Our unique d:dicate™Twin Diaphragm Omni Mic Capsule is at the heart of these amazing microphones. This capsule gives the mic a distinctive, well-balanced sound and bridges the gap between the extreme sound quality of the d:dicate™ Recording Microphone Series and our well-known d:screet™ Miniature Microphone Series.
Two opposite-facing miniature capsules are custom rebuilt inside this microphone. They are placed into a double-diaphragm, one-capsule composition. This combines the advantages of small capsules with the lower inherent noise achieved from a larger diaphragm area. These capsules provide fast impulse response and large frequency bandwidth. The capsules are loaded to the supreme d:dicate™ Microphone series preamps, which gives the sound more air and precision.
Combine it with the preamp of your choice
As with all of the modular d:dicate™ Recording Microphones, you can combine the d:dicate™ Twin Diaphragm Omni Mic Capsule with any of our preamps.
The MMP-A Mic Preamp is an ultra-transparent, transformerless preamp with active drive for impedance balancing. The MMP-C Compact Mic Preamp is an ultra-compact preamp with active drive for impedance balancing. It has a slightly softer character than the other preamps in the d:dicate™ Microphones Series.
Other preamps include the very small form factor types MMP-E Modular Active Cable (XLR output) and MMP-G Modular Active Cable (MicroDot output), allowing for very slim set-ups. The MMP-G even allows you to match a larger microphone directly to a wireless transmitter.
For the true audiophile, the d:dicate™ 2006A Twin Diaphragm Omni Mic offers low distortion and totally accurate and faithful sound.
The d:dicate™ 2006C Compact Twin Diaphragm Omni Mic offers a subtle character alteration with a bit more “body” to the low end than the d:dicate™ 2006A. It is also much easier to position than other omni mics, due to its smaller size.
At any time, and with no tools needed, it is possible to transform the d:dicate™ 2006 Twin Diaphragm Omni Mic into a new configuration.
- Acoustic authenticity
- Linear throughout a large frequency bandwidth
- Twin-Diaphragm Capsule Technology
- Modular flexibility
A bit about omnis
An omnidirectional microphone has sensitivity at all angles – in principle picking up sound equally from all directions. This gives you extremely natural and realistic sound compared to a cardioid mic. Omni mics are often used for picking up ambient sounds, as well as miking a large sound source such as a choir in a recording situation. Unfortunately, due to their pickup pattern, omnis can also produce a lot of feedback in live situations.
Nonetheless, we recommend that you try a DPA omni first because, when used close to the sound source, the equal frequency response makes these mics a flexible addition in your audio toolbox. It will often give a more natural sound, it can handle extremely high sound pressure levels, it does not suffer from proximity effect and is not as sensitive to wind, pop or handling noise.
2006A Specs
| Directional pattern | Omnidirectional |
| Principle of operation | Pressure |
| Cartridge type | Pre-polarized condenser, Twin Diaphragm Capsule |
| Frequency range | 20 Hz - 20 kHz |
| Frequency range ±2dB | 50 Hz - 20 kHz with typ. 3 dB soft boost at 14 kHz |
| Sensitivity, nominal, ±3 dB at 1 kHz | 40 mV/Pa; -28 dB re. 1 V/Pa |
| Equivalent noise level, A-weighted | Typ. 16 dB(A) re. 20 µPa (max. 18 dB(A)) |
| Equivalent noise level, ITU-R BS.468-4 | Typ. 28 dB (max. 30 dB) |
| S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) | Typ. 78 dB(A) |
| Total harmonic distortion (THD) | < 1% up to 130 dB SPL peak |
| Dynamic range | Typ. 114 dB |
| Max. SPL, peak before clipping | 146 dB |
| Switchable attenuator, filters etc. | 0 dB / -20 dB |
| Output impedance | 200 Ω |
| Minimum load impedance | 2 kΩ |
| Cable drive capability | 100 m (328 ft) |
| Output balance principle | Impedance balancing with Active Drive |
| Common mode rejection ratio (CMRR) | > 60 dB |
| Power supply (for full performance) | 48 V Phantom power (± 4 V) |
| Current consumption | 2.8mA |
| Connector | XLR-3M. Pin 1: shield, Pin 2: signal + phase, Pin 3: - phase |
| Colour | Matte Black |
| Weight | 160 g (5.6 oz) |
| Microphone diameter | 19 mm (0.75 in) |
| Microphone length | 164 mm (6.5 in) |
| Maximum output voltage, RMS | 8V |
| 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% |
2006C Specs
| Directional pattern | Omnidirectional |
| Principle of operation | Pressure |
| Cartridge type | Pre-polarized condenser, Twin Diaphragm Capsule |
| Frequency range | 20 Hz - 20 kHz |
| Frequency range ±2dB | 50 Hz - 20 kHz with typ. 3 dB soft boost at 14 kHz |
| Sensitivity, nominal, ±3 dB at 1 kHz | 40 mV/Pa; -28 dB re. 1 V/Pa |
| Equivalent noise level, A-weighted | Typ. 16 dB(A) re. 20 µPa (max. 18 dB(A)) |
| Equivalent noise level, ITU-R BS.468-4 | Typ. 28 dB (max. 30 dB) |
| S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) | Typ. 78 dB(A) |
| Total harmonic distortion (THD) | < 1% up to 130 dB SPL peak |
| Dynamic range | Typ. 114 dB |
| Max. SPL, peak before clipping | 139 dB |
| Output impedance | 100 Ω |
| Minimum load impedance | 2 kΩ |
| Cable drive capability | 100 m (328 ft) |
| Output balance principle | Impedance balancing with Active Drive |
| Common mode rejection ratio (CMRR) | > 50 dB |
| Power supply (for full performance) | 48 V Phantom power (± 4 V) |
| Current consumption | 2.8mA |
| Connector | XLR-3M. Pin 1: shield, Pin 2: signal + phase, Pin 3: - phase |
| Colour | Matte Black |
| Weight | 60 g (2.1 oz) |
| Microphone diameter | 19 mm (0.75 in) |
| Microphone length | 58 mm (2.3 in) |
| Maximum output voltage, RMS | 4.5V |
| 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% |
