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(주)비엘에스 : 대한민국 문화산업의 리더
GM1500 Gooseneck Mount, Modular

Piano mounting
For mounting in the piano frame (or any other magnetic surface) the GM1500 is a combination of magnet mount, gooseneck and shock mount. Both omnidirectional and directional microphones ? compact as well as larger ? fit this line.

Based on the Rycote® Lyre™ suspension system almost any microphone can be used simply by adding another Lyre™ rubber piece.

The shock mount is extremely flexible, the holders can be mounted facing both upside and downside and the poles can be adjusted by pushing them back and forth.

Cable for minimal visual appearance
The DAO4010 microphone cable using Mogami compact cable and an ultra slim DPA XLR housing will give the highest visual elegance, adding only a few millimeters further length to the microphone. Most of the connector will be locked and hidden in the microphone itself.

 

KE0002 Peli case for Reference Standard Mics

Peli case for microphones, capsules and preamps in the Reference Standard series.

SB0400 Stereo Boom, Modular

Stereo main pairs
The lightweight SB0400 stereo boom ? with or without shock mounted microphone holders - addresses the need for quick, precise and repeatable ways to switch between AB, XY, ORTF, and DIN stereo principles.

Markers indicate parallel microphones positioning plus 90 and 110 degrees offset for XY an ORTF configurations. A central base with rotary joint allows the microphones to be angled equally. SB0400 has hooks for suspending the boom in wires.

The standard length is 40 cm (1,3 ft) but the boom can be further extended at your wish by adding modular carbon fiber poles. Also more holders can be attached to it for mounting of more than two microphones.

SBS0400 Stereo Boom w. Shock Mounts, Modular

Stereo main pairs
The lightweight SBS0400 stereo boom with shock mounted microphone holders addresses the need for quick, precise and repeatable ways to switch between AB, XY, ORTF, and DIN stereo principles.

The shock mounts included in the SBS0400 hold both omnidirectional and directional microphones ? compact as well as larger. Based on the Rycote® Lyre™ suspension system almost any microphone can be used simply by adding another Lyre™ rubber piece.

Markers indicate parallel microphones positioning plus 90 and 110 degrees offset for XY an ORTF configurations. A central base with rotary joint allows the microphones to be angled equally. SB0400 has hooks for suspending the boom in wires.

The standard length is 40 cm (1.3 ft) but the boom can be further extended at your wish by adding modular carbon fiber poles. Also more holders can be attached to it for mounting of more than two microphones.

SM1500 Shock Mount, Modular

Shock mounting
Using pressure gradient (directional) microphones calls for more attention to suppressing vibrations from the microphone.

The SM1500 is a modular double pole construction on an adjustable mic stand base. Both omnidirectional and directional microphones ? compact as well as larger ? fit this line.

Based on the Rycote® Lyre™ suspension system almost any microphone can be used simply by adding another Lyre™ rubber piece. The more light weighted the microphone the softer the rubber should be.

The SM1500 shock mount design is extremely flexible, the holders can be mounted facing both upside and downside and the poles can be adjusted by pushing them forth and back.

SM4000-C Suspension Mount for MMP-C

Optional accessory for all compact Reference Standard Microphones with an MMP-C preamplifier.

It allows the microphone to hang from its cable and then be oriented in any direction desired by bending the holder.

TB4000 Table Base

The Table Base TB4000 is a beautifully designed base for use with most microphone holders with a 3/8-inch thread.

It has a black non-reflective surface and is optimized for use with Compact Shock Mount CSM4000, resulting in a table microphone solution, that is not affected by low frequency transmission through the table.

APE30RS Acoustic Pressure Equalizer, 30 mm Ball for 4006A and 4006C

The APE30 is a Ø30 mm sphere shaped Acoustic Pressure Equalizer, designed for use with the Reference Standard Microphone 4006A or the ST4006A stereo kit. For use with the compact 4006C, the microphone must be either hung or placed in the clip with an XLR connector plugged in.

It gives a mild modification of your microphone's on-axis and off-axis frequency responses, and a slight change in the direction-to-reverberation ratio.

This will give your recordings greater presence, nearness and clarity on-axis (especially around 4 kHz).

An on-axis boost, between 2 and 8 kHz, and high-frequency roll-off off-axis, will sometimes help you capture the subtle audible details of both musical instruments and voices.

This accessory substitutes the former L30B, suitable for 4003, 4006, 4006-TL and their stereo kits. The L30B cannot be used with the modular series 4006A or 4006C and vice versa.

More on acoustic modification
The Acoustic Pressure Equalizers ? APEs ? are passive acoustic processors functioning as both spatial and spectral modifiers. They use diffractions on the surface to modify the sound field near the microphone diaphragm. This technique is only possible on omnidirectional pressure microphones.

Two primary changes occur:
1. An upper-midrange/high frequency boost (without changing the low end) due to the pressure build-up at certain frequencies depending on the element’s size.
2. More directionality at higher frequencies (focus).

A presence (upper-midrange) lift is often desirable in rhythmical genres, to make a voice or an instrument cut through a mix or simply to make it more intelligible or well defined. For symphonic music, the frequency response of certain legendary vintage types of microphones can be obtained using one of the APEs. However, you will achieve a much higher degree of naturalness and detail when using a precision handcrafted 4006A.

