DPA MICROPHONES CATCHES THE EAR OF LEGENDARY MUSIC PRODUCER/AUDIO ENGINEER PETER KEPPLER

Another major benefit of using the d:dicate^TM 2011C and d:vote^TM 4099D is that “despite the high-end nature of their sound and build, they’re extremely durable microphones,” explains Keppler. “Mics on a drum kit typically take a beating. I was impressed because the DPA mics always come back for more and continue to sound amazing.” 

For the past seven years (and counting), Keppler has mixed FOH for pop star Katy Perry. “We wanted to have minimal appearance of technology on stage with Katy, partly for the aesthetic, and also because we didn’t want hardware on the floor getting in the way of her dancers,” says Keppler. “I decided to experiment with miking every cymbal individually from underneath. We tried a variety of microphones in rehearsals and production rehearsals, and DPA’s d:vote^TM 4099D won hands down. We ended up placing a d:vote^TM 4099D underneath each of five cymbals and dedicated each to its own channel on the console. I’ve actually started using the same process with other artists because it sounds really good!”

Keppler also used DPA microphones for the recent recording of an upcoming album from Joan Osborne. “One interesting way we used the d:vote™ 4099P Instrument Microphones for Piano on Joan’s album was clipping the mics to the top frame of an upright piano in a stereo pair,” says Keppler. “They were used to record a part where the pianist was playing with one hand and muting the string with the other, and there were no other microphones that picked up the sound the way the d:vote^TM 4099Ps did. It was beautiful! We also used the d:vote^TM 4099G for acoustic guitar and it sounded great.”

Keppler also used DPA microphones at Carnegie Hall for a concert featuring U2’s Bono and Edge to celebrate Bono’s ONE Campaign’s 10-year anniversary. “The show included a 40-piece orchestra, thirty-voice choir, a full electric band and several guests on stage,” says Keppler. “Carnegie Hall is notoriously reverberant and beautiful sounding room for unamplified music. However, due to the volume of the live band, I needed to reinforce the orchestra, so I miked every orchestral instrument with d:vote^TM 4099s. It was amazing! DPA has somehow mastered the art of making a close-miked source not sound like it’s close-miked. There’s still a wonderful space and air around the microphones that may be sitting only an inch or two off their source, without the peaks and harshness you often find in other close-miked situations.” 

In addition to its microphones, Keppler is also complimentary of DPA’s customer service. “Bo Brinck and Leonardo Romero at DPA have both been really great with helping me,” adds Keppler. “When I arrived in the UK with Bonnie Raitt, I had more instances to use DPA mics than I had previously thought. I needed more mics immediately, and they got them to me. They were great with supplying me with everything I needed and answering all my questions. DPA is making a successful move into the more pop and commercial areas of music, which is great! I support anything that makes the world a better sounding place.”