The mission is to strengthen the company’s business development and competitive positioning through continuous organic growth and selective M&A.
Palladio Holding S.p.A. (“Palladio”) – an independent holding company, one of the most active and solid private equity players in Italy – announces that it has taken over from RCF Group the control of DPA Microphones (“DPA”), the Danish microphone solution manufacturer. RCF Group will maintain a minority stake.
Based in Denmark, DPA is the leading manufacturer of high-end microphone solutions for the live, broadcast, theatre, and studio industries and is known as the undisputed quality leader, continuously pushing the boundaries of performance. During the RCF Group ownership, DPA has had impressive growth, even despite Covid-19 reaching all-time record performance in 2022. DPA quickly overcame the consequences of the pandemic and was ready to serve the market with its products due to fast and clever handling of the supply chain and manufacturing. When facing new challenges DPA will have a strong partner in Palladio, a boost for its mission to strengthen the competitive positioning and accelerate the business development, also through potential synergic M&A.
Palladio is not new to DPA being a minority shareholder in the RCF Group since 2017 and having contributed to the impressive growth path of both companies. In the context of the direct investment into DPA, Palladio has significantly reduced its stake in RCF Group, in favor of the current majority shareholders and crowned a highly successful and satisfying investment for all shareholders, to concentrate on the planned growth path in support of DPA.
In November 2022, Palladio acquired a majority stake in Wisycom, recognized as one of the main players in wireless equipment for broadcast, live, and location sound applications, confirming Palladio’s strong interest in this industry.
Nicola Iorio, Managing Partner of Palladio Holding who followed the transaction with Nadia Buttignol, partner of PFH, said: “We are thrilled to start this new important chapter in the history of DPA, a company with unique know-how and positioning on the market thanks to a strong brand, premium products and an organization that excels in serving their demanding customers. Our goal is to continue to invest in the company to develop the business even further and take it to the next level.”
Kalle Hvidt Nielsen CEO of DPA Microphones stated: “I would like to thank the RCF Group and Mr. Vicari for the excellent partnership we have had for the last 4,5 years. DPA has experienced tremendous growth during this period, and we have made significant investments in key areas of DPA, that have made us stronger and even better at developing, manufacturing, and launching innovative products to the pro audio industry. I have been working with Palladio since 2018 and I know that they will continue to support DPA going forward and I am sure that you will see DPA solutions in even more places and applications in the future.”
Arturo Vicari, CEO of RCF Group, stated: “The cooperation between the RCF Group and DPA Microphones has been very fruitful, and I am proud of the impressive development that we have achieved together. We have worked closely with Palladio since 2017 and I am happy to see DPA continue its journey with another good and strong partner, while we concentrate on our core loudspeaker business.”
Listen to Dennie Miller talk about his experiences using DPA mics with Volbeat:
Coming from an audio system engineering background, Dennie Miller, FOH for Volbeat believes in the importance of the microphone. “In my background, we say choose the right speaker put it in the right place and point it in the right direction. Well, a microphone is also a transducer, just like a speaker so the same rule applies.” He continues: “If you choose the right microphone, put it in the right place and point it in the right direction you’ve done a big part of the job before you ever get to your console.”
DPA Microphones has launched the DDK4000, the company’s first-ever Drum Microphone Kit, to help deliver a clear and natural reproduction of the low-frequency, high SPL instrument. Comprised of the brand’s acclaimed 4055 Kick Drum Mic, as well as the new 2012 Cardioid and a stereo pair of the new 2015 Wide Cardioid, the kit also features three of the brand’s renowned 4099 CORE Instrument Mics. With consideration for durability at the forefront of this solution, the kit has been rigorously tested to perform flawlessly for all types of music genres and is designed to withstand the demands of life on the road.
“We are ecstatic to offer sound engineers a perfect drum miking solution with the DDK4000 Drum Microphone Kit, comprised of several instrument mics with similar sonic characteristics that allows users to capture a uniform, uncolored sound of the entire drum setup,”
– Bo Brinck, Product Specialist/Sound Engineer, DPA Microphones.
“Every mic in the kit is designed with linear on- and off-axis response, which helps the sound designer keep the natural direct sound as well as the organic bleed between the drums and cymbals. Beginning with the clear, true sound of the entire kit gives engineers the best starting point to shape the sound. We are very excited for the creative possibilities and high-quality sound that this microphone kit will provide to the industry.”
