DPA 5100 Mobile Surround Microphone
PRICE - Rs. 5,02,155
DPA 5100 mobile surround microphone: self-contained plug-and-play 5.1 capture, discrete analogue output, no processing; sports, film, live. Available in India from Shivansh Electronics, Kolkata, West Bengal, India.
VISUAL GUIDE — See Every Photo, Spec & Setup Step (PDF)
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Acoustics
| Directional pattern | Directional |
| Principle of operation | Pressure, with interference tube and separation baffles |
| Cartridge type | Pre-polarised condenser |
| Frequency response | L, C, R, LS, RS: 20 Hz - 20 kHz; LFE: 20 Hz - 120 Hz |
| Effective frequency range ±2 dB | L, C, R: 200 Hz - 16 kHz; LS, RS: 100 Hz - 12 kHz; LFE: 20 Hz - 120 Hz |
| Sensitivity, nominal, ±3 dB at 1 kHz | L, C, R: 26 mV/Pa; LS, RS: 28 mV/Pa |
| Equivalent noise level, A-weighted | L, C, R: typ. 18 dB(A) (max. 21 dB(A)); LS, RS: typ. 20 dB(A) (max. 23 dB(A)) |
| Equivalent noise level, ITU-R BS.468-4 | L, C, R: typ. 29 dB (max. 32 dB); LS, RS: typ. 31 dB (max. 34 dB) |
| Distortion, THD < 1 % | 120 dB SPL RMS, 123 dB SPL peak |
| Dynamic range | L, C, R, LS, RS: 103 dB; LFE: 100 dB |
| Max. SPL, THD 10 % | 132 dB SPL peak |
Electrical
| Rated output impedance | 50 Ω |
| Cable drive capability | 100 m (328 ft) |
| Output balance principle | Active signal balanced |
| Common mode rejection ratio (CMRR) | > 60 dB, 50 Hz - 20 kHz |
| Power supply (for full performance) | P48 phantom power |
| Current consumption | Typ. 5 mA (max. 5.5 mA) |
| Maximum output voltage | L, C, R, LS, RS: 1.8 V RMS / 2.5 V peak; LFE: 1 V RMS / 1.4 V peak |
| Connector | LEMO multipin |
| Polarity | +V at pin 2 for positive sound pressure |
Physical
| Weight | 500 g (17.6 oz) |
| Dimensions | W 240 mm (9.4 in), H 140 mm (5.5 in), D 195 mm (7.7 in) |
| Capsule diameter | 5.4 mm (0.21 in) |
| Cable length | 5 m (16.4 ft) |
| Cable diameter | 9.3 mm (0.37 in) |
| Cable colour | Black |
| Temperature range | -40 °C to 45 °C (-40 °F to 113 °F) |
| Relative humidity | Up to 90 % |
| Colour | Black |
Product overview
The DPA 5100 Mobile Surround Microphone is a completely self-contained plug-and-play solution for 5.1 audio capture, bringing engaging surround ambience to sports events, documentaries and other HDTV productions.
The 5100 uses five miniature pressure transducers with low sensitivity to wind and mechanical noise, low distortion and a large dynamic range. The three front microphones are time aligned to eliminate comb filtering, which also keeps the frequency response consistent when downmixing to stereo or mono. The rear microphones, with standard omnidirectional patterns, are optimally spaced from each other and from the front array to simulate the most natural time arrival differences.
The result is a surround atmosphere that is rich, smooth and fully enveloping, with great coherence, channel separation and localisation accuracy, and with no external signal processing needed. The discrete 5.1 analogue output runs through a multipin LEMO connector that carries all six electronically balanced channels: L, C, R, LS, RS and LFE.
