DPA d:fine™ 4188 Directional Flex InEar Headset Mic, 120 mm Boom, MicroDot, Dual In-Ear DPA

d:fine™

In-Ear Broadcast Headset Microphone

Streamlined broadcast headsets

• Mic and in-ear monitor integrated in one unique solution
• Easy to mount with minimum cable clutter
• Legendary microphone capsule technology and sound quality
• Lightweight and flexible
• Minimal visual impact
• Resistant to humidity
• Modular adapter system fits most professional wireless systems

The d:fine™ In-Ear Broadcast Headset Microphones series is the first broadcast solution that gives you uncompromising mic performance and convenient in-ear communication.

No more fiddling with two parallel systems – one for the mic and one for the in-ear communication. This unique line of mics was developed specifically for broadcast professionals who insist on superior voice reproduction but also appreciate ease of use and outstanding comfort. The d:fine™ In-Ear Broadcast Headset Microphones series is available in both omnidirectional and directional variants.

Setting new standards for the broadcast industry

Already the worldwide leader in headset mics for theater and broadcast applications, the d:fine™ In-Ear Broadcast Series now adds an integrated in-ear monitor to create a broadcast and communication headset with outstanding acoustic performance and feather-light comfort.

The in-ear drivers allow no audio leakage to the microphone capsule. They are easily driven due to their high sensitivity. Two sizes of ear-pads are included to fit most ears.

The cable steer, located at the headset mount, controls the cable run down the neck. You can easily adjust the headset mount size.

These innovative headsets – the first of their kind – are designed for broadcast professionals who insist on superior voice reproduction without compromising on simple setup and daylong comfort.

d:fine™ 4188 Directional In-Ear Headset Mic

The d:fine™ 4188 Directional In-Ear Headset Microphone rejects side and background noise while creating higher separation from nearby sound sources. This improves the gain-to-feedback ratio and gives more channel control. Yet natural voice intelligibility is preserved. The mic also has very high SPL capabilities. You can both speak and sing into the mic with no hint of distortion.

Windscreens, a capsule protection cap, a cable clip (to anchor the cable to your clothing) and a color-coded cable clip (offering easy recognition of a specific headset among many) are included. The squared capsule provides a slim appearance on camera. The d:fine™ 4188 comes with Dual In-Ear earpieces and is available in black and beige.

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. 

A bit about cardioids

Named for its “heart shaped” polar pattern, a cardioid (or directional) microphone has the most sensitivity at the front and is least sensitive from the sides and at the back. They come in many variations – with wider or narrower angles of sensitivity (supercardioid, hypercardioid, wide cardioid etc.). Although cardioids also pick up sound coming in from the sides, this off-axis sound will normally be more or less colored and damped. The unique DPA capsule technique however skips the colorization of the sound coming from the sides or the rear of the mic and just reduces the sensitivity to these angles and thereby offers perfect sound stages. The amount of damping depends on the exact specifications of the mic.

A cardioid microphone is, by definition, damped -6 dB at the 90°side entry of the microphone but for many, the word cardioid generally covers mics with a directional pattern versus omnis, which pick up sound from all directions.

Due to their nature, directional mics are often used on the live stage – both during concerts as well as spoken-word events, to capture the focused sound of an instrument or voice. The narrow angle of sensitivity helps to minimize the bleed from other sounds on a busy stage. One thing to note with cardioid mics is the proximity effect, which causes an increase in bass response the closer the microphone is moved to the sound source. Therefore, when judging mic specs you should always look for a statement stating the distance at which the flat frequency response has been measured. In addition, cardioid mics are far more sensitive to wind, pop and handling noises than omni mics, so be sure to take precautions to guard against this.

Adapter system gives you flexibility

The adapters for wireless systems give you flexible, simple and affordable possibilities. You are no longer bound to one wireless system. As circumstances change, you can just switch your adapter, instead of incurring the cost of a completely new microphone. When you make the switch, you won’t hear any loss or change in sound quality.

The d:fine™, d:screet™ and d:vote™ series of miniature microphones work with all leading wireless mic solutions, such as Lectrosonics, Sennheiser, Shure, Sony, Wisycom, Zaxcom and many more. DPA Microphones’ ingenious adapter system is one of a kind in the industry. It protects your investment in fantastic sound for years to come.

Specifications

• Directional pattern Cardioid
• Principle of operation Pressure gradient
• Cartridge type Pre-polarized condenser
• Frequency range 20 Hz – 20 kHz
• Frequency range, ±2 dB, Near field 2-3 cm (0.8 – 1.2 in) 100 Hz – 20 kHz with 3 dB soft boost at 8 – 20 kHz
• Sensitivity, nominal, ±3 dB at 1 kHz 6 mV/Pa; -44 dB re. 1 V/Pa
• Equivalent noise level, A-weighted Typ. 26 dB(A) re. 20 µPa (max. 28 dB(A))
• Equivalent noise level, ITU-R BS.468-4 Typ. 38 dB (max. 40 dB)
• S/N ratio (A-weighted), re. 1 kHz at 1 Pa (94 dB SPL) Typ. 68 dB(A)
• Total harmonic distortion (THD) < 1% up to 123 dB SPL peak
• Dynamic range Typ. 97 dB
• Max. SPL, peak before clipping 144 dB
• Output impedance From MicroDot: 30 – 40 Ω. From DAD6001-BC: 100 Ω
• Cable drive capability Up to 300 m (984 ft) with DAD6001-BC XLR Adapter
• Output balance principle Signal balanced with DAD6001-BC XLR Adapter
• Common mode rejection ratio (CMRR) > 60 dB from 50 Hz to 15 kHz with DAD6001-BC XLR Adapter
• Power supply (for full performance) Min. 5 V to max. 50 V through DPA adapter for wireless systems
• Current consumption Typ. 1.5 mA (microphone). 3.5 mA with DAD6001-BC XLR Adapter
• Connector MicroDot
• Color Black or beige
• Weight Microphone boom: 0.8 g (0.03 oz). Earhook: 1.1 g (0.04 oz). Cabel: 6.6 g (0.23 oz). Total: 8.5 g (0.30 oz)
• Microphone diameter 5.4 mm (0.21 in)
• Cable length 1.3 m (4.3 ft)
• Cable color Black or beige
• Cable diameter 1.6 mm (0.06 in)
• Polarity +V at MicroDot pin for positive sound pressure (and pin 2 on DAD6001-BC XLR adapter)
• Electromagnetic compatibility (EMC) Fully compatible
• Temperature range -40°C to 45°C (-40°F to 113°F)
• Relative humidity (RH) Up to 90%