With an intentional use for kick drum-specific applications, the 4055 Kick Drum Microphone offers a very tight, natural, well-defined sound that is not pre-tailored like traditional kick mics. Also, unlike other kick drum mics, the DPA 4055 will provide different sounds depending on its placement relative to the kick drum. Owing to its condenser mic capabilities, the 4055 produces a tight, fast and clean sound even at very high SPL (max SPL is 164 dB). Additionally, its asymmetric design is easy to position both inside and outside the kick drum, making it quick and effortless to find the ideal placement. Its large housing and wind-damping foam in front of the capsule, behind the grille, help minimize the pick-up of the air turbulence in front of the hole in the kick drum.
The 2012 Compact Cardioid Microphone acts as a reliable, all-around, generalist pencil mic that can capture crystal clear, single-instrument pickup with ease. Unlike dynamic mics, the 2012 combines a robust design with intricate sound pickup, extended frequency range and flat frequency response in a small-form-factor for accurate close miking on any live stage setup. The exceptional transient response of the 2012 allows it to cope with high SPLs while also capturing the most delicate of sounds.
Designed for use as an overhead stereo pair on drum kits, the 2015 Compact Wide Cardioid Microphone features uniform, wide cardioid directionality and a linear frequency response. This stereo pair can be positioned closer to the drum kit than normal and captures the balanced sound of the entire instrument with less bleed from the stage. Additionally, the compact design of the 2015 allows for unobtrusive placement at venues of any size, while its durable, reinforced construction means it will last from stage to stage. Both the 2012 and 2015 are pre-polarized condenser mics, each with a specifically designed 17mm (0.67-inch) capsule that is perfectly tailored for its intended application.
Featuring the company’s renowned CORE by DPA amplification technology, the award-winning 4099 CORE Instrument Mics are designed to minimize distortion and increase dynamic range ― from the highest of highs to the lowest of the lows. The kit features the 4099 CORE “Extreme SPL” (109 dB dynamic range) version, which is perfect for drum miking applications. Known for its discreet size and versatile mounting/clip options, this longstanding member of the DPA microphone lineup is a great fit for a variety of applications ranging from the studio and theatre to live performances. Like most DPA solutions, the DDK4000 Drum Microphone Kit comes in a sturdy Peli case, which includes microphone holders and adapters. Additional accessories, such as a stereo boom, gooseneck mount and corresponding shock mounts, are also available.
ApexPro is the sole distributor of DPA Microphones in Southern Africa. Contact Us to find out more.
Many situations require solutions to protect microphones from the elemental issues. Wind and rain generate noise in microphones.
In addition, viruses, like Covid, can be transferred to the surface of a mic. Efficient protection in these cases is necessary, but how these solutions affect audio performance must be understood.
Wind: Wind creates unwanted noise in microphones requiring windscreens/shields to mitigate the issues. These practical accessories can control the noise generated under windy conditions (reduction up to 20-30 dB). In general, for these solutions, the bigger, the better. If wind is heavy, a low-frequency cut-off in the recording channel (or the mic) is good protection against driving the input too hard in the LF range.
Rain: Most windscreens can mitigate the issue of rain, at least for some amount of time. However, if the screen gets soaked, it will heavily detriment the sound. For that reason, it is a good idea to bring additional (dry) screens, since thoroughly drying a wet one can take hours. An alternative for rainy weather is using a plastic bag if the job doesn’t entail recording. Be warned though, if the windshield is wet when the plastic bag is placed over it, the humidity around the mic may exceed the limit for proper performance.
Vocal wind: To reduce pops and blows in nearfield voice recording, a pop filter is an effective tool in the studio as it leaves the performance of the mic almost completely unaffected. Usually, the filter can stop the flow at a larger distance compared to a normal wind screen.
Virus protection: Covering a mic with a plastic bag to protect from viral transference is a practical idea. However, it is essential to use a very soft and thin (<10 µm) plastic. In addition, the bag must only be loosely placed around the mic (not packed), or it may change the directivity.
High wind and rain generally cause problems during outdoor recording by creating unwanted noise that the mic picks up. In addition, mouth breathing, blows and pops may also create unwanted sounds when close miking vocal performances. Handheld vocal mics can also spread bacteria and viruses.
