Sting's album, Songs from the Labyrinth, uses DPA 4023 compact cardioid microphones. Sting's sound engineer Donal Hodgson chose the microphones for the artist's venture into new musical territories - a collaboration with lute player Edin Karamazov to work with the music of Elizabethan songwriter John Dowland, court lutenist to James 1. in 1612.
Hodgson initially chose DPA microphones for studio use, selecting 4006 omnis to record Karamazov's lute. The 4023 was however perfect for the live shows, being very similar in sound character, but with the added advantage of a cardioid pattern and a very small footprint on stage. He also sourced two FJS4000 Flamingo Junior Short stands for Karamazov and Sting's lutes and a FGS4000 Flamingo Grand Single stand for Sting's vocal. The former are placed to the right of the performers with the active pole running almost parallel to the lute. The goose-neck at the top is then bent 90 degrees so the 4023s directly face the sound hole of the lute.
"From a distance it's hard to see there is a microphone and stand in place; we're all very impressed with the aesthetic of the Flamingo stands as well as their practicality," he says. "For Sting's vocal I again placed the stand to his right but instead of facing the microphone directly at him I've employed an off axis position which allows me to minimise the size of pop shield required and again keep a more discreet look on stage and, more importantly, not compromise the sound."
Hodgson has found this solution keeps the sound and frequency response of the lutes and vocals consistent with the studio recordings, while giving a stylish, minimal look on stage.
"I am exceedingly happy with results we are getting, having listened to mixes off stage at the monitor desk, front of house desk and a recording from a BBC OB truck," he says. "I am really looking forward to taking the 4023s into the studio; they have shot way up my microphone of choice hit list."