CEDAR introduces the DNS 4, the latest and most advanced portable model in the DNS series. With its Hirose HR-10 power input and mini-XLRs for many connections, it takes up little more space than the industry-standard DNS 2 yet doubles the number of channels available.
It’s incredibly fast and simple to use; the DNS algorithm requires nothing more than switching on the Learn function that identifies and adapts to the background noise, and then adjusting the amount of noise attenuation required. Notwithstanding this simplicity, it can achieve remarkable results. What’s more, despite being so convenient that you can slip it into your pocket or equipment bag, it offers analogue line and ultra low-noise microphone inputs (the latter with optional 48V phantom powering), AES3/AES11 digital inputs, and both analogue and digital outputs. And, to increase its flexibility still further, it runs on 12V power so you can use it in the middle of a field as easily as in the studio or edit suite.
Retaining the near-zero latency of its predecessors, the DNS 4 is suitable for use in all situations – location recording, live-to-air broadcasting and live sound in venues such as theatres, concert halls, conferences venues and places of worship, as well as in the studio.
Extending the DNS range
The DNS 4 is not a replacement for any existing CEDAR product. It has been designed to complement the DNS 2 and the DNS 8D, filling a hole in the existing range and (based upon on our user-survey) appealing to customers who require more than two channels of DNS in a portable rather than a rackmount package.
CEDAR will be showing and demonstrating the DNS 4 for the first time at the IBC2022 Convention in Amsterdam, and will be shipping units to dealers and customers before the end of the month.
CEDAR’s dialogue noise suppression (DNS) technology is used on the highest quality productions and broadcasts to eliminate traffic noise, air conditioning, wind, rain, babble and general background noise from audio. It will help to compensate for unfavourable acoustic conditions and poor microphone placement, and will even suppress excessive reverberation.
It’s used to clean up sound for film production, to suppress ambient noise for live broadcasting, to refresh sound libraries, and to enhance speech for audio forensic investigations. It’s an industry standard that has earned a string of awards including an Emmy, an Academy Award, an IABM Award and two Cinema Audio Society Awards.