The Phantom of The Opera sequel is miked from top to bottom with DPA microphones.
“I wanted to take the risk and try something new and powerful that had never been used in theatre before to create a more individual mix.” – Jason Barnes, Sound Designer
The new solution has been designed specifically to take the DPA shotgun mic’s compact size and light weight into consideration
“The frequency and dynamic response are phenomenal, and we had zero RF problems, no dropouts, and no ‘fizzie’ intermod noises.” – Jeremy J. Lee, sound designer
The $200 million-plus EMPAC provides world-class facilities for creative exploration, as well as for research in fields ranging from visualization to immersive environments to large-scale interactive simulations
Kliphuis notes that he has switched to the DPA 4099 because he found he couldn’t rely on the acoustic quality of microphones usually provided by venues