Both of these basic needs require space in and on the unit, so companies must ensure that the shape of the vocal microphone is ergonomically-designed for the average hand. For most efficient wind- and pop-suppression, the furthest distance of the internal diaphragm from the mouth as possible is ideal, which requires a certain grill size. At the same time, the overall size of the stage vocal microphone must be bigger than a small diaphragm condenser recording microphones and smaller than a large diaphragm cylinder “bird cage” studio microphone. For the performer, it should also appear to be large enough to “hide” behind (like having an instrument), but also small enough to provide a view that enables them to move around the stage and the audience to see them.
A handheld microphone is generally held in the performer’s hand and / or secured on a mic stand. This mic is most commonly used to pick up the human singing voice in a wide variety of settings and is generally what a person visualizes a microphone to be. Moreover, if you ask a child to draw a microphone, she will most likely draw the legendary “ice cream cone shape”, which is common, but not the only shape used.
The 2028 Vocal Microphone
On a live stage, the 2028 will deliver the same open and transparent sound that other DPA microphones deliver. In fact, it needs no (or very little) EQ to sound just like you are standing next to the singer listening to their performance. This allows the singer to use their voice just as if no mic was present, which puts less strain on them. In addition, it allows sound engineers to spend their time shaping the sound experience rather than covering up due to artifacts. This amazing transparency is unique for DPA vocal mics.
The 2028 sports a supercardioid capsule with the famously flat DPA off-axis response. This gives the microphone a very high gain-before-feedback and at the same time makes it so much easier for sound engineers to handle bleed from other instruments at close proximity. The 2028 picks up these off-axis sounds in the most natural way.
The mic’s  off-axis response was spot-on – definitely attenuated, but uncolored; the 2028 scored high marks in the gain-before-feedback department, and the polar pattern remains consistent at all frequencies — all of which made monitor mixing a much easier task."
– George Petersen, FOH Magazine
The d:facto™ Vocal Microphone Series
Great White Lead Singer Mitch Malloy shares his discovery of the DPA d:facto™ 4018V Vocal Microphone. Discovering that he was able to be more present in his performances, is just one of the insights Mitch reveals in the video below.
The d:facto™ series brings true studio sound to the live stage and broadcasting studio. These mics are available in an extremely linear version as well as in a version with a high-end boost. The modular nature of the d:facto™ series allows you to switch the capsule as well as the adapter, making it the most flexible vocal microphone available on the market.
For Carrie’s vocal, I’m using the DPA d:facto™ 4018VL capsule. It has a beautiful flat response that duplicates her voice perfectly—from breathy nuances to powerful and long high notes, it sounds amazing. Also, when Carrie belts out long notes, she pulls the mic away at almost an arm’s length and the proximity effect does not change; it’s an excellent mic."
– Tim Holder, front-of-house sound engineer for Carrie Underwood
Engineered especially for vocal performances onstage, the d:facto™ holds a supercardioid capsule that is designed to reproduce every nuance of the human voice transparently, consistently and thrillingly. There are two versions available. The d:facto™ Linear Vocal Microphone features the MMC4018VL Supercardioid Capsule, which is extremely linear. The d:facto™ Vocal Microphone features the MMC4018V Supercardioid Capsule
, which has a high-end boost. The MMC4018V is often chosen because it ‘cuts through’ on a broadcasting set, where the content typically ends up transmitted to built-in television speakers with limited audio quality.