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Musical prodigy Mat Mitchell talks about his history of using DPA on a range of exciting projects.

Posted by Karin Cahill

28/11/2018, 16:27

Mat Mitchell, producer, songwriter, musician and audio engineer has a long history of working with iconic artists like Nine Inch Nails, Katy Perry and Tegan and Sara. He’s even played in his own band, Puscifer. Over the past 10 years, Mitchell has relied heavily on DPA Microphones to deliver the clean and crisp sound they’ve come to be known for. It comes as no surprise he was overjoyed when introduced to their CORE amplification technology.

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CORE is a new amplifier technology in DPA’s line of miniature lavalier, headset and instrument microphones. By developing this amplifier, DPA achieved an even crisper sound. It minimizes distortion and increases the dynamic range of its d:screet™, d:fine™ and d:vote™ lines.

Mitchell recalls the memory of working with DPA for the first time in 2007, while working at Lightship 95 Studio on the Thames river. “I was recording drums with Sara Jones (Hot Chip, Bat For Lashes) and we used a pair of DPA d:screet 4061 Miniature Omnidirectional Microphones as room mics, which did a wonderful job capturing the large metallic belly of the ship,” says Mitchell. “Traditionally, I would have gone with a large diaphragm condenser, but found the d:screet 4061’s gave a more ‘real,’ in the room sound to the drums.”

Since his first encounter with DPA Mics 11 years ago, Mitchell’s supply has multiplied, adding the d:vote™ 4099 Instrument Microphone, d:dicate™ 2011A and 2011C Twin Diaphragm Cardioid Microphone, and most recently the d:screet™ CORE 4061 Miniature Microphone.

“With DPA microphones, I feel I’m recording the sound of the instrument and not the way a specific mic captures an instrument,” adds Mitchell. “The sound is very open and organic with lots of air. I like using a lot of room mics when I mix drums and the d:screet CORE 4061 mics sound so open and natural, and add a nice clarity to the drum mix. In addition, I tend to listen to tracks loud and the CORE technology gives me lower distortion and maintains the mics’ warmth and clarity even at high SPLs. If I want the sound of a room, I use my d:screet CORE 4061’s. Their flat response makes me feel like I’m in the room. If I need isolation, I use my d:vote 4099’s, the mics’ off-axis rejection is crazy.”

Another reason Mitchell enjoys using DPA microphones are their EQing benefits. “Prior to using DPA mics, I found myself immediately going to the EQ to build the instruments’ sound,” says Mitchell. “With the DPA’s, I record flat. They make me sound good.”

In addition to the high-quality sound of the company’s mics, Mitchell is also very impressed with DPA’s mounting accessories, adding “I absolutely love all the mounting options that I have with my d:screet CORE 4061 and d:vote 4099 instrument mics. I feel like I’m opening my spy kit when I dig into my DPA mounts. DPA has a mount for everything and the mics are so small they don’t get in the way of the player.”

As Mitchell’s love of DPA continues to expand, he’ll continue to use DPA microphones when and wherever possible. His current works on the first LP The Beta Machine will take advantage of DPA’s mics for the recording of a range of different instruments.

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Topics: DPA Microphones, amplifier, technology

   
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