"There aren't many handhelds that are as good sounding and well-rounded as the 2028."
"Build quality: Nothing but excellent, and I’d like to highlight the fact that the 2028 is not only rugged and built with good materials but also very well designed, with a clever internal shock mount system around the capsule that greatly helps with shaking. The grille and its inside foam are quite dense, acting as a great pop-up filter that can tackle most needs without the need for extra external foams or pop-shield. The XLR connector also feels sturdy, and looks like it won’t give up anytime soon, if it gives up. Overall the construction of this mic feels impeccable, and you get the feeling that you’re holding a top-tier product in your hands.

Sound quality: DPA has done a phenomenal job on creating a handheld microphone that sounds as detailed as a large-diaphragm condenser whilst still reaping some benefits of a dynamic mic such as the excellent off-axis rejection and being less prone to feedback. In this regard, the proximity effect is much less pronounced than on other microphones and for the most part the 2028 is nearly ruler-flat on the frequency response. Although it is labeled as a vocal microphone I can also see it as a viable alternative for any situation where one would usually deploy a dynamic mic, such as guitar cabinets, snare drums, miscellaneous percussion or brass instruments. Moreover, it's also a superb choice for broadcasting thanks to its ruggedness and also a good pick for podcasters or voice-over artists with untreated rooms since it won't capture so much of that unwanted reverb as much as a condenser mic would - for such applications it offers a nice change of tone when compared to the usual suspects i.e. the Shure SM7B or the Electro-Voice RE320.

Nevertheless, the stage is where it shines brighter and vocals are definitely its forte, so for vocals the 2028 is certainly what we can call an "endgame" kind of microphone and should compete shoulder to shoulder with the best mics in this category such as the Neumanns KMS-104/105 or the Shure KSM9. As a stage mic for other applications I also think it will fare very well, and it will be a valuable asset for capturing guitar cabs, percussion and brass with excellent sound quality."

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