To prevent unwanted noise generation, it is common to protect the microphones from the weather using windjammers, windshields, windscreens and other specialized solutions. However, not only does the effectiveness of these solutions vary greatly, specific and complete specifications characterizing noise reduction, spectral damping, influence from rain, and so on are seldom given. The missing information is probably in part because of the lack of complete standards in this area.
During the Covid pandemic, using replaceable covers (like plastic bags) to prevent the virus transferring to mic surface, was common practice. While a fantastic solution to keep mics clean, it does affect the sound.
Introduction
Measuring wind noise
Usually, wind-generated noise is measured in a lab to ensure controlled conditions for the measurements [28]. The standard “IEC 60268-4 Microphones” describes possible “devices” that generate controlled wind (usually a big fan). In addition, the fan must be installed so that only wind noise (not fan/motor noise) is measured. In most cases, this wind machine can produce wind speeds ranging from 0 m/s to >10 m/s.
Typical measurement results include noise spectrum vs. wind speed, equivalent noise level vs. wind speed or equivalent noise level vs. direction. (Equivalent level compares the noise to that generated by an acoustic noise source – how an acoustic source would measure if it generated the same noise as the wind).
If a wind machine is not at hand, natural wind can be used if it can be measured. One low-tech solution (yet possibly less accurate) is to hold the mic out of a car window while driving. The car’s speedometer provides the actual windspeed (10 m/s = 36 km/hour or 22.34 miles/hour).
Wind noise in unprotected microphones
A microphone without extra wind protection accessories is subject to low-frequency fluctuations of the wind. The mic may create, due to its configuration, fluctuations in wind pressure, due to turbulence around itself, even in a steady wind otherwise free from pressure fluctuations. The result may be unwanted audible sound.
Stronger wind creates more noise. Generally, omnidirectional microphones (pressure microphones) are less sensitive to wind than directional microphones (pressure gradient types). However, the noise level varies with the wind’s incidence, even if the mic is omnidirectional to sound. One reason is that the housing and mic shape may influence the level of noise generated.
Below, two diagrams show generated noise vs. direction for a 16 mm omni and a 19 mm cardioid condenser microphone. The noise level difference is around 20-30 dB at low frequencies.
The curves show wind noise vs. direction (30° increment). On both mic types, the noise is highest at 0° incidence (on-axis) and 90 degrees (off-axis) and lowest at 180°.
Fig. 1. The upper diagram shows the wind noise generated in a 4006 Omnidirectional Microphone with 10 m/s wind speed from various directions. The lower diagram shows the noise generated in a 4011 Cardioid Microphone under the same conditions. No matter the wind’s angle of incidence, the noise generated is much higher in the cardioid mic compared to the omnidirectional mic (1/3-octave banding).
Another way to document the mic’s reaction to wind is by creating a polar plot. It is similar to the diagram that shows directivity pattern, sensitivity to sound vs. direction. Below are two charts based on the mic data above, but now measured as an A-weighted and a C-weighted level, respectively vs. the wind’s angle of incidence. Both plots are normalized at 0°, meaning absolute noise level is not shown but levelled relative to 0°.
Fig. 2. Now the data is presented as a polar plot. The left diagram shows wind noise generated in an unprotected 4006 Omnidirectional Microphone with 10 m/s wind speed from various directions. The red curve is the A-weighted level vs. direction normalized to 0 dB at 0°. The blue dotted curve is the C-weighted level vs. direction. The right diagram shows the same data in an unprotected 4011 Cardioid Microphone.
The purpose of various wind protection solutions
Wind protection should leave the audio free of noise and free of coloration/spectral damping. Unfortunately, it is difficult to optimize for both simultaneously.
The best protection against wind is a closed rigid box [29]. However, sound will not be able to pass through. On the opposite end, an acoustically transparent device does not stop the wind. The best compromise of these two extremes must be found.
Foam windscreens/shields/jammers
Most windscreens/shields (used interchangeably in the article) are made of an open-cell type of foam that allows for acoustic transparency. The foam can either consist of Polyurethane (PUR) or similar material. Metal foam, with equivalent flow resistance, can also obtain the same result [9]. These windscreens are often circular/ball-shaped, providing the best wind damping from all directions. In general, the larger the diameter of the windshield, the more it reduces wind noise [5, 9, 16, 17, 19]. Omnidirectional mics are not very sensitive to the windshield design as long as the capsule is positioned in the middle. However, cardioid mic performance can suffer if foam covers the front and rear inlet to the diaphragm, which can change the actual directivity of the mic. Some popular windscreens leave airspace close to these inlets to retain the directionality [29].
