LONDON ― 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.”
One of the standout advantages of the 2015 mics, according to Harley, is the ability to deliver a clean, balanced signal with minimal need for corrective EQ. “With cheaper microphones, you often hear the mid-range start to get fuzzy or unpleasant, and then you’re reaching for EQ to fix problems the mics are introducing,” he adds. “I didn’t have to do that with the 2015s. There were small adjustments, of course, but nothing drastic. That’s exactly what you want.”
Harley also noted that the microphones provided ample low-end warmth without the need for additional reinforcement tools, such as contact microphones. “We experimented with other solutions for low-end weight, but in the end, I didn’t need them,” he explains. “If you position the microphones correctly and tune the system properly, you get more than enough warmth and power from the piano itself. Most importantly, it doesn’t muddy the mid-range.”
Touring environments demand reliability, and Harley found the DPA DPK2015 kit to be both durable and practical for life on the road. “It’s absolutely rock-solid,” he says. “The kit comes in a great case, and everything is well thought out. It held up brilliantly throughout the tour.” Beyond durability, Harley also praises the microphones’ versatility and design. “They sound fantastic, and the form factor is great,” he adds. “They’re not just for piano—you can use them in all sorts of applications. That flexibility is always valuable.”
With each venue presenting a different piano, acoustic environment and system configuration, consistency is one of the greatest challenges in live sound. For Harley, DPA microphones play a key role in achieving a reliable, natural sound every night. “Every piano is different,” he says. “Some are brighter, others are warmer and still others are more aggressive. Your job is to listen to the source and reproduce it as faithfully as possible through the system you have. DPA makes that job much easier.”
In addition to the 2015 piano kit, Harley has also relied on DPA’s 4099 Instrument Microphones and d:facto™ Vocal Microphones across various projects, further cementing the brand’s role in his workflow. Harley’s confidence in DPA Microphones is rooted in decades of experience with the brand, dating back to its Brüel & Kjær heritage. “I’ve known DPA products since the early days in the studio,” he recalls. “Even back then, they were superb. They’ve always been a sensible company making very high-quality products.”
After his experience on Yann Tierson’s tour, Harley is confident that the DPA DPK2015 Piano Kit will remain a staple in his toolkit. “I had a really lovely time with the 2015s,” he concludes. “They worked absolutely brilliantly, and I’d take them out again without hesitation.”