DPA d:facto 4018VL Linear Supercardioid Vocal Microphone

Product overview

The DPA d:facto 4018VL is a linear supercardioid handheld vocal condenser microphone that brings true studio sound to the live stage and broadcasting studio, with excellent sonic reproduction and perfectly uniform supercardioid directionality.

Engineered especially for vocal performances on stage, the d:facto holds a supercardioid capsule designed to reproduce every nuance of the human voice transparently, consistently and thrillingly, in a cosy club or the largest concert hall. It has high side and rear rejection, with a minimum of 9 dB attenuation to the sides, and an acceptance angle at the front identical to a first-order cardioid at ±60° off-centre: the same work field as a cardioid, with extremely high and uniform side and rear damping.

The 4018VL is extremely linear, engineered for audio engineers who prefer setting their own unique impression on the final sound. The 4018V is the same microphone with a 3 dB soft boost at 12 kHz. Both offer natural sound, high separation from nearby sound sources and SPL handling up to 160 dB, an isolation-optimised supercardioid pattern, a three-step pop-protection grid, very low handling noise and balanced linear phase and frequency response.

The d:facto series is modular: the capsule and the adapter can both be switched. Use it with the sleek d:facto handle with XLR for wired use, or with an adapter for wireless handheld transmitters, with no loss or change in sound quality. As circumstances change, you just switch the adapter, which protects your investment in fantastic sound for years to come. The grid comes in black or nickel.

Key features

• Extraordinarily natural sound
• Perfectly uniform supercardioid directionality
• High separation