Streamlined broadcast headsets
- Mic and in-ear monitor integrated into 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 In-Ear Broadcast Headset Microphone 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 the ease of use and outstanding comfort. The In-Ear Broadcast Headset Microphone 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 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 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.
4266 Omni In-Ear Headset Mic
The 4266 Omni In-Ear Broadcast Headset Microphone combines the legendary sound of the 4066 Omnidirectional Capsule with a lightweight and flexible headset system and an in-ear driver. This condenser mic is easy and fast to adjust and it offers clean and transparent sound quality with lots of headroom.
Like all of the microphones in the range, the 4266 Omni In-Ear Broadcast Headset Microphone offers accurate, natural voice intelligibility and very high SPL capabilities. The mics effortlessly handle up to 144 dB peak before clipping. In addition, due to their exquisite linear response, low distortion and extremely broad dynamic range, they sound great no matter what the application. The 4266 comes with a Single In-Ear earpiece and is available in black and beige.
4188 Directional In-Ear Headset Mic
The 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.
4288 Directional In-Ear Headset Mic
The 4288 Directional In-Ear Broadcast Headset Microphone combines the legendary sound of the 4088 Directional Capsule with a lightweight and flexible headset system. Staying true to the DPA legacy, our headset mics offers accurate and natural voice intelligibility and very high-SPL capabilities – users can both speak and sing into the mic with no hint of distortion.
This mic comes in either a Single In-Ear or Dual In-Ear version. It is available in both 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 an 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.