Certainly, everything we threw at it, it handled comfortably. In this guide, we have tracked down the most popular condenser microphones for you. That magic was also evident in the microphone’s off-axis rejection and off-axis response. In an initial small-room test, using a portable mixer with the EQ set flat and a 12-inch, two-way speaker, the d:facto II sounded smooth through the midrange with quite apparent high-frequency response to lip smacks and consonants. DPA manufactures adapters that allow the capsule/head grille combination to be mounted on a variety of handheld transmitters. In early listening tests they began to notice how often singers can sing ‘around’ the mic, and it is very true in my experience that vocalists will work off axis, sometimes to make the sound softer, and sometimes just through a lack of technique. To reduce handling noise, the capsule mount for both versions sits on a thick rubber cushion, which we found to be very effective. The entire process takes about two minutes. High-performance, supercardioid Sometimes all you've got to do is ask. The handling of dynamics was equally impressive, capturing a quietly sung falsetto at distance as well as loud vocals at close range. For wired or wireless conversion, the mic handle adaptor or wireless adaptor is $249.95. DPA states that the d:facto II can handle SPL up to 160 dB; it certainly did not fold under the pressure of a metalhead screamer, though we didn’t actually measure the SPL of his voice (he was too scary). Anyone looking to purchase a first-class vocal microphone should have a listen to the d:facto II—wired or wireless. Adhering to the same high design standards, the company developed microphones for musical instrument reinforcement, including miniature mics widely used for piano, guitar, bowed instruments, woodwinds and brass, as well as headset and lavalier mics. When I say “same capsule,” I literally mean that the capsule may be removed from a wireless system and moved to the wired handle—as opposed to purchasing a wireless version of the capsule. The connection part of the handle or adapter “floats” on a ring of damping material that absorbs impacts so as not to transfer them to the microphone. The one in the D:Facto II has a supercardioid response to help reject background noise and reduce the chance of feedback on stage. The microphone requires standard 48V phantom power. It doesn’t seem particularly susceptible to proximity effect and remains reasonably controlled wether the singer is working close or further away from the mic. Subjectively, the residual noise level of the wireless system was almost exactly the same as the wired version, with maybe a hair more hiss in the wireless version—none of which was evident under performance circumstances (full disclosure: this was not a scientific test. It’s sensitive enough to capture the nuances of a vocal without capturing all the background junk, and what leakage was present in the d:facto II sounded pleasing because it wasn’t colored. The d:facto II system sent to Mix consisted of the d:facto II wired microphone and the FAASE2-ewB adapter, which enabled us to couple the capsule and head grille to a Sennheiser ew 300 G3 system (this adapter can be used for Sennheiser evolution, 2000 and 9000 Series handheld transmitters). Show all. in a quiet room, with gain adjusted for a similar output from the wired and wireless d:facto II). Tone quality between the wired and wireless versions was virtually identical, the wireless version being perhaps a hair brighter. The mic head is somewhat elongated, projecting about a ¾ inch beyond the tip of the internal microphone element—likely contributing to the lessened proximity effect, even when used lips-touching. The proximity effect at lips-touching distance was less apparent than I have experienced with most dynamic and many condenser handhelds; at that distance it seemed not quite as warm yet more present and distinct than my comparison condenser. The windshield unscrews to reveal a fine internal mesh system that protects the small capsule, which is screwed onto the beautifully machined mounting. A unique modular design allows the same mic element to be used for both wired and wireless applications. On a singer who had what we’d categorize as a smoky voice, a few dB (2.5) of boost at 3.5 kHz popped the vocal through the mix. Moving into a sanctuary with a central speaker cluster above and just in front of the stage, it was easy to achieve more than sufficient levels for spoken word or lead vocals without feedback, even in a particular location under the speakers where the angle of the ceiling often creates a feedback-prone zone. For more information and reproduction guidelines please contact us at 919-325-0120 or info@churchproduction.com. The singer uses in-ear monitors, so was easily able to judge any changes in sound and quality, and after about half an hour there was no going back: the microphone was acclaimed as revolutionary and amazing. DPA quote a nominal 20Hz-20kHz frequency range for the capsule, but interestingly provide a more qualified 100Hz-16khz (±2dB), with a 3dB soft boost at 12kHz and a third-order low-cut filter at 80Hz. The D:Facto II’s low cut certainly helps cut out handling noise, and also tapers the low end of the vocal away nicely. Moving back to about 2 ½ inches, and setting the levels equal, the audio quality was very close between the two. Price: $899; FAASE2-ewB Wireless Adapter for Sennheiser evolution/2000/9000: $249. I can say that the microphone did indeed pick up a reasonable amount of the on-stage sound, but what made the difference for me was that it wasn’t an unpleasant noise. The charts show a very smooth response at all frequencies off axis, which should mean that any spill that the microphone hears is at least pleasant and musical. From a whisper to a scream, the d:facto II had no trouble capturing all the dynamics we could send its way. The one in the D:Facto II has a supercardioid response to help reject background noise and reduce the chance of feedback on stage. Its combination of audio quality, feedback and handling noise resistance, and flexibility to go between wired and wireless applications make it a good value. A unique characteristic of the d:facto II is that the same capsule/head grille may be used on either a wireless transmitter or on a wired handle. Update your browser to view this website correctly. United Audio Technologies UT FET 47 | Audio Examples, Recording Metallica & The San Francisco Symphony Live, Get The Most Out Of Your Upright Piano: Audio Examples. So what have DPA done to overcome the problems of bringing a studio-quality condenser to the stage? Rather, it is detailed, with a clarity in the upper mids that seems uncoloured. There’s a very high degree of sonic consistency between the wired and wireless versions of the d:facto II. If an engineer is not careful regarding placement, condenser mics can capture a lot of unwanted sound spilling from around the stage. The result is a modular system that threads together, consisting of the mic element, grille screen, mic handle, and wireless adapter. The radio-mic version was used at different points on the stage, as you can imagine, and it faired equally well in this regard. There are quite a few handheld condensers on the market, and some of these, such as the Neumann KMS 104 and 105, have established themselves as viable on-stage microphones. Danish mic legends DPA take their considerable mic-designing experience to the stage — with impressive results. If there’s one word we’d use to describe the sound of the d:facto II it would be smooth. The views expressed are those of the contributors and not necessarily those of the publishers. The gentle rise at 12kHz is quite evident and lends a nice hi-fi feel to the sound. I had seen the DPA D:Facto II at a few trade shows and knew they were willing to let people try them out, so I contacted my PA supplier who arranged a loan mic to be sent to rehearsals. Why Are Some A-B Stereo Arrays Angled Outwards? Simply remove the head grille from the wired handle and unscrew the 4018V capsule. After we had become familiar with the sound of the wired d:facto II, we tried it with a Sennheiser ew 300 G3 wireless system (see Try This regarding the changeover). This is a good thing when working with singers who eat the microphone—the d:facto II did not get muddy in the lower midrange or boomy in the low-frequency range. Then replace the head grille over the capsule and you’re ready to go. Unscrewing the pop shield reveals a familiar-looking pre-polarised DPA pressure-gradient capsule. The price is going to put a lot of people off, as this is an expensive microphone — but when I told the singer it cost seven times more than the microphone he was currently using, his response was that it sounded it!

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