For Romeo and Juliet, Sannino used the d:vote™
4099 on cello and saxophone, the d:screet™
4061 on violin and vocalists and the d:facto™
4018VL for the ensemble. “I chose to use DPA because it has an excellent personal history of durability, clarity and responsiveness combined with my frequent need for discrete wireless sources,” adds Sannino. “The fidelity of a DPA mic far surpasses anything else I’ve utilized in terms of close miking instruments and actors. I love both the d:vote™ 4099 and d:screet™ 4061 when close miking the conventional orchestral instruments, and also all sorts of ancient instruments. You can never go wrong on a lute, theorbo, harp or zither.”
Sannino has also been very impressed with the ability of DPA’s microphones to handle the multiple costumes and moisture from the various live theatrical productions he has worked on. “With costumes, the DPA mics are excellent,” says Sannino. “They offer low ‘touch’ noise and excellent isolation in a variety of wardrobe change situations. In addition, one thing I can say about the d:screet™
4061 that I can’t say about any other mic is that I’ve never had a capsule sweat out on me during a musical performance.”
DPA also solved a unique audio challenge that Sannino was presented with while working with NYC Ballet star, Tiler Peck. He needed a source that would allow Peck to move freely while still pushing her voice over a full pit band in a 3,000-seat pavilion. According to Sannino, the d:fine™
4088 headset mic was the only mic that would do the trick.
Since Sannino’s implementation of the d:vote™
4099 instrument microphones on his various projects, DPA has replaced the legacy mic with its newest instrument microphone, the d:vote™ CORE 4099. The CORE version adds another layer of sound quality that further distances this mic from its competitors. The CORE’s powerful new technology brings more clarity and details to music across the entire dynamic range.