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Immersive array built around DPA 4041 microphones becomes critical for Alan Meyerson’s orchestral workflow

Recording engineer and mixer Alan Meyerson (“Dune”, “Jedi: Fallen Order”, “Gladiator”) was recently tasked with live recording and later mixing Nico Cartosio’s latest album, for which he turned to DPA Microphones for an immersive, phase-coherent capture.

For this project, Meyerson relied heavily on the DPA 4041 large diaphragm omnidirectional microphones, using them as the foundation of an immersive orchestral array layered directly above a traditional Decca Tree setup. His system combined a classic LCR Decca Tree with outriggers, while the DPA 4041s formed an immersive array designed for maximum phase coherence and imaging accuracy.

“I wanted the DPAs to align with the Decca Tree mics so there wasn’t any time delay if I wanted to use them both”, he says. “That way, I had the ability to blend the two worlds without introducing phase issues.” The immersive array consisted of left, center and right microphones, as well as two side channels, two surround channels and four height microphones, arranged in a square directly above their lower-layer counterparts.

All microphones were omnidirectional, allowing the natural acoustic environment to be captured without coloration or directional artifacts. “DPA sent me five matched microphones and that consistency makes an enormous difference”, Meyerson notes.

By reducing reliance on excessive spot microphones, Meyerson found that the orchestra sounded more musically integrated. “When I started taking out a lot of the other mics and replacing them with this array, everything became more cohesive”, he explains. “You still had a picture-perfect image of the room. That’s incredibly hard to get.” The string sections took on what Meyerson describes as a “pillowy, beautiful warmth, while brass remained sharp and detailed, even during powerful passages played at full intensity.” 

According to Meyerson, the DPA system also allowed for creative flexibility during mixing. Small balance adjustments produced “dramatically different spatial impressions”. “With the Decca Tree and the DPAs together, a three dB difference is like two completely different studios”, he says.

The microphones played a central role in the large-scale orchestral album, recorded live without a click track. All musicians performed together in the room, conducted organically, with minimal isolation. “It was all about emoting and freedom”, Meyerson states. “When you hear them play live and then hear it come back through these microphones, it’s an incredible living thing.”

The DPA setup will remain a core part of Meyerson’s workflow moving forward, he adds. He plans to deploy the same immersive array on upcoming projects, including a major orchestral recording at Sony for “Smurfs”, composed by Henry Jackman. “I’ve only used this system to this extent at Abbey Road and here”, he says. “That’s a very high bar.”

(Photo: DPA Microphones)

www.dpamicrophones.com

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