Shell/basket windscreens/shields/jammers
Shell-type windscreens (often called basket-types) aim to stop wind as far from the diaphragm as possible. They often don’t add any absorption or damping material between the shell and the microphone. The shell/basket consists of a rigid grid covered with one or more layers of fine mesh. Also here, the ball shape is the most efficient, however it is possible to change the form factor (for long microphones) by expanding the ball, or rather, by inserting a cylinder [29].
Fig. 3. Principle of expanding the ball shape.
This kind of windshield is also known by the nickname “Zeppelin” due to its shape, which resembles an airship. They are also known as a blimp in the film industry.
The wind damping of the shell can be improved by adding a foam shield inside before mounting or by adding a fur-like coat on the outside (nicknames: “dead cat” or “dead wombat”). However, adding the external fur can also reduce acoustic transparency.
It is important that the shell surface does not vibrate in the wind, otherwise it is like adding an acoustic source/vibrating membrane close to the microphone. On the other hand, the inside of a cylinder acts as a tube, and standing waves in the enclosure may affect the system’s frequency response, according to unpublished findings by DPA.
Fig. 4 below, shows the wind damping of a conventional shell/basket-type screen from Rycote (manufacturers data). Here, natural wind was used for the measurements, averaging 20 individual measurements. The microphone is a shotgun type.
Fig. 4. Damping curves for Rycote standard basket + fur-type windjammer. Means of 20 readings (manufacturers data).
For larger microphone arrays (an arrangement of several microphones for a specific setup), creating one basket to cover all microphones can be advantageous, though bulky, construction.
Most vocal microphones integrate a (smaller) basket-shaped grid. It consists of a rigid grid on the outside, which also provides mechanical protection. On the inside, it may have a thin layer of foam as well as an additional mesh. Fig. 5 shows how the DPA 2028 Vocal Microphone implements these components.
Fig. 5. Grid, foam and mesh, protection of the DPA 2028 handheld vocal microphone.
The effect of a foam windscreen, wind noise
The purpose of a windscreen is to reduce the noise created in the microphone, not the sound of the wind itself.
The wind noise predominantly appears in the low-frequency range as long as the microphone (or preamplifier) does not distort. The shape of the windscreen also affects the damping. As mentioned, noise reduction depends on the shield’s diameter. So, in this case, bigger is better.
The curves below show the noise spectrum of an unprotected 19 mm pencil cardioid (gradient) mic in a natural wind field and an identical microphone equipped with a 60 mm windscreen. The two microphones are measured simultaneously. The wind speed is in the range of 4-7 m/s. The average time for the analysis is 1 minute. The screen reduces the wind by approximately 15-25 dB in the low-frequency range.
Fig. 6. Noise generated in a 4011 Cardioid Microphone in the natural (4-7 m/s, various directions, 1-minute average). The upper curve: unprotected microphone. Lower curve: microphone fitted with a UA0896 Foam Windscreen for Pencil Microphone, Ø19. The noise damping is in the range of 15-25 dB at low frequencies. (1/3-octave banding).
The effect of a windscreen, spectral damping
As mentioned earlier, it is challenging to add wind protection without also introducing some spectral damping. The diagrams below show the windscreen’s effect on frequency response. The first chart is an omnidirectional microphone, and the second is a cardioid microphone. The windscreen is the same as demonstrated above: UA0896 Foam Windscreen for Pencil Microphone, Ø19.
Fig. 7. The deviation from a flat frequency response applying a 60 mm foam windscreen. Two mics equipped with a foam shield, measured on-axis (blue curves) and at 90° (red curves). There is a roll-off above 6-8 kHz, with the maximum attenuation being less than 2.5 dB @ 20 kHz. A small gain around 2-4 kHz is negligible. (1/3-octave banding).
The effect of logos on foam windshields
In broadcast, it is common to add logos to windshields. Below is a typical shield with signs glued to the surface. In this case, there are signs on opposite sides.
Fig. 8. Windshield with logos glued on opposite sides.
Below is the windshield’s resulting attenuation effect depending on the sound’s incidence. When addressed from the top (microphone on-axis), it is an attenuation as expected from the foam. When addressed from the sides, the attenuation is affected by the logos. Unfortunately, the attenuation is increased in the most critical frequency range regarding speech intelligibility.