The 5100 is lightweight, portable and robust enough to withstand inclement weather. It can be mounted on a microphone stand, suspended from the ceiling or used with a handgrip, and the supplied OC5100 Outdoor Cover protects it against rain and reduces wind noise.
| Discrete analogue output, no processing | 5.1 |
| Miniature pressure transducers | 5 |
| Dynamic range, L, C, R, LS, RS | 103 dB |
| W 240 x H 140 x D 195 mm | 500 g |
Key features
- Plug-and-play 5.1 surround capture
- Compact, lightweight and portable
- Rich, smooth and fully enveloping sound
- Discrete 5.1 analogue output: no processing needed
- Time-aligned front array: no comb filtering, consistent stereo and mono downmix
- Six electronically balanced channels on one multipin LEMO connector
- Robust; withstands inclement weather; outdoor cover included
Made for
- Sports events: central 5.1 ambience covering the main camera shot
- Documentaries and HDTV productions
- Surround recording for film, live, broadcast and studio
- Symphony and orchestra recording in full surround
In the box
- 5100 Mobile Surround Microphone
- 5 m (16 ft) six-pair cable breaking out to six XLR-M connectors
- OC5100 Outdoor Cover, protects against rain and reduces wind noise
DPA 5100: frequently asked questions
Do I need a surround processor or decoder?
No. The 5100 delivers a discrete 5.1 analogue output and requires no external signal processing.
How do I connect it?
All six balanced channels run through the multipin LEMO connector. The supplied 5 m six-pair cable breaks out to six XLR-M connectors for the L, C, R, LS, RS and LFE inputs, each with P48 phantom power.
Will the mix fold down to stereo or mono?
Yes. The three front microphones are time aligned to eliminate comb filtering, which ensures frequency consistency when downmixing to stereo or mono.
Can I use it outdoors?
Yes. The 5100 is robust and withstands inclement weather, and the included OC5100 Outdoor Cover protects it against rain and reduces wind noise.
How can it be mounted?
On a microphone stand, suspended from the ceiling or with a handgrip.
Where can I buy the DPA 5100 in India?
The DPA 5100 is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.
Workflow 1: Sports ambience in 5.1
Sports broadcasters and OB crews.
Connections
| Connect | To |
|---|---|
| 5100 on a stand at the centre of the venue | 6-pair cable, LEMO end |
| Six XLR-M breakouts | Six console inputs with P48 |
Setup
- Place the 5100 centrally to cover the main camera shot.
- Fit the OC5100 Outdoor Cover outdoors.
- Connect the breakouts to L, C, R, LS, RS and LFE inputs.
- Back it up with the usual spot microphones for effects.
Tip: A no-worry 5.1 ambience solution that is easy to set up.
Workflow 2: Orchestra in full surround
Recording and broadcast engineers covering symphonies.
Connections
| Connect | To |
|---|---|
| 5100 suspended from the ceiling | Six console or recorder inputs with P48 |
Setup
- Suspend the 5100 above the orchestra.
- Connect the six channels.
- Record; the orchestra balances itself and the hall's reflections fill the surround.
Tip: Acoustic reflections and a sense of space are as important as the instruments.
Workflow 3: Documentary field recording
Documentary sound recordists.
Connections
| Connect | To |
|---|---|
| 5100 on a handgrip | Multichannel field recorder with P48 |
Setup
- Hold the 5100 on its handgrip.
- Fit the outdoor cover in wind or rain.
- Record discrete 5.1 ambience.
Tip: Compact, lightweight and portable.
Workflow 4: HDTV and film ambience
Post and production sound teams.
Connections
| Connect | To |
|---|---|
| 5100 | Six XLR inputs of the recorder or console |
Setup
- Place the microphone where the scene's atmosphere is best.
- Record all six channels.
- Mix in 5.1 without external processing.
Tip: Rich, smooth and fully enveloping, with great localisation accuracy.
Workflow 5: Stereo and mono deliverables
Broadcasters who also deliver stereo or mono.
Connections
| Connect | To |
|---|---|
| 5100 front array (L, C, R) | Console downmix |
Setup
- Record in 5.1.
- Fold down to stereo or mono at the console.
- Check the downmix.
Tip: Time-aligned front microphones eliminate comb filtering in the downmix.
Workflow 6: Live and studio surround
Live and studio engineers.
Connections
| Connect | To |
|---|---|
| 5100 on a microphone stand | Six channels to the console with P48 |
Setup
- Set up the 5100 on a stand.
- Connect the breakout cable.
- Set the levels and record.
Tip: Drives cables up to 100 m.
