Designed to kick the bass to the next level, the 4055 takes the traditional concept of a kick drum mic and turns it on its head - no more pre-tailored sound - now you can take sound design back into your own hands.
What makes the 4055 stand out from the competition is that it delivers the renowned DPA sound, clarity and linear frequency response, both on axis and off axis. Its low frequency response and dynamics are superb and result in a tight, natural, well-defined sound - the best low-end with detailed mids and highs.
The 4055 is one of the only kick drum mics that is not sonically pre-tailored to fit a traditional sound in a specific genre. Its performance allows a professional sound designer to create the exact sound s/he is listening for - regardless of the music genre. Want more attack? Slide the 4055 into the bass drum and point it directly at the beater. For a super-low-end sound, place the 4055 at the hole, just on the outside of the front head. Here, the level of sub and lows are represented the most.
Not only does the position inside or outside the kick drum give you different sounds but working with the angles of the microphone just outside the hole will deliver nuances of the drum sound. No matter what sound preference you have, the 4055 captures the true sound of a kick drum, whether it is used in classic, jazz, rock or any other genre.
The 4055 is placed in a large, robust housing and there is wind damping foam just in front of the capsule, behind the grille. A specially-designed shock mount also suspends the capsule inside the housing to avoid vibrations from the stage. The shock mount together with the extra wind damping ensures that the 4055 captures only the source.
The 4055 is easy to position, both inside and outside the drum. Its unique asymmetric design makes it quite easy to place the mic through the drum hole without ripping the front resonator skin.
- Picks up the clear, true sound of the kick drum
- Flat frequency response so you can shape the sound your way
- Built tough to withstand rough use on the live stage
- Asymmetric design for easy placement inside or outside
| Directional pattern | Open Cardioid |
| Principle of operation | Pressure Gradient |
| Cartridge type | Pre-polarized condenser |
| Frequency range | 20 Hz - 20 kHz |
| Effective Frequency range ±2dB, at 20 cm (7.9 in) | 40 Hz - 18 kHz with a 6 dB soft boost at 10 kHz |
| Sensitivity, nominal, ±2 dB at 1 kHz | 2 mV/Pa; -54 dB re. 1 V/Pa |
| Equivalent noise level, A-weighted | Typ. 27 dB(A) re. 20 µPa (max. 29 dB(A)) |
| Equivalent noise level, ITU-R BS.468-4 | Typ. 39 dB (max. 41 dB) |
| Distortion, THD < 1%) | 156dB SPL RMS, 159 dB SPL peak |
| Dynamic range | Typ. 132 dB |
| Max. SPL, THD 10% | 164 dB SPL peak |
| Rated Output impedance | 380 Ω |
| Output balance principle | Impedance balancing with Active Drive |
| Common mode rejection ratio (CMRR) | > 55 dB |
| Cable drive capability | 100 m (328 ft) |
| Power supply (for full performance) | P48 (Phantom Power) |
| Current consumption | 2.0 mA |
| Connector | XLR-3M. Pin 1: shield, Pin 2: signal + phase, Pin 3: - phase |
| Colour | Matte Black |
| Weight | 241 g (8.5 oz) |
| Microphone diameter | 57 mm (2.24 in) |
| Microphone length | 132 mm (5.19 in) |
| Maximum output voltage, RMS | 9.75 V |
| Polarity | +V at pin 2 for positive sound pressure |
| Temperature range | -40°C to 45°C (-40°F to 113°F) |
| Relative humidity (RH) | Up to 90% |