Please also refer to the Mic University article Acoustic modification accessories ? changing characteristics

APE40RS Acoustic Pressure Equalizer, 40 mm Ball for 4006A and 4006C

The APE40 is a Ø40 mm sphere shaped Acoustic Pressure Equalizer, designed for use with the Reference Standard Microphone 4006A or the ST4006A stereo kit. For use with the compact 4006C, the microphone must be either hung or placed in the clip with an XLR connector plugged in.

It offers a more noticeable on-axis boost between 2 and 8 kHz, and stronger off-axis attenuation than the APE30. This gives a marked increase in the directivity of your recordings (at 4 kHz, the front-to-back sensitivity ratio is 8 dB), and decreases the effects of reverberation and off-axis sources.

When using APE40, you can modify the spectral characteristic of a source by simply altering the angle of incidence to give a frequency boost, a flat response or attenuation.

This accessory substitutes the former L40B, suitable for 4003, 4006, 4006-TL and their stereo kits. The L40B cannot be used with the modular series 4006A or 4006C and vice versa.

More on acoustic modification
The Acoustic Pressure Equalizers ? APEs ? are passive acoustic processors functioning as both spatial and spectral modifiers. They use diffractions on the surface to modify the sound field near the microphone diaphragm. This technique is only possible on omnidirectional pressure microphones.

Two primary changes occur:
1. An upper-midrange/high frequency boost (without changing the low end) due to the pressure build-up at certain frequencies depending on the element’s size.
2. More directionality at higher frequencies (focus).

A presence (upper-midrange) lift is often desirable in rhythmical genres, to make a voice or an instrument cut through a mix or simply to make it more intelligible or well defined. For symphonic music, the frequency response of certain legendary vintage types of microphones can be obtained using one of the APEs. However, you will achieve a much higher degree of naturalness and detail when using a precision handcrafted 4006A.

Please also refer to the Mic University article Acoustic modification accessories ? changing characteristics

APE50RS Acoustic Pressure Equalizer, 50 mm Ball for 4006A and 4006C

The APE50 is a Ø50 mm sphere shaped Acoustic Pressure Equalizer, designed for use with the Reference Standard Microphone 4006A or the ST4006A stereo kit. For use with the compact 4006C, the microphone must be either hung or placed in the clip with an XLR connector plugged in.

It offers a stronger on-axis boost and off-axis attenuation than the APE30 and APE40. Its larger dimensions accentuate the on-axis boost at lower frequencies and allow off-axis sources to be strongly attenuated above 1 kHz. This will give your recordings a more intense sensation of source clarity and presence, a marked increase in brightness, and extend the effective reach of your microphones.

You will also find that the APE50 is particular useful for making recordings under reverberant conditions.

This accessory substitutes the former L50B, suitable for 4003, 4006, 4006-TL and their stereo kits. The L50B cannot be used with the modular series 4006A or 4006C and vice versa.



More on acoustic modification
The Acoustic Pressure Equalizers ? APEs ? are passive acoustic processors functioning as both spatial and spectral modifiers. They use diffractions on the surface to modify the sound field near the microphone diaphragm. This technique is only possible on omnidirectional pressure microphones.

Two primary changes occur:
1. An upper-midrange/high frequency boost (without changing the low end) due to the pressure build-up at certain frequencies depending on the element’s size.
2. More directionality at higher frequencies (focus).

A presence (upper-midrange) lift is often desirable in rhythmical genres, to make a voice or an instrument cut through a mix or simply to make it more intelligible or well defined. For symphonic music, the frequency response of certain legendary vintage types of microphones can be obtained using one of the APEs. However, you will achieve a much higher degree of naturalness and detail when using a precision handcrafted 4006A.



Please also refer to the Mic University article Acoustic modification accessories ? changing characteristics

DAO4010 Microphone cable with slim XLR connector, 10 m (33 ft)

Cable for suspension or minimal visual appearance
This brilliant installation solution uses Mogami cable and an ultra slim XLR housing, adding only a few millimeters extra length to the microphone. Most of the connector will be locked and hidden in the microphone itself. For installations like concert halls, conference rooms, TV Broadcast or live sound reinforcement these cables will give the highest visual elegance.

The special DPA Microphone cable is available in three different standard lengths: 10 m (33 ft), 20 m (66 ft) and 50 m (164 ft). Custom lengths can be ordered.

DAO4020 Microphone cable with Slim XLR connector, 20 m (66 ft)

Cable for suspension or minimal visual appearance
This brilliant installation solution uses Mogami cable and an ultra slim XLR housing, adding only a few millimeters extra length to the microphone. Most of the connector will be locked and hidden in the microphone itself. For installations like concert halls, conference rooms, TV Broadcast or live sound reinforcement these cables will give the highest visual elegance.

The special DPA Microphone cable is available in three different standard lengths: 10 m (33 ft), 20 m (66 ft) and 50 m (164 ft). Custom lengths can be ordered.

DAO4050 Microphone cable with Slim XLR connector, 50 m (164 ft)

Cable for suspension or minimal visual appearance
This brilliant installation solution uses Mogami cable and an ultra slim XLR housing, adding only a few millimeters extra length to the microphone. Most of the connector will be locked and hidden in the microphone itself. For installations like concert halls, conference rooms, TV Broadcast or live sound reinforcement these cables will give the highest visual elegance.

The special DPA Microphone cable is available in three different standard lengths: 10 m (33 ft), 20 m (66 ft) and 50 m (164 ft). Custom lengths can be ordered.

 
 
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