The Hult Center for the Performing Arts in Eugene, OR, which includes a 2,447-seat main hall that presents resident companies that include the Eugene Ballet and Eugene Symphony as well as established touring artists along with a 495-seat hall for up-and-coming acts, is equipped with a range of microphones from DPA for a variety of applications.
Since joined the Hult Center, general manager Jeff Weinkauf has incorporated several DPA models that include 4060 and 4061 miniature omnidirectionals, 6060 subminiature lavaliers and 4099 instrument mics, most recently adding the brand’s 2011 twin diaphragm and new 4055 kick drum mics.
“Durability is absolutely key to our business,” says Weinkauf. “The demanding conditions and daily use can prove difficult for some microphones, but DPA mics stand up to our day-to-day demands. That durability and reliability is extremely important to us. Once we invest in a premium tool, we need it to deliver consistently and DPA mics provide a level of consistency unheard of with other brands.”
He points to the 4055 kick drum mic as filling an important role for the theatre: “The 4055 has not disappointed. We had been using the previous industry kick drum mic; once we introduced the 4055, we could hear an immediate difference. I can put it in a kick drum and hear the natural sound of the instrument―every boom and effect. The audio team reports that they feel like they actually hear the drum now, as opposed to an effect placed on the drum. This is especially rewarding when you have a great instrument, knowing you can hear its natural sound, and not the mic.”
The venue’s six 4099 instrument mics are utilized most prominently on two Steinway grand pianos. “I’ve always liked how transparent, natural and phase coherent DPA mics are,” he says. “After we added the 6060s, we started looking for something to mic our grand pianos. We initially tried the most expensive mics and esoteric solutions from around the world, but nothing ever captured the piano and presented it in a way that felt natural. It was during this process that we came across the 4099s. As soon as we put them on the piano, we knew they were exactly what we were looking for.
“They’re great multi-use microphones that we throw on almost anything, like guitars or violin, but we especially love it for piano. They’re easy to use, very ergonomic and fit in transparently―both visually and sonically. Our sound engineers have even told me that they use far less equalization and processing in general now that we have these mics. The 4099s are consistently true to what you’re miking.”
Weinkauf cits DPA’s sound reproduction capabilities when miking orchestras like the Eugene Symphony, for which he relies on the 2011 twin diaphragm mic for strings. “Because of the 2011’s natural translation, it takes less time and manipulation to get the results we want. Our instruments are more truly represented. Our workflow is ultimately faster, thanks to having the right mic, the correct placement and good gain structure.”
