The d:dicate™ 4006 Omni Mic offers total transparency in any recording situation. It picks up incredible detail and depth of sound. The definition of its high-frequency characteristics across a wide range of instruments is impressive. It offers natural sound, high sensitivity, low noise-floor and linear frequency response from 10 to 20 kHz (±2 dB).
This mic is linear and true in character. It has earned its status as a worldwide recording standard and is the most popular mic in our d:dicate™ Recording Microphone Series. This highly sought after mic has forged its enviable reputation over the past quarter of a century by repeatedly exhibiting its total transparency in any recording situation
d:dicate™ 4006A Omni Mic
This is a very flexible solution. Engineers, broadcasters and musicians alike can achieve clean, natural and precise sound reproduction. This mic is ideal for A-B stereo pairs for symphonic concert hall recordings. It also excels on vocals, for close miking all types of instruments.
A wide selection of accessories is available, including acoustic pressure equalizers, a nose cone and interchangeable protection grids. These accessories can acoustically transform the mic. By changing grids, it is possible to gain several unique frequency responses and directional characteristics. Furthermore, these accessories will not produce any phase shift, noise or distortion that would otherwise be introduced by an electrical filter. These accessories are available in the d:dicate™ Stereo Kits and d:mension™ and Surround Kits.
d:dicate™ 4006C Compact Omni Mic
Whenever a small, lightweight and inconspicuous microphone for top-quality recording is required, the d:dicate™ 4006C Compact Omni Mic is the perfect choice. The mic design is compact and clean.
This is a very versatile recording microphone. It is popular as an A-B stereo pair in concert halls where quality recordings can sometimes be compromised by classic architecture. The mic can be mounted, hung or concealed to create clean, transparent recordings.
It is ideal for use in theatres, opera houses, concert halls and houses of worship – anywhere there is a live audience. It can also be for film recordings, both in the studio and on location. Musicians like to use this mic to close mic some instruments, such as the double bass, trumpet and piano. At the same time, they are fantastic for ambience miking on soundstages, in sports stadiums and other environments where audience sound needs to be recorded.
Combine with the preamp of your choice
As with all of the modular d:dicate™ microphones, you can combine the d:dicate™ Omni Mic Capsulewith any of our preamps.
The MMP-A Microphone Preamp is an ultra-transparent, transformerless preamp with active drive for impedance balancing. The MMP-C Compact Microphone 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.
You can combine any of the preamps with any of the modular capsules in the d:dicate™ Microphones Series.
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.
- Acoustic authenticity
- Linear throughout a large frequency bandwidth
- Detailed and natural reproduction
- High sensitivity and low noise floor
- Excellent for concert halls and spot miking acoustical instruments
- Modular flexibility
4006A Specs
| Directional pattern | Omnidirectional |
| Principle of operation | Pressure |
| Cartridge type | Pre-polarized condenser |
| Frequency range | 10 Hz - 20 kHz |
| Frequency range ±2dB | 10 Hz - 20 kHz |
| Sensitivity, nominal, ±3 dB at 1 kHz | 40 mV/Pa; -28 dB re. 1 V/Pa |
| Equivalent noise level, A-weighted | Typ. 15 dB(A) re. 20 µPa (max. 17 dB(A)) |
| Equivalent noise level, ITU-R BS.468-4 | Typ. 27 dB (max. 29 dB) |
| S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) | Typ. 79 dB(A) |
| Total harmonic distortion (THD) | < 1% up to 139 dB SPL peak |
| Dynamic range | Typ. 124 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 | 163 g (5.7 oz) |
| Microphone diameter | 16 - 19 mm (0.6 - 0.75 in) |
| Microphone length | 170 mm (6.7 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% |
4006C Specs
| Directional pattern | Omnidirectional |
| Principle of operation | Pressure |
| Cartridge type | Pre-polarized condenser |
| Frequency range | 10 Hz - 20 kHz |
| Frequency range ±2dB | 20 Hz - 20 kHz |
| Sensitivity, nominal, ±3 dB at 1 kHz | 40 mV/Pa; -28 dB re. 1 V/Pa |
| Equivalent noise level, A-weighted | Typ. 15 dB(A) re. 20 µPa (max. 17 dB(A)) |
| Equivalent noise level, ITU-R BS.468-4 | Typ. 27 dB (max. 29 dB) |
| S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) | Typ. 79 dB(A) |
| Total harmonic distortion (THD) | < 1% up to 134 dB SPL peak |
| Dynamic range | Typ. 119 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 | 63 g (2.2 oz) |
| Microphone diameter | 16 - 19 mm (0.6 - 0.75 in) |
| Microphone length | 64 mm (2.5 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% |
