LOS ANGELES― Daniel S. McCoy, a Production Sound Mixer and Sound Consultant for cinema, commercial and live events, has utilized DPA Microphones for over 25 years. In the early days of his career, which began in the music industry, McCoy often deployed the brand’s microphones for acoustic recordings. Since then, his career has evolved into television and film production, for which DPA microphones remain a staple. McCoy recently expanded on his DPA collection with the brand’s new 2061 Miniature Omnidirectional Microphone and AIR1 Universal Miniature Windscreen, which he first used for the 2024 Solvan Naim film “LA Fridge” and the recently released “Captain America: Brave New World.”
Each of McCoy’s projects presents different challenges, which he says DPA mics almost always address. For instance, the 2061 proved especially helpful on the set of “LA Fridge,” for which McCoy managed the sound department. “We had a very small crew, so the actors would often help me by miking themselves,” he explains. “Considering that, the ruggedness and durability of the 2061 were crucial, and its ease of application and miniature size were helpful features for the people who had never miked themselves before.”
McCoy once again relied on the 2061, outfitted with the AIR1 Windscreen, for his work on “Captain America,” along with the brand’s 2017 Shotgun, 4018 Supercardioid and 4097 Micro Shotgun microphones. “All of the mics played together really well,” he says. “I used them in a variety of spaces where they were either exposed to elements or needed to provide extra support for various reasons, from kitchens and cars to small closets, and even in the pool. For the pool scenes, the 2061’s water resistance really served me well. We also faced some brutal wind conditions while shooting, and the AIR1 helped immensely in getting that wind pressure off the mics.”
McCoy also favors DPA’s selection of microphone colors, in addition to how subtle they appear. “The wardrobe department was very appreciative of the four color options and matching cabling,” he explains. “We were able to camouflage the mics in plain sight in a more preferred space on the actors’ superhero suits, which allowed for a much better impulse response and sound pressure level.”
In addition to his new 2061, McCoy often favors the brand’s 2000, 4000 and 6000 Series microphones, which have all been utilized on set for his latest TV and film projects. “I fell in love with DPA microphones because of how accurate, articulate and open they sound,” he says. In particular, the brand’s 6060 played a major role for him early on. “I tested the mic before it was even released and decided to use it for ‘Dinner in America.’ That turned out to be a great choice as the entirety of the movie ended up being recorded with the 6060.”
In conjunction with his DPA microphones, McCoy often deploys a combination of Wisycom and Sound Devices wireless systems. “I like to use Wisycom for communication and RF links to cameras and producers at the Video Village,” he explains. “I typically have the gain forward technology on my front-end, right after the mic, so that I can get all 32 bits coming at my receivers. This creates a perfect digital link without having any noise amplification in the chain, which really complements DPA’s dynamic range and impulse response.”
A third generation Los Angeles native, McCoy landed his first major industry gig at 22 with legendary music producer T Bone Burnett (O’Brother) and later went on to engineer various records with live sound guru Mark Linett. After evolving into TV and film, McCoy worked alongside Peter Guber on AMC’s “Sunday Morning Shoot Out.” His first major feature film as a Production Sound Mixer was “Coffee Date,” a winner of various awards at Breckenridge, Salem and Sedona International Film Festivals, with a production soundtrack that consists of 90% of Mcoy’s original recorded production audio. His accolades include two Daytime Emmy Awards for “Best Live Audio Mix to Tape” for the “Ellen DeGeneres Show,” and a GRAMMY® nomination for his audio engineering work on the “Brian Wilson Presents Smile” album.