Pro tip! Don’t address the handheld interview microphone from the side if it is equipped with protection with logos.
Fig. 9. The windshield’s attenuating effect is dependent on the sound incident angle. Addressing the microphone from the sides may affect the speech intelligibility due to the additional attenuation in the 2-4 kHz frequency range.
Windshields and rain
Sometimes, windscreens also must protect against rain. Usually, a few raindrops do not make a difference. Some windscreens have a somewhat water-repellent surface due to a nano coating on the foam. This allows that most of the water runs on the exterior of the screen instead of penetrating inside. This, however, doesn’t work if the foam windscreen is soaked. Microphones are typically not guaranteed to work in humidity above 90%. However, the main problem in this situation is probably not the humidity, but rather the clogging of the open-cell foam.
Fig. 10 below, shows the attenuation of an omnidirectional mic equipped with a foam windshield.
The blue curve (top) shows the attenuation of the windshield when it is unaffected by water. A little attenuation (<1 dB) at 20 kHz is inaudible.
The red curve shows the attenuation when the windshield is soaked. The clogged shield now forms a cavity that exhibits a resonance around 3-4 kHz (almost like “cupping” a vocal microphone).
The green curve shows when the windshield is squeezed out by hand and put back on the microphone. The result is less resonance but more attenuation at higher frequencies >5 kHz,
The purple curve (bottom) shows that after being soaked, squeezed out and dried for an additional half an hour, the screen does still not behave like a completely dry foam screen.
Pro tip! Make sure to bring additional dry foam screens when working in heavy rain.
Fig. 10. The spectral damping of a windscreen 1: Dry. 2: Soaked. 3: Soaked then squeezed out. 4: Soaked, squeezed out and dried for 0.5 hours. (1/3-octave banding).
Special outdoor covers exist, which have a unique ability to let the rain run on the surface and drip off on the bottom, beneath the microphone elements.
Fig. 11. OC5100 Outdoor cover (left) and WJ5100 Fur Windscreen (right) for 5100 Mobile 5.1 Surround Mic (Immersive microphone).
To cover outdoor sporting events, shotgun microphones are often placed around a football or baseball pitch, close to run-lanes, etc. Unfortunately, these events happen in rain and there is nothing to do to protect the microphones as the event continues.
Fig. 12 below, shows sound attenuation by attaching conventional means like foam-, shell-, and fur windscreens for the wind damping. The damping is, of course, audible if all shielding is applied, but it can, by and large, be compensated for. Many shotgun microphones are equipped with a built-in compensation filter. However, if a fur windscreen gets soaked, the attenuation is significant (and is impossible to compensate for).
Fig. 12. The attenuation (on-axis) of sound depends on windshield conditions: 1 (blue): 4017 Shotgun Microphone with foam. 2 (red): 4017 + Rycote basket. 3 (dashed red): 4017 + foam + basket. 4 (green): 4017 + foam + basket + fur. 5 (purple): 4017 + foam + basket + SOAKED fur. Notice the heavy attenuation of the sound. 6 (black): Shows the build-in compensation for the high-frequency loss. However, it is impossible to compensate for the extreme high-frequency damping of a wet fur-coating. (1/3-octave banding).
In rainy weather, a plastic bag can be placed over the top of the foam windscreen. This should only be done before the rain begins to fall, not if the foam is already wet. If the foam is wet, the heat inside the bag may cause the water to evaporate, which then condenses inside the mic. Some mics tend to generate “click” sounds due to this “injected” humidity (unwanted discharging). A better solution is to leave the windscreen and replace it with a dry one when the rain stops.
Pop filter
A pop filter is usually a ring (Ø = 150-200 mm) with one or two layers of cloth (like nylon stockings) or a thin foam disc. It is primarily used for single-person vocal recordings. The pop filter usually has a mounting clamp for the microphone stand. The filter should be placed as close as possible to the speaker’s or singer’s lips and as far as practically possible from the microphone. Thus, it reduces the airflow as soon as possible before reaching the microphone. As the device only covers one side of the microphone, it does not cause any change of directivity, and the HF-loss is at an absolute minimum.
Fig. 13. Correct placement of pop filter.
Nose cone
A nose cone replaces the standard grid on a pencil mic and give it a perfect omnidirectional response across the audio frequency range. It counteracts the directional characteristics that omnidirectional microphones exhibit at higher frequencies. It also guarantees an even tonal balance of sound arriving at all angles of incidence but with a high-frequency boost on axis.
