I'm always intrigued by that as well....the Specs are slightly different for the two, although they seem a lot alike in many ways.

The 4006 has a higher SN ratio (79 db), yet lower max spl before clipping (143 db) and overall dynamic range of 120 db., while the 4007 has a dynamic range of 124 db, SN ratio of 70 db, and 155 db spl peak before clipping.

The 4007 is touted as a "Reference" Microphone, but the big push is obviously on the 4006 and the new 4006 TL (which really ARE a whole order better than the original, believe it or not.) Also, the nose cones & other accessories are all sold for the 4006, but they seem to be available for the 4007 as well.

As if that wasn't enough, there's a 130V 4004 available as well! That oughta keep everyone scratching their heads for a while, too! ;-)

JoeH wrote: ...but the big push is obviously on the 4006 and the new 4006 TL (which really ARE a whole order better than the original, believe it or not.)

Agreed. I reckon the 4006 TLs are awesome, possibly the most impressive microphone I've ever heard, in terms of reality. They're not for everything - no mic is - but I'd buy a matched pair at the drop of a hat if I could afford them.

I have an old and battered pair of 4007 (from the B&K days before the DPA brand was spun off) as well as a newer pair of 4003 + HMA. The 4007 are about half the diameter of the 4003 at the tip, but the back-end is the same. According to the previous owner my pair has had av varying life travelling african savannas recording thunder storms. Regardless, in the not quite scientific tests I do, they are still matched very closely.

Sorry to say, though I have not really done any head to head comparison. My impression is that the basic sound is very much the same. Main difference for orchestral recordings I believe is that the 4007s has a little higher noise floor - not as high as most of the Earthworks but higher than the 4003. Add that the mic pre will have to work a bit harder, the output level is lower which might add a bit more noise as well. The higher max SPL I have never really considered, in orchestral recordings I never go that high.

I would not hesitate to use them as main pair, but I guess I am a spoiled person using other mics instead. At the right price, I would say, go for them. If nothing else they seem to hold the used value really well and they are bound to give you a lot of useful recordings.

Of course the nose cones and different grids for the 4003/4006 does not fit the 4007- the grid is fixed and smaller.

Exsultavit wrote: Does anyone here have any deeper experience with the 4007 as compared to the 4006? Differences in output level? Tone?

A colleague that likes brighter mics (DPA4041, M150, etc) offered to GIVE me his 4007s because of their really bright character. As it turned out, he was not serious, but one must wonder why they are seldom used. The fact that no additional grids or cones are available for them must indicate something.

If you can return them if you do not like them, then try them! If you cannot return them, the question is what else is available for the same money?

Rich