DPA 2011 Twin Diaphragm Cardioid Microphone

Product overview

The DPA 2011 is a directional cardioid condenser pencil microphone with a distinctive, well-balanced sound. It bridges the gap between the extreme sound quality of DPA pencil microphones and the well-known DPA lavalier microphones.

Two opposite-facing miniature capsules are custom rebuilt inside the microphone in a double-diaphragm, one-capsule composition. This combines the advantages of small capsules with the lower inherent noise of a larger diaphragm area, and gives fast impulse response and a large frequency bandwidth. The capsules feed DPA preamps that give the sound more air and precision, and Advanced Interference Tube Technology is part of the design.

The 2011A is acclaimed for its close-miking excellence and high-SPL handling. Optimised for onstage use, it is used on many stages as well as in recording sessions, and exhibits a blend of clarity, richness and dynamic range. The 2011C compact version offers a subtle character alteration with a bit more body in the low end and is very easy to position. The 2011ER and 2011ES come with a rear or a side cable and XLR.

Like all DPA modular pencil microphones, the 2011 can be transformed into a new configuration at any time, with no tools needed. Preamps include the ultra-transparent, transformerless MMP-A, the ultra-compact MMP-C with a slightly softer character, the MMP-ER / MMP-ES with rear or side cable entry, and the slim MMP-E (XLR output) and MMP-G (MicroDot output) modular active cables; the MMP-G even matches the microphone directly to a wireless transmitter.

Key features

• Blends clarity, richness and dynamics in a distinctive, well-balanced sound
• Twin Diaphragm Capsule Technology: low inherent noise, fast impulse response, large bandwidth
• Advanced Interference Tube Technology
• Superb stage separation and level control
• Modular flexibility: the capsule combines with any DPA pencil microphone preamp, with no tools needed
• 0 dB / -20 dB switchable attenuator (2011A)
• Four versions: 2011A, 2011C compact, 2011ER rear cable, 2011ES side cable

Made for

• Snare drum: the 2011 is very widely used as a snare drum microphone
• Close miking many other instruments
• Onstage use with high sound pressure levels
• Recording sessions

In the box

• DPA 2011 Twin Diaphragm Cardioid Microphone in the chosen version (2011A, 2011C, 2011ER or 2011ES)

DPA 2011: frequently asked questions

What does twin diaphragm mean on the 2011?

Two opposite-facing miniature capsules sit in a double-diaphragm, one-capsule composition. The result combines the advantages of small capsules with the lower inherent noise of a larger diaphragm area, with fast impulse response and a large frequency bandwidth.

Which version should I choose?

The 2011A is optimised for onstage close miking and high-SPL handling. The 2011C is compact, very easy to position and has a bit more body in the low end. The 2011ER and 2011ES have a rear or side cable with XLR.

Is the 2011 a good snare drum microphone?

Yes. The 2011 is very widely used as a snare drum microphone and also fits well on many other instruments.

How much sound pressure can it handle?

The 2011A reaches 134 dB SPL RMS at THD below 1 % and 153 dB SPL peak at THD 10 %, and has a 0 dB / -20 dB switchable attenuator.

Can I change the preamp later?

Yes. The 2011 capsule can be combined with any DPA pencil microphone preamp at any time, with no tools needed.

Where can I buy the DPA 2011 in India?

The DPA 2011 is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Snare drum on stage

Live sound engineers miking drum kits.

Connections

Setup

1. Place the 2011 close to the snare drum.
2. Connect it to a microphone input and switch on P48.
3. Use the -20 dB attenuator if the drum is very loud.
4. Set the gain.

Tip: The 2011 is very widely used as a snare drum microphone.

Workflow 2: Close miking other instruments on stage

Live engineers who need separation on a busy stage.

Connections

Setup

1. Aim the cardioid pickup at the instrument.
2. Connect and switch on phantom power.
3. Set the level for the source.

Tip: The 2011 gives superb stage separation and level control.

Workflow 3: Recording sessions

Studio engineers recording acoustic instruments and drums.

Connections

Setup

1. Position the microphone close to the source.
2. Connect with a balanced XLR cable.
3. Record with the gain set for clean peaks.

Tip: The 2011A blends clarity, richness and dynamic range.

Workflow 4: Tight positions with the compact 2011C

Engineers working where space around the instrument is limited.

Connections

Setup

1. Choose the 2011C for its compact size.
2. Position it close to the source.
3. Connect and set the level.

Tip: The 2011C has a bit more body in the low end than the 2011A.

Workflow 5: Integrated cable versions

Users who want a slim set-up with the cable leaving the rear or the side.

Connections

Setup

1. Choose rear (ER) or side (ES) cable entry for the position.
2. Mount the microphone.
3. Connect the XLR to the input.

Tip: The MMP-ER / MMP-ES preamps are ultra-transparent with Active Drive for impedance balancing.

Workflow 6: Reconfigure with another DPA preamp

Owners of DPA pencil microphones who change set-ups between jobs.

Connections

Setup

1. Unscrew the capsule from the preamp; no tools are needed.
2. Fit the preamp or modular active cable for the job.
3. Connect to the input or transmitter.

Tip: The MMP-G even allows a pencil microphone to be matched directly to a wireless transmitter.