Germano is Dedicated to DPA - ProSoundNetwork.com

Germano is Dedicated to DPA

Germano Studios, located in the heart of Manhattan’s Noho District, caters to the highest end of R&B, pop, rock and hip-hop artists with a two-room facility that offers a selection of DPA Microphones.
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New York, NY (May 20, 2016)—Germano Studios, located in the heart of Manhattan’s Noho District, caters to the highest end of R&B, pop, rock and hip-hop artists with a two-room facility that offers a selection of DPA Microphones.

“DPA is an important company that represents quality when it comes to recording microphones,” says Germano. “After the introduction by Gabriel Antonini, [national sales support/business development manager for DPA Microphones], the wide range of microphones that DPA has to offer was the clear choice for us. We have gained superior sound capture devices that are already aiding our engineers in numerous tracking and overdub sessions.

“The d:vote instrument microphones, the d:dicate 2011s and the d:screet miniature mics were the missing jewels that are now part of our treasure chest of equipment. The use of the DPA mics on piano recordings have been a true sonic revelation. The accuracy and transparency are welcomed by our staff engineers and key clients.”

Germano Studios now has several DPA microphones in its inventory, including the d:dicate 4018 supercardioid microphone capsule, a pair of d:vote instrument microphones, a pair of the d:screet 4060s and 4061 miniature microphones, a pair of the d:dicate 2011C cardioid microphones and the d:screet BLM 4060 boundary layer microphone.

Kenta Yonesaka, co-chief engineer at Germano Studios, has been using the DPA mics since they arrived. “The d:screet 4061 miniature mic has already become my secret weapon. It's an incredible sounding mic with high sensitivity and a smooth, high end boost, but what makes it special is its extreme miniaturization and myriad of accessories that lets you place this mic in unthinkable places.

“My d:screet 4061 mics ended up deep inside the soundboard of the piano almost touching the piano wires. With some abusive compression, I was able to get a raunchy tone that worked great for a particular rock track.”

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