Italy - Studio and live sound engineer Andrea Pellegrini recently worked with the Peter Erskine Quartet in Italy, delivering quality sound thanks to a selection of microphones from DPA Microphones for 22 live performances.
The engineer deployed a combination of DPA 4099 Instrument Mics on the piano, saxophone, double bass and snare drum, along with 4011 Cardioid Condensers as overhead mics and a 4055 for the kick drum.
The Peter Erskine Quartet, led by drummer Peter Erskine and featuring George Garzone on saxophone, Alan Pasqua on piano and Darek Oles on double bass, delivered unforgettable performances throughout the tour. Pellegrini’s use of DPA microphones played a pivotal role in enhancing the live experience for both the musicians and the audience.
A Florence native, Pellegrini was thrilled to join the quartet in his home country. “Being able to work with such a superstar quartet was an incredible opportunity,” says Pellegrini. “I brought my DPA microphones with me because I know how great they are; using those mics ensured the highest quality sound for each performance, capturing the dynamic range and tonal quality that jazz music demands. The microphones were essential in maintaining the integrity and quality of the sound, allowing for quick and efficient sound checks and setups.”
Pellegrini explains that with a jazz quartet, while the microphone setup might be simple, “jazz music can be very tricky to mic because it’s about dynamics, tone and quality of sound. Jazz music really caters to the audiophiles, so I needed to make sure it was perfect. The tone of DPA’s microphones is what sets them apart. You just place them, turn up the volume and they sound great.”
When it comes to placement, Pellegrini says that DPA played a crucial role in perfecting the sound. “If you pay attention to the original positioning of the microphones – which is a golden rule – you never have to fix or adjust the placement,” he explains. “For this show, we used only three stands. Since this was a jazz quartet, they want to play as close together as possible to be able to hear each other acoustically.
“If you use a lot of mic stands, it becomes too complicated because the instruments get in the way.” To alleviate this, Pellegrini called on the benefits of the 4099 Instrument Mic, which he was able to place on or inside each of the instruments as necessary.
Though each stop along the tour route took place at vastly different venues – indoor jazz clubs and outdoor park squares alike – Pellegrini says his setup at each was the same and that the microphones performed equally well in every location. “After I got my mics hooked up to the system that B&H Italy delivered, the first sound check was maybe 15 minutes at most,” he adds. “I didn’t need to do anything other than put the mics in the correct positions and turn up the volume. There was no EQ or compression, except some reverb on the sax and piano. The group was pleasantly surprised at how fast setup was and how fantastic it all sounded.”
