Niels Jensen’s role was to coordinate and manage the audio team, which consisted of second FOH Jos Driessen, monitor engineer Gino Krishnadath, Freek de Greef, who looked after Wireless Systems, and recording engineer Dave Schinkel. Recognising the importance of these performances, Jensen chose DPA microphones for the task. Eighteen wireless d:facto™
4018V Vocal Microphones were used for the singers. To pick up the sound of the drum as naturally as possible, Jensen close-miked the snare drum; using a d:facto™ 4018VL Linear capsule with a MMP-ES preamp mounted on a GSM4000 Gooseneck Mount and a d:vote™
drum clip. For the same reasons, he also used this solution on a high Leslie.
“With this capsule we had nil bleed from the hi-hat or cymbals, where usually this can be a big issue to deal with,” he explains.
He also specified DPA d:vote™ 4099 Instrument Microphones
and a selection of d:dicate™ 2011 Twin Diaphragm Cardioid
and 4015 Wide Cardioid microphones to capture a range of instruments including drums, Leslie, digeridoo, flute and percussion. All the microphones were supplied by Amptec, DPA’s distributor in the Netherlands.
2011 microphones were used for kick drum, hi-hat, ride, snare bottom and bottom Leslie because they deliver sound straight from the source and with great clarity,” he says. “For the rack toms and floor toms we used d:vote™
4099 Instrument Microphones because they offer great linear response. They are honest and give you the true tone of the source. We also used d:dicate 4015s as overheads because their wide pick up perfectly captured the overall drum sound. We had 88 inputs in total with all the tracks and ambiances for recording included. Sound quality was the main reason why I chose DPA microphones for this project and I wasn’t disappointed. The microphones integrated flawlessly into the Ayreon Universe setup and they all sounded amazing with hardly any EQ going on.”