SZCZECIN, POLAND — The Summer Theater in Szczecin was recently filled with the sweeping sounds of cinema for its “Film Music at the Amfitheater” event, which featured the Szczecin Philharmonic Symphony Orchestra and Choir of the Maritime University of Szczecin in an orchestral performance of well-known movie music. Set against the backdrop of Kasprowicz Park, the concert hosted thousands of attendees to an immersive experience, thanks to a world-class audio system led by Chief Engineer Adam Zawadzki. With more than two decades in live sound and broadcast engineering, Zawadzki brought a signature blend of precision and artistry to the production, with high-performance gear. At the core of Zawadzki’s setup is his robust DPA Microphones arsenal.
A longtime champion of the brand, Zawadzki selected over 70 DPA mics to capture the dynamic range and nuanced character of the ensemble — ensuring every note was delivered with cinematic clarity. “I used twenty-four 4011 Cardioids with finger mounts and active stands, over thirty 4099 CORE Instrument Mic models, a dozen 2011C Twin Diaphragm Cardioids, several 2015 Wide Cardioids and two d:facto™ handhelds with 4018V capsules,” he says. “That combination gave me the versatility and accuracy I needed for a production of this scale.”
When miking strings, Zawadzki typically uses 4099s for close capture and places 4011s on each music stand to create a broader stereo image. “I route both signals to separate VCAs so I have more control over dynamics and transients,” he says. For woodwinds, he uses DPA pencil mics, while brass sections benefit from larger diaphragm models.”
During the concert at the Summer Theater, Zawadzki also had the opportunity to test DPA’s new 2015 Wide Cardioid Microphones on the rear-positioned choir. “They performed beautifully — clear, focused and remarkably resistant to bleed from the orchestra despite their wider pickup pattern.” He used the d:facto for the soloists. “I have the V version, which has a slight treble boost, but it’s never aggressive. I can dial that out when needed, especially with bright-tuned sound systems. For me, it’s all about preserving the natural timbre of the orchestra.”
Zawadzki’s philosophy around orchestral mixing is one of restraint. “I don’t try to fight microphone bleed. In fact, I welcome it. Bleed contributes to the natural cohesion of an orchestra’s sound. Trying to isolate every source just creates phase problems.” Instead of aggressively processing individual channels, he focuses on accurate mic positioning and addresses tonal shaping on group buses. “A great microphone needs to sound good both on-axis and off-axis. That’s where DPA stands apart — their off-axis response is just as detailed and musical.”
The engineer’s relationship with DPA dates back to his days with FOTIS SOUND, one of Poland’s largest rental audio providers. “We covered an event with a full orchestra, and I was struck by how much better the 4099s performed compared to the goosenecks I had at the Philharmonic,” recalls Zawadzki. “DPA just sounds more natural, more detailed. At the end of the year, I bought six with some leftover budget — and that’s how it all began.”
Today, Szczecin Philharmonic’s DPA collection includes thirty-six 4099s on goosenecks, twenty 4011 cardioids on active floor stands with a range of MMP-A and MMP-C preamps, five 4006As for surround and Decca Tree configurations and four d:facto handhelds used with a Sennheiser 6000 wireless system. The assortment additionally features three 4097 Micro Shotguns, four 4061 Omnidirection Lavaliers, eight 4288 Headset Microphones and a 4055 Kick Drum Microphone for low-frequency percussion to meet a variety of other needs.
“The 4055 is excellent on the gran casa,” he says. “It handles low-frequency energy with subtlety, capturing both the deep resonance and percussive attack with precision. It’s much more effective than traditional bass drum mics in that role.”
Zawadzki also frequently employs DPA’s MMP-ER/ES preamps with modular active XLR cables in conjunction with GSM4000 gooseneck shockmounts and 4099 instrument holders — a setup that allows him to adapt quickly without sacrificing audio integrity. “What I love most about DPA is the modularity,” he explains. “I can pair any capsule from the 4000 series with an active cable, a gooseneck, a floor stand or a wireless transmitter. That flexibility gives me so much creative freedom on stage.”
Zawadzki began his professional journey in 1997 and has served as Chief Engineer at the Szczecin Philharmonic since 2014, continuing to refine the delicate balance of orchestral sound in both live and recorded environments. Prior to that, Zawadzki was with FOTIS SOUND, where he served in various roles, including front-of-house engineer, system technician, monitor engineer and RF specialist. In early 2025, he has also begun collaborating closely with Clair Global, expanding his reach into international touring and production.
Over the years, Zawadzki has supported large-scale productions such as the Pol’and’Rock Festival, the Opole Festival, Męskie Granie in Żywiec and the Audio River and Sunrise Festival. “In live orchestral sound, you can’t fake emotion. The tools you choose have to deliver not only technical precision but also emotional honesty,” he says. “DPA microphones give me that — a clean, transparent sound that tells the truth. When the music is as beautiful as Szczecin Philharmonic’s, that’s all I can ask of my microphones.”