During production, TimbreMusic tonemeister Mikkel Nymand, recording engineer on the project, relied on DPA Microphones' d:dicate 4015S Wide Cardioid and 4006A Omnidirectional Microphones to accommodate the unique audio requirements at Fisher Hall in Lincoln Center and to achieve a natural quality of the live ensemble.
As one of the most famous concert venues for classic performers, Fisher Hall has a history of presenting audio challenges for symphonic music, namely diffusions that fall short of producing a rich natural sound and an imperfect early reflection pattern. To account for this, Nymand tested the acoustics of the venue during pre-production to locate the best placement of microphone solutions. A longtime DPA Microphones user, Nymand knew that a combination of the d:dicate 4015A and 4006A mics would help alleviate these issues and provide the most natural sound.
"DPA mics have clarity, dynamics and the ability to re-produce original transparent sound, which are all qualities for which DPA stands," shares Nymand, who is also a product manager for the Danish manufacturer. "I was forced to listen to different types of microphones during my education as an audio engineer, but I always come back to DPA Microphones. The natural element is most important to me. Once you have listened to the dynamics of a real orchestra, you can tell right away when the sound is not naturally produced. You know that pristine sound character is different for each instrument, so every time I want to be as close to the original sound source as possible, I return to the d:dicate 4006A Omnidirectional Microphone."
To achieve a live surround sound reproduction with the utmost natural clarity, Nymand relied on the DPA Microphones S5 Surround mount. The S5 provides flexibility for distance placement and angling options for the mics while remaining hardly visible in a concert hall setting, allowing Nymand to surround mount three d:dicate 4006A microphones from the ceiling above the orchestra
Additionally, to capture the ambient sound, he positioned two wide cardioid d:dicate 4015A mics toward the audience. Additional microphones were spaced out on the stage to produce an optimal audio balance.
(Jim Evans)
