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Vibrafonist Martin Fabricius bruger DPA mikrofoner på The Speed of Why

Martin Fabricius, vibrafonist

During an extremely warm week in July 2010, Chris Lavender and I started recording the album The Speed of Why in my home studio in Copenhagen.

We had been playing at the Copenhagen Jazz Festival and a few other venues leading up to the recording. For all the concerts I used two matched 4006 omnis on my vibraphone, and let me just say that these microphones are larger than life. Clean, big and honest. They picked up every little detail like the yarn of the mallets touching the bars a fraction of a millisecond before actually hitting them, yet never complained when the sound pressure exploded towards the climax of a long improvisation.

Returning to the studio I used a matched set of DPA 4011 cardioids and a 4006 omni as a center microphone. I ran the 4011's through my Elberg MP2 preamp and the 4006 through a Tubetech MP1 A before going into my Fireface 800 sound card. The vibraphone is 1.5 meter in length (about 4.5 feet) so having three microphones on the vibraphone made it possible to hard pan the two 4011's and dedicate the 4006 to the center of the instrument. This way I was able to get a nice stereo spread and a nice centered presence. Placing the microphones close to the Martin Fabricius og Chris Lavender i studiet med mikrofoner fra DPAinstrument is always a bit of a challenge since you don't want to hit them with the mallets, so I always go with the ”better safe than sorry” method, which means to place the microphones a few inches farther away than you would think. This setup took about 5 minutes and we were ready to make music without worrying about sound... whatever I did, what came through the microphones just sounded great.

When it came to overdubbing percussion tracks we experienced the same ease of use. We kept a set of 4006 open, placed them on a stand in front of a chair and filled the room with percussion instruments and then took turns playing whatever came to mind. I have never before experienced such an easy and creative recording session. It was like walking in to a room equipped with the biggest finest ears just listening and recording whatever we came up with. From small high-pitched shakers and wind chimes barely touched to deep ringing drums, cajons and tambourines – we didn't have to fuss trying to get a great sound, it was just there.

Having recorded with the DPA microphones my search for great microphones has ended. I still work on improving my sound, but now I can focus on practicing, writing new music and taking good care of my instrument... all the things I'm best at.


The Speed of Why on YouTube