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Another problem solved. Vocal mic DPA 2028.

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Gordon Brinton:
I am constantly seeking out better quality sound in my live system. I started out many years ago learning how to mix a band mostly on low-budget secondhand equipment all around. However, as the years went by, and I'd gained a little more buying power, I proceeded to upgrade speakers, subs, power amps, mixers, DI's, cables, and who knows what else. Now that I can actually hear the finer nuances in my system, I can see the need for better sounding vocal microphones.

When I worked in a studio, one of the most important lessons I had learned was that vocal mics are a bit like shoes. That is, if you want vocals to sound the most coherent, articulate and natural, you need to find the right fit for the voice. All mics sound a bit different from one another just as all voices sound different. In live mixes, you may not notice much of a difference on crappy speakers, but on a good PA system, those differences become more recognizable. While one mic may make one person sound really good, the same mic may make another singer sound bad. You've got to keep testing out different ones in order to find the perfect match. Once you find THE ONE, you'll know.

I own about 30 handheld stage mics that are all different brands and models. Some of them are cheap junk, some are popular music store recommendations, and some are higher-end $500+ selections. One band I mix for frequently has a female singer with a lush powerful voice similar to Pink or Adel. So far, I've given her Shure SM58, EV N/D767a, Sennheiser e835, Lewitt MTP 550 DM, Heil PR22, Sennheiser e945, and DPA 2028, in that order. Some of them were a bit colored, but each one offered a little more clarity and realism than the one before it with the 2028 coming out on top.

It is very flat and uncolored. In fact it sounds almost dark compared to cheaper mics that have a presence hump built in. Ah, but wait! That becomes an advantage when it comes to vocal compression. You see, I tend to use compression ratios of 4 or 5 and sometimes more with an equal amount of makeup gain. It really adds intelligibility, but with cheaper mics, it causes the immediate need for de-essing as the sibilance becomes overblown. Because this mic lacks that presence boost to begin with, the sibilance is not pushed forward by compression nearly as much. Instead the compression seems to brighten up the mic by just the right amount. Then I simply sculpt the EQ to exactly where I want it, (which, by the way, doesn't take much). Suddenly I am in control of how the singer sounds, instead of the mic being in control. I don't have to spend 5 minutes fiddling with the de-essor and EQ, taming the highs, just to get the mic to sound natural and pleasing.

Because it is a condenser mic, it has fantastic transient response which really makes vocals come to life. It's so clean and expressive that cutting through the mix becomes automatic. It has a dual wind screen and a built-in low roll off which reduces plosives even if the singer is eating the mic. I just can't seem to find anything wrong with this mic at all. I think I might buy a few more and try them on other things.

Dave Garoutte:

--- Quote from: Gordon Brinton on June 23, 2024, 06:55:54 PM ---I am constantly seeking out better quality sound in my live system. I started out many years ago learning how to mix a band mostly on low-budget secondhand equipment all around. However, as the years went by, and I'd gained a little more buying power, I proceeded to upgrade speakers, subs, power amps, mixers, DI's, cables, and who knows what else. Now that I can actually hear the finer nuances in my system, I can see the need for better sounding vocal microphones.

When I worked in a studio, one of the most important lessons I had learned was that vocal mics are a bit like shoes. That is, if you want vocals to sound the most coherent, articulate and natural, you need to find the right fit for the voice. All mics sound a bit different from one another just as all voices sound different. In live mixes, you may not notice much of a difference on crappy speakers, but on a good PA system, those differences become more recognizable. While one mic may make one person sound really good, the same mic may make another singer sound bad. You've got to keep testing out different ones in order to find the perfect match. Once you find THE ONE, you'll know.

I own about 30 handheld stage mics that are all different brands and models. Some of them are cheap junk, some are popular music store recommendations, and some are higher-end $500+ selections. One band I mix for frequently has a female singer with a lush powerful voice similar to Pink or Adel. So far, I've given her Shure SM58, EV N/D767a, Sennheiser e835, Lewitt MTP 550 DM, Heil PR22, Sennheiser e945, and DPA 2028, in that order. Some of them were a bit colored, but each one offered a little more clarity and realism than the one before it with the 2028 coming out on top.

It is very flat and uncolored. In fact it sounds almost dark compared to cheaper mics that have a presence hump built in. Ah, but wait! That becomes an advantage when it comes to vocal compression. You see, I tend to use compression ratios of 4 or 5 and sometimes more with an equal amount of makeup gain. It really adds intelligibility, but with cheaper mics, it causes the immediate need for de-essing as the sibilance becomes overblown. Because this mic lacks that presence boost to begin with, the sibilance is not pushed forward by compression nearly as much. Instead the compression seems to brighten up the mic by just the right amount. Then I simply sculpt the EQ to exactly where I want it, (which, by the way, doesn't take much). Suddenly I am in control of how the singer sounds, instead of the mic being in control. I don't have to spend 5 minutes fiddling with the de-essor and EQ, taming the highs, just to get the mic to sound natural and pleasing.

Because it is a condenser mic, it has fantastic transient response which really makes vocals come to life. It's so clean and expressive that cutting through the mix becomes automatic. It has a dual wind screen and a built-in low roll off which reduces plosives even if the singer is eating the mic. I just can't seem to find anything wrong with this mic at all. I think I might buy a few more and try them on other things.

--- End quote ---

Looove mine.  Only bring it out on special voices.  It works great on accoustic guitar also.

Brian Jojade:
If you have the luxury of working with the same people regularly, trying out different gear is an awesome option.  When you're in a throw and go situation, if you can't make an SM58 sound decent, you're not trying.

Tim McCulloch:

--- Quote from: Brian Jojade on June 23, 2024, 11:09:52 PM ---If you have the luxury of working with the same people regularly, trying out different gear is an awesome option.  When you're in a throw and go situation, if you can't make an SM58 sound decent, you're not trying.

--- End quote ---

^^^ This.

It's why I answer most Lounge posts about mics with "buy SM-58".  There's a great interview of Rolling Stones live mixerperson Dave Natale, on Rick Beato's YooToob channel and he basically says "I'm old, I'm lazy, and I know what works, give me SM57 for guitar amps and snare drum, SM58 for vocals, MD421 form tom toms, and M88 for the kick."  I'd love the luxury of mixing the same act frequently enough to influence vocal mic selection, but like you say, Brian, if one cannot make an SM58 work one should re-evaluate the career/hobby choice.

Gordon Brinton:

--- Quote from: Tim McCulloch on June 29, 2024, 01:03:11 PM ---^^^ This.

It's why I answer most Lounge posts about mics with "buy SM-58".  There's a great interview of Rolling Stones live mixerperson Dave Natale, on Rick Beato's YooToob channel and he basically says "I'm old, I'm lazy, and I know what works, give me SM57 for guitar amps and snare drum, SM58 for vocals, MD421 form tom toms, and M88 for the kick."  I'd love the luxury of mixing the same act frequently enough to influence vocal mic selection, but like you say, Brian, if one cannot make an SM58 work one should re-evaluate the career/hobby choice.

--- End quote ---

But that was not the point of my post. Of course I can make a 58 sound good. However, just like the others, it too has that dreaded presence peak which blows up the ess's when compressed. The 2028 is mostly flat, so it doesn't work against you quite as much. I like that I can EQ it, compress it, and push it around all I want and it still behaves itself.

Just sayin'...

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