Nose cones are efficient for wind noise reduction but only apply on-axis to omnidirectional microphones in strong uni-directional airstreams [9].
Virus protection
During the Covid pandemic, using replaceable covers (like plastic bags) to prevent the virus transferring to mic surface, was common practice. While a fantastic solution to keep mics clean, it does affect the sound. The sound field moves the membrane and sound radiates from the membrane’s other side. However, low loss heavily depends on the plastic’s thickness.
Fig. 14 below, shows the results of a test where three different mics were covered with a plastic bag (one at a time) of various thicknesses: 6 µm, 15 µm, 20 µm, and 120 µm, respectively. The plastic bags were not packed around the mics, but only hung loosely. The bags were also left open. Schoeps experiments [24] indicate that directionality is affected if the plastic layer is packed around the microphone. The figure shows the resulting attenuation and influence on the directional mics. All three mics were equipped with a foam windshield to keep the plastic away from the capsule.
Fig. 14a. The graph presents the results of the measurements of a 4060 Miniature Omnidirectional Mic with a DUA0560 Foam Windscreen and various plastic bags for protection. The results show that the attenuation increases with the thickness of the plastic bag. Even the thinnest bag has an audible, negative influence even though it is acceptable for most purposes. (1/3-octave banding).
Fig. 14b 1&2. Deviation from the microphones’ standard performance: Here are measurements of a 4017 Shotgun Microphone, on-axis and at 90°. The thicker the plastic cover is, the more it affects the frequency response. On-axis high-frequency attenuation occurs. Also, in this case, it reduces the directivity of the microphone (levels are raised in the 1-3 kHz range at 90°). (1/3-octave banding).
Fig. 14c. Deviation from the microphones’ standard performance: The d:facto™ Vocal Microphone is measured on-axis and at 90°. Like in 14b, there is a high-frequency loss on-axis and a raise of frequencies in the mid-range, reducing the directivity. However, the effect of the thinnest plastic is still acceptable for most purposes. (1/3-octave banding).
Pro tip! Thin, soft plastic bags (on top of a foam wind shield) can be handy for mic protection. If the plastic is too hard or thick, it may generate noise under windy conditions. Also, if the plastic is too thick, an unacceptable reduction of higher frequencies occurs.
ApexPro is the recognized distributor of DPA Microphones in Africa. Reach out to us to find out if DPA is the right solution for your installation or touring needs.
Specialized, professional condenser microphones can take complex sound from the live stage to the next level. The trick is choosing mics that seamlessly combine to capture the true sound of the stage. That’s where the 2012 Compact Cardioidand the2015 Wide Cardioid Microphones come into play. Use them together, blending natural-sounding instrument close miking with amazing overhead ambient pick up to broaden and enrich the full sound picture.
The 2012 and 2015 are designed specifically for live stage applications. They are designed to help the sound engineer work efficiently with strict deadlines, physical limitations and challenging environments, while at the same time embracing the passion and spontaneity of the artists.
Both mics combine durable, reinforced construction with natural and precise sound reproduction – important characteristics for the live stage. In addition, DPA offers a wide range of mics optimized for live stage use, all of which capture natural sound that can be blended together easily.
2012 Compact Cardioid Microphone
The 2012 Compact Cardioid Microphone is an all-around generalist pencil mic that guarantees excellent results on any instrument on a live stage.
Durable, reinforced construction
Excellent transient response
Uniform cardioid directionality
Outstanding SPL handling
Natural and precise sound reproduction
The 2012 Compact Cardioid Mic is the best all-around, generalist mic that you can find to cover a wide range of close-miking needs on the live stage. It is a robust and reliable condenser mic, best for single instrument pickup. Its specifically powerful characteristics make it an extremely flexible mic that will shine on many instruments, particularly those in the high-frequency range.
2015 Wide Cardioid Microphone
The 2015 Compact Wide Cardioid Microphone is for ambient pick up of a drum kit or other instrument groups.
Durable, reinforced construction
Uniform wide cardioid directionality
Spacious sound due to a wide cardioid pick-up pattern
Natural and precise sound reproduction
Compact design for unobtrusive placement on stage
In a live situation when a conventional cardioid pattern isn’t quite open enough, choose a pair of 2015 Compact Wide Cardioids. They work ideally as overheads to capture a balanced sound of the entire group of instruments, like a drum kit. Also, when recording instrument groups with complex radiation patterns, the wide cardioid (also known as hemispheric, subcardioid or hypocardioid) design covers a greater sound angle and is an excellent choice.
