DPA Microphones has unveiled a new addition to its microphone line up: the 2028 Vocal Microphone.
Designed for everyone from indie artists to international touring singers, the 2028 mic is ideally suited for live stage performances, broadcast and pro AV applications.
On a live stage, the 2028 delivers the same sonic qualities as DPA’s other solutions. DPA says the 2028 needs no (or very little) EQ to sound just like you are standing next to the singer listening to their performance, while its transparency allows engineers to spend their time shaping the sound experience rather than covering up issues caused by artifacts.
The 2028 has been optimised to provide the same sound as the brand’s flagship handheld mic, the 4018 VL. “We have seen a need for an excellent vocal microphone that has the sonic qualities of our d:facto 4018 Series, but at a lower price-point,” said René Mørch, product manager, DPA Microphones. “At only $700 USD, this mic is an overachiever – it performs significantly better than anything else in its price range.”
The 2028 features a brand-new fixed-position capsule, as well as a specially designed shock-mount and pop filter. It exhibits a supercardioid polar pattern, with the familiar DPA uniform off-axis response. This gives the microphone a very high-gain-before-feedback and makes it easier to handle bleed from other instruments in close proximity, picking up sound in a natural way.
Both the outer grille and the inner pop filter of the 2028 can be detached and rinsed. The 2028 is offered in three variants; a wired XLR with handle and two wireless mic configurations that are compatible with the industry’s most widely used wireless microphone systems. This includes the SL1 adapter, compatible with Shure, Sony and Lectrosonics; and the SE2 adapter, compatible with Sennheiser.
“We’ve designed this mic so that it sounds like the singer isn’t actually using a mic,” added Mørch. “You get the full, natural sound of the artist’s voice, not what the microphone ‘thinks’ the artist sounds like. This gives the sound engineer a lot of freedom to be creative – and instead work on crafting a unique sound for the performance based on a clean, natural vocal track.”