Reproducing the full emotional and dynamic range of a solo piano on a large-scale sound system presents a unique set of challenges, especially when that performance is as nuanced as Yann Tiersen’s. Known for his emotive, minimalist compositions and genre-blending artistry, his latest tour, titled “Rathlin from a Distance | The Liquid Hour,” unfolds in two distinct chapters: an opening set of a solo piano followed by a second half steeped in modular synthesis and electronics. For Veteran Live Sound Engineer Jamie Harley, whose four‑decade career spans electronic, indie and acoustic music, the challenge was finding a way to blend these two very different sound worlds into a seamless live experience each night. The DPA Microphones’ DPK2015 Piano Stereo Kit became an essential part of that equation.
For the piano-driven portion of the performance, Harley deployed the stereo pair of DPA 2015 Wide Cardioid Microphones, which are included in the miking kit. Known for their natural sound reproduction and controlled off-axis response, the 2015s proved to be a powerful tool in managing the delicate tonal characteristics of Tiersen’s playing style. “Yann plays in a very textural way,” Harley explains. “He’ll hold notes and build layers of tone. If you’re not careful, things can get mid-range-heavy quite quickly. I was really interested to see how the piano kit would handle that, and it worked extremely well.”
The 2015 microphones were positioned inside the piano to capture both clarity and depth, with a focus on maintaining tonal balance across the instrument’s full range. The wide cardioid pickup pattern of the mics allowed Harley to capture the natural resonance of the piano while minimizing unwanted bleed. “Having that directional control is a godsend,” he says. “Especially when you’re working with a very quiet, delicate instrument on a large system. You need microphones that keep everything tight and focused exactly where they need to be.”
