"The extremes of frequency that the microphone captured helped provide the low‑end impact I was looking for, and without adding any equalisation."
Sound On Sound's Jon Burton took our 4055 kick mic
to the stage for a through test in a real-world live sound environment.
"Pushing the fader up with a flat channel just sounded good! Without any equalisation, I had a solid low end and enough top to provide a good starting point for any processing I might need. What the 4055 didn’t have is the ‘scooped’ sound I have become accustomed to with other microphones designed for use on kick drums. I see this as a positive. I don’t want creative decisions forced upon me and would rather the mic capture a natural sound that I can EQ later if needs be.
(...) I also noticed what seemed like half an octave more of bottom end on the DPA. This was confirmed on the desk’s real‑time analyser. Rather than tapering off, the microphone’s low‑frequency response was very extended, smoothly reproducing even the lowest frequencies produced by the kick drum. This is a microphone capable of capturing challenging sounds with precision and ease.
(...) Since we liked the sound in rehearsals, the microphone was used at a selection of Biffy Clyro headline festival appearances over the following month. It sounded great! On the larger system, the extremes of frequency that the microphone captured helped provide the low‑end impact I was looking for, and without the need for any equalisation.
(...) For those of you looking at a kick microphone for studio or live work, the 4055 ticks many boxes. It will also, I am sure, prove very versatile, more so possibly than some of its competitors. DPA recommend its use on a range of instruments and I am sure it could step in and take on many roles — I think we will see some innovative uses in the near future. It is a high‑quality mic with an effective windshield in an attractive, practical housing, built to a high standard. What is there not to love?"
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