was meant as a general reminder when comparing those mics... because using different grids makes much bigger difference than the slight differences between different versions of those mics.
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27th March 2013
Old 27th March 2013
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Quote:
Originally Posted by The Listener View Post
Your post made me think of it, but is was meant as a general reminder when comparing those mics... because using different grids makes much bigger difference than the slight differences between different versions of those mics.
Ah, much clearer now
And I totally agree on grids vs versions.
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14th April 2013
Old 14th April 2013
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4006A versus 4006TL

I talked to an engineer from DPA. 4006Ais modular
system. But he said it is the same mic as 4006TL with
a bit better specifications concerning RF noise.

Leif
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18th August 2013
Old 18th August 2013
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Quote:
Originally Posted by nygade48 View Post
I talked to an engineer from DPA. 4006Ais modular
system. But he said it is the same mic as 4006TL with
a bit better specifications concerning RF noise.

Leif
Some other notable differences:

4006A | 4006TL
-------------------------------------------------
Max SPL 147 dB | 143 dB
Freq. Resp. 10 - 20K | 15 - 20K
Sensitivity 40 mV/Pa | 35 mV/Pa
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18th August 2013
Old 18th August 2013
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DPA keeps changing their range and the names for their mics. I cannot keep it all straight nowadays.

I'm not really a fan of the current sound of the range either. On a high resolution playback system I hear that there is a DPA grating treble haze overlayed on the sound pick up. It is always there.

My tech informs me that DPA is using a fairly cheap and not very good sounding electronics package to amplify the capsule.

On my older Bruel & Kjaer 4006 mics, I asked Rens Heijnis to replace the microphone electronics with his own custom built designs.

Now the mics sound much better. They are less sharp sounding and have even better bass than before.
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18th August 2013
Old 18th August 2013
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Quote:
Originally Posted by Plush View Post
DPA keeps changing their range and the names for their mics. I cannot keep it all straight nowadays.

I'm not really a fan of the current sound of the range either. On a high resolution playback system I hear that there is a DPA grating treble haze overlayed on the sound pick up. It is always there.

My tech informs me that DPA is using a fairly cheap and not very good sounding electronics package to amplify the capsule.

On my older Bruel & Kjaer 4006 mics, I asked Rens Heijnis to replace the microphone electronics with his own custom built designs.

Now the mics sound much better. They are less sharp sounding and have even better bass than before.
Are you referring to the 4006A specifically? I'm not hearing what you are referring to, and I'm listening on a very high resolution system. But, right now I don't have a comparable point of reference. However, I'm going to do some extensive comparison listening against the cmc6 + mk2s very soon. Do you hear this with most/all preamps? I typically use the smp-2a with the 4006As.
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19th August 2013
Old 19th August 2013
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Quote:
Originally Posted by SoSueMe View Post
Are you referring to the 4006A specifically? I'm not hearing what you are referring to, and I'm listening on a very high resolution system. But, right now I don't have a comparable point of reference. However, I'm going to do some extensive comparison listening against the cmc6 + mk2s very soon. Do you hear this with most/all preamps? I typically use the smp-2a with the 4006As.
The SMP-2(a) has the ability to smoothen abrasive highs into a golden polished sheen. This is the only area in which I would call it "colored". It may just be the right preamp for your DPAs. I agree with Plush that the Rens Heijnis electronics improve the mics in their highs. They get more of the Sonodore character. Sonodore omnis should be placed in between the (rather warm) Schoeps and the (quite clinical) DPA sound.
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19th August 2013
Old 19th August 2013
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Quote:
Originally Posted by Earcatcher View Post
The SMP-2(a) has the ability to smoothen abrasive highs into a golden polished sheen. This is the only area in which I would call it "colored". It may just be the right preamp for your DPAs. I agree with Plush that the Rens Heijnis electronics improve the mics in their highs. They get more of the Sonodore character. Sonodore omnis should be placed in between the (rather warm) Schoeps and the (quite clinical) DPA sound.
Not hearing the smoothing you're referring to compared to other preamps. But, my definition of that is likely different and we may be hearing the same thing.

Personally, I believe *most* preamps contribute 5% or less to overall sound within certain limits. Yes, I bought the Forssell for that 5%. After using the preamps in the real world AND performing extensive double blind comparisons, the 2A basically acts like a true upward compressor, pulling up low level details (dB) without touching peaks, although very subtle. You can literally see this when looking at the density (RMS) of the waveforms between the 2A and most any other preamp. This falls in line with others' description of its sound.

For what it's worth, I don't do orchestral recording; I use the 4006As for mid/near field miking with the silver non-trapezoidal grids.
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