DPA 2012

A Pencil Microphone Designed as a "Swiss Army Knife" Within the 2012/2015 Family

The 2012 follows a straightforward approach: to offer a pencil microphone capable of delivering on stage, where mechanical reliability, quick setup, and consistent audio quality are expected. It shares with the 2015 a design based on a pre-polarized condenser microphone, but each model features a 17 mm capsule specially designed to meet distinct needs depending on the application. The 2012, with its cardioid directivity, positions itself as the most versatile option for close miking and spill control.

Who Is the 2012 Ideal For and What Are Its Uses?

The 2012 targets demanding musicians, stage technicians, and sound engineers looking for a compact, efficient, and consistent close microphone from one instrument to another. It is particularly suited for live contexts where the source must remain clear in the mix and where cardioid directivity helps limit bleed from monitors, cymbals, or nearby amps.

Thanks to its natural sound and excellent transient response, it performs well on many sources: snare drum, hi-hat, cymbals, percussion, acoustic guitar, electric guitar amp, bass amp, saxophone, trumpet, and more broadly brass instruments in close miking. It is a relevant choice if you want a coherent sonic signature on stage with a single microphone capable of "following" changing setups.

A Performance-Oriented Design: Precision, Control, and Dynamics

Pre-polarized Condenser Capsule: Fineness and Speed

The 2012 is a pre-polarized condenser microphone. This design emphasizes precision and responsiveness, with the ability to reproduce fine details and attacks (transients) very clearly. The result is a "faster" and more nuanced capture than many dynamic microphones, particularly useful on percussive instruments, plucked strings, and brass where articulation matters.

Excellent Transient Response: Sharp Attacks, Cleaner Mix

On stage, the clarity of a snare, the snap of a hi-hat, or the "pick" of an acoustic guitar often depends on the first milliseconds. The 2012 stands out with excellent transient response, helping to gain definition without over-equalizing. You get a more immediate sensation while maintaining a natural sound.

Uniform Cardioid Directivity: Isolate the Source Without Altering It

The 2012's uniform cardioid directivity facilitates placement in real conditions: you can aim at the useful area of the instrument and better control spill. This directivity consistency helps maintain a stable tonal color when the player moves slightly and contributes to a more predictable sound from one concert to another.

High SPL Handling: Comfortable with Powerful Sources

Between cymbals, amps, and certain percussion, levels can rise quickly. The 2012 is designed for excellent handling of high sound pressure levels (SPL), allowing it to maintain a clean and usable signal even when the source is energetic. It also remains relevant on more delicate sounds, reinforcing its "single microphone" appeal for multiple situations.

Placement: A Reference at 30 cm and Mastery of the Proximity Effect

The 2012 (like the 2015) features a linear frequency response at 30 cm. In practice, this provides a simple reference point to aim for a natural balance between definition and body. As a directional microphone, the proximity effect can boost the low end when you bring the mic very close: an asset to thicken a source or a parameter to manage to avoid overly prominent bass. By adjusting distance and angle, you can switch from a very incisive capture to a more open sound without changing microphones.

Box Contents: Ready for the Stage

The 2012/2015 comes with a clip, a windscreen, and a convenient zippered pouch for storage and transport. In stereo pair configuration, you receive two microphones, two clips, and two windscreens, all stored in a sturdy and lightweight zippered pouch designed to keep up with the pace of performances.

Technical specifications