GRAMMY®-nominated and Eurovision-winning Italian rock band Måneskin continues its global ascent to stardom with a world tour and dozens of festivals in every corner of the globe.
To ensure the band’s sound is impeccable for every show, Måneskin puts its trust in Sound Engineer Enrico La Falce, whose experience spans the panorama of Italian pop and rock music. Building off his first role as a studio assistant in London and his career as a mixing engineer and producer in Italy, La Falce knew he wanted a natural and uncolored microphone to support the band’s glam-rock sound on tour. For this, he selected DPA Microphones’ d:facto 4018V Vocal Microphone.
“When we were planning the rehearsals with Måneskin for their first ‘big’ concerts, I met with the band’s Monitor Engineer, Remo Scafati, to exchange ideas regarding gear,” says La Falce. “He suggested that I test the DPA d:facto 4018V for vocals. I have other colleagues enthusiastically using it as well, so I decided to give it a try. From the moment I connected the d:facto to my Sennheiser Digital SKM 6000 transmitter, I fell in love with the microphone; primarily for the sound quality, but also for being a truly valuable tool. Since then, Lead Singer Damiano David’s voice has always been entrusted to DPA Microphones’ d:facto.”
Måneskin chooses not to use AutoTune or any other pre-production effects, instead opting for a raw sound reminiscent of Blink-182 or Green Day, making the neutral tone of the d:facto 4018V an ideal addition to the group’s gear lineup. “The d:facto has a nice sound that is warm and thick, and it has crazy detail unlike many other capsules,” La Falce continues. “I especially like it for the range around 5,000 to 6,000 Hz. Usually this range remains glassy and you have to play with the EQ to correct it, but the d:facto doesn’t have that problem. Plus, it presents the voice naturally. You can always add character from the console, but the d:facto provides a clean, precise translation of the voice.”
Unlike the clean sound and sleek design of DPA’s mics, Måneskin’s glam-rock sound and style result in metallic leather vests and flares, eyeliner, shimmering details and metal studs. “Damiano is moving and dancing a lot on the stage, and often ends up cupping his hand over the grille,” adds La Falce of the singer’s style. “The d:facto doesn’t bring in weird sounds, but to obtain this quality, the mic must be used correctly, meaning the grille must never be covered. To avoid this, Remo and I came up with a simple idea: we put a studded bracelet on the microphone body, and when Damiano feels the studs, he knows his limit. Damiano brings this ‘punk-rock-mic’ with him all the time, and it has become an iconic accessory.”
The band’s unique style combines elements of dark and glam rock, something that has been missing from the contemporary music scene for some time. Its musical style is explicitly reminiscent of 1970s rock, like Queen and Elton John, mixed with Franz Ferdinand and Aerosmith, which gained the attention of later generations. “Of all the bands that I have worked with, this one is the most powerful commercially and simultaneously the most ‘indie’ production I have ever mixed,” says La Falce. For that complete “indie” production setup, La Falce connects the d:facto to the mic pre of a Yamaha Rivage mixer, which goes through a first equalization stage from the desk, and then into an UREI 1176 compressor and a Pultec EQ to sculpt the sound, and ends at an Universal Audio Teletronix LA-2A Amplifier to get a good thickness of the voice.
La Falce was recently able to push the d:facto to extreme conditions, relying on it for Måneskin’s performance at the Circus Maximus in Rome, which featured 27-meter-long catwalk. Damiano ended up singing in front of the PA for most of the performance — yet La Falce found the distance and bleed to be a non-issue. “Zero problems, not even any feedback,” he finishes. “The d:facto is a standard microphone for me now, one which must always be considered.”
With their song “Zitti E Buoni” (Shut Up and Behave) topping the leaderboard at the Eurovision Song Festival, Måneskin became a global sensation. They became break-out stars in America, where they toured with the Rolling Stones, played on Saturday Night Live, and were nominated for the “Best New Artist” category at the 2023 GRAMMY Awards. After completing the North American run of their world tour in December 2022, Måneskin will wrap up the European leg on July 25.
ApexPro is the recognized distributor of DPA Microphones in Africa. Reach out to us to find out if DPA is the right solution for your installation or touring needs.