La nostra lista di talenti DPA, artisti, tecnici, locali ed utilizzatori è sempre in crescita. Di seguito alcuni dei performer che hanno scelto DPA come soluzione per le loro esibizioni







Clean Bandit

The d:facto™ Vocal Microphones simply sounded the best. That's why we went with them, and they are working out really well."

Paul Hatt, Monitor Engineer


Celine Dion

Celine is always keen to try new technologies so we were able to get her to try the d:facto vocal mic and she liked it. We were very happy with the natural sound in the room and the new mic gave us a better definition in the low/mid, and a sweeter sound in the high/mid. It was a really good match for Celine, so we added the d:facto to our rotation of vocal microphones for each show."

Francois “Frankie” Desjardins, Sound System Engineer


Enrique Iglesias and Pitbull

Even though they are surrounded by pyrotechnics and flames, our DPA microphones perform flawlessly night after night. I couldn’t imagine using anything else."

Eddie “El Brujo” Caipo, Monitor Engineer



We chose the d:facto™ because we were looking for a microphone that sounded natural and needed less treatment."

Vincent Casamatta, Tour Engineer

Katie Melua

The d:facto™ really captures the rich and beautiful tones of her stunning voice with very little effort on my part."

Bryony October, FOH Engineer


Lukas Graham

We were very happy to give it a try.The difference was immediately apparent – the original d:facto™ was good, but this capsule [Linear d:facto] was much better at handling high-end frequencies and gives us absolutely no issues with feedback."

Frank Grønbæk, FoH Engineer


DPA mics have always been a benchmark for a lot of my studio work and when I had the opportunity to take a larger pack out on the road, I was amazed at just how well the DPA sound also translated to live duties."

Jon Schumann, FOH 


Post Malone

Other microphone manufacturers say that they are studio quality but all you hear with them is crowd noise or a lot of proximity effect because competing capsules pick up way too much ambient sounds."

Joe Hellow, FoH Engineer


Saxophonist Bill Evans

I now use it [4099] on every performance because it replicates my exact acoustic sound in a wireless microphone. The sound on soprano in particular is amazing. It matches the warm and personal sound I prefer on the soprano by miking the body of the horn and not just the bell."

Bill Evans, Sax Player


Snow Patrol

On a snare drum, for example, there’s no proximity effect - you don’t need to boost the highs or dip the mids to make it sit in the mix, he explains. “The d:dicate™ 2011C is completely transparent and the transients are so clean and quick that there is no hint of distortion."

Jamie Hickey, Monitor Engineer


Violinist Jason Yang

I had tried several non-DPA setups in the past, ranging from in-bridge pickups to other clip-on mics and I remember always feeling very closed in – like the sound was in-your-face, with not a lot of dynamic range. With the DPA CORE 4099, the first thing I noticed was the accuracy of the sound. No mic I had previously tried really captured the sounds of my 200-year-old British violin this naturally."

Jason Yang, Violinist




Eurovision Song Contest

The DPA d:facto™ is in my opinion currently the best and most flexible condenser capsule on the market."

Kai Reiss, Audio Engineer


Game of Thrones

DPA lavs are preferred by all location sound crews on Game of Thrones and post production demands them. To me, no other microphone captures an actor’s performance with as much integrity and authenticity as DPA. I believe the mic quality has a direct impact on how much an audience engages with an actor’s performance, which is why I exclusively use DPA for Thrones."

Daniel Crowley, Production Sound Mixer


Mission Impossible Fallout

I have been using DPA mics for some years and for most situations they are my preferred lavalier or body-worn microphone,” Chris Munro explains. “For Fallout (or Mi:6 as we call it) the d:screet™ 4060 Slim Lavaliers were necessary because the film was shot in multiple formats including 35mm film, Digital and Imax. One of the effects of digital 4K and 8K resolution is absolute clarity and focus, even in low-light conditions. This presents a much greater challenge for hiding microphones so the smaller they are the better chance we have of getting them in a good position."

Chris Munro, Production Sound Mixer


Simon Hayes, Production Sound Mixer

 I don’t know how DPA have done it – they must have magicians in their R&D department – because they seem to have shrunk a normal sized microphone into this tiny package without any compromise on sound quality."

Simon Hayes, Sound Mixer


Valerian and the City of a Thousand Planets

 In the end, the audio we recorded with our DPA microphones was fantastic and everyone was impressed, especially the post production team who said the richness and clarity of the sound gave them many more options to play with."

Stéphane Bucher, Sound Engineer




Harry Potter and the Cursed Child Theatre Production

They [6061] are so tiny that they just disappear. With a 4061, if it isn’t well hidden you can definitely see a microphone, especially if you are double miking, but with these you just mistake them for a small mole. They are effectively invisible. The actors prefer wearing them too, because they are less obtrusive."

Gareth Fry, Sound Director




New York Mets Citi Field

We’ve had our d:fine™ 4288s for close to three years now. We like the form-factor of these mics and the inclusion of built-in ear buds. The mics experience the normal amount of wear-and-tear, and we’ve found that they are durable and hold up very nicely, even in wind and light rain. Also, these mics are much better looking than traditional broadcast headsets, and easier to set up than other manufacturers’ microphones. Sound quality has proven to be superior to the previous brands we’ve used, and the mics also mix in the right amount of ambient sound."

Luis Pantoja, Senior Studio Director


Burgtheater, Vienna

In a live environment, the actors are sweating and they don’t pay too much attention to the technical gear they are fitted with,” he explains. “I am delighted to say that our d:screet™ lavalier microphones are very reliable and we depend on them a great deal, especially in the drama theatre where actors often refuse to wear a second microphone. This means that 90% of the time we operate with only one mic per actor, so the mic has to work under almost any conditions."

David Müllner, Chief Sound Engineer



Photographer Günther Raupp

The shotgun was used in situations like the launch of a Ferrari from a standing position, while passing, or following the object car to car—the d:dicate™ 4017 Shotgun mastered every situation."

Günther Raupp, Photographer