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DPA 4066 headset vs the 4088 headset?


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Hi there,


I'm looking at purchasing 5x headsets for a tour and I love DPA quality. The options for headsets in their range are the 4066 style (omni direct.) and the 4088 (Cardiod patt.). They'll be used by singers, who are working with CD playback.


So In terms of managing front of stage monitors for the performers, it seems the practical choice would be to use the cardiod pattern 4088 model to reduce potential feedback.


What are people's thoughts on the difference of quality between the omni directional option and the cardiod? Is there a noticeable difference in feedback control between the two models?


Cheers in advance.



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I find the omni pattern has a more natural, neutral sound with less EQ when used on vocals--it's certainly my first choice for theatre and corporate stuff.


You've already identified the "but" though. Cardioid will give you more GBF in situations where you're trying to work with high ambient levels. For example, when I'm forced kicking and screaming to provide vocal monitors (believe it or not, unusual in the theatre world, thank goodness!) I sometimes have to move to the cardioids--and put up with doing more EQ to get the sound I want.


One caveat: cardioid can help with feedback control but, because of the more "beamy" nature of the pickup, they can catch you out when a performer moves/turns his head into the pattern of a monitor or FOH cabinet!


Anyway, back to your original question: for me, the 4066 is my standard "mic of choice" used as a workhorse most of the time (at least when budget permits) with the 4088 brought out only when gain before feedback is a definite problem. If I was only buying one type of mic, the omni would be my first choice.



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Thanks Bob,


that a great deal of help. I'm working with performers who don't stop moving. So I can imagine that a simple swing of the head and tilting of the headset straight down the guts of the monitor is a high possibility. I also like the tonal qualities of the 4066 myself, so I think I'll stick with what I know.





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  • 4 years later...

hi Bob and Rob!


I have very similar situation with additional questions.

I am in doubt on what to get for a modern theater and live singing applications. Worked before with DPA4066 and DPA4088. When we are talking modern dance with singing I got much better quality, soundwise, with 4066, omnis, which is, I guess no surprise considering fast moves with head and more or less firm position of mic in relation with mouth.

4088 was also good, but somehow, for certain performances I missed the "fullness" of 4066.

Than there is a question of feedback because of monitors. There were shows where feedback was a problem with either, and some shows where 4066 proved to be better, which is against logic.


I think this is all the same as you two already confirmed.


Now I am in situation to advise a purchase to a small theater and I am just not sure what to recommend so I seek an advice of professionals to share their thoughts. Omnis or cardio?


As they want to buy more mics than the budget for DPA allows, I am also worried on WHAT to get. They need 5 new sets with a budget of 1900Eur just for the mics.

Also, what transmitter-receiver would you guys recommend? Are Sennheiser EM 300 G3 and SK 300 G3 best option considering money/performance?





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Frankly, much as a like the DPA sound, I'd have a close look at the CPC "Pulse" range of headset mics which are in the £35-£40 range making them almost like a disposable item. As good as the DPA? Nope. Entirely usable with a bit of EQ? Absolutely. I actually know of some rather large budget shows that have gone this route (there are other suppliers of basically the same Chinese mics) simply because they can change them more frequency and not put up with the gradual change sweat from actors can cause. For that price, you might also be able to consider a choice of mainly omni with a few cardioid for emergencies.


As for transmitter/receiver, either of your mentions are good. Something to consider is what happens when you need more than the channels you own. It can be useful to find out what you can get from your local hire company and by the same to make frequency coordination easier when you add extras. Also, as you likely know, the higher up the Sennheiser range you go, the more channels you can shoehorn into Channel 38.


Finally, I think I might also consider the Line 6 2.4 GHz digital stuff--a nice robust signal and no licence needed.

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THX Bobbsy!


I see it is around 700Eur that costs one Sennheiser EM 300 G3 and SK 300 G3 set, which seems OK...

If you would hvae up to 7 this systems on stage at once, do I get all differends bands for receivers and transmitters, like 2x A band, 2 x B band, etc...? I am not familiar as to how many different mics can be set over the same freq. band... I imagine it is best to keep them separated with A, B, C?




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You need to check which channels are legal in the country you are using the transmitters and whether you need a licence for those frequencies. In the UK part of Channel 70 (863-865 MHz) is licence free and channel 38 legal to use but requires a licence. Other channels are available on a local basis licenced for a specific venue/event. My old EW100G2 covers 830-866MHz which includes CH70 but not CH38. I'm sure others will advise how many mics can be reliably used on a given band but if you need seven in a licence free band you may find 2.4GHz digital is the only way to go.
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I think that from the manual I can have up to 26 frequency banks with each bank with up to 24 channels... so, basically that means that for example 10 of the same model units transmitters and receivers (with same main frequency range, i.e. A or B or C, etc...) can happily live on different channels within one same band (A or B or C). At least thats what I see from EM300G3 Sennheiser manual...

As there are no regulations on spectrum around here, it seems that it really doesn't matter which freq. range is chosen when purchasing equipment. Only thing is that COULD be that technically there may be some differences because of the "wavelength" of the carrier. It would be interesting to hear from some expert.


Found this on some forum:


Choose UHF if:


• You will be using your wireless microphones in various locations

• You use more than 4 wireless microphones simultaneously with multichannel systems

• You play in "crowded" VHF radio environments such as large cities and airports

• You do not have line of sight between transmitter and receiver

• You're willing and able to spend a little extra


Choose VHF if:


• You use fewer than 5 systems at the same time

• You perform in "open" radio environments, free of interference

• You do not have line of sight between transmitter and receiver

• Your budget is limited


Please note that it is two times that is mentioned lack of line of sight... I believe it is mistake to mention that on VHF as VHF is lower than UHF and it needs no perfect line of sight. Please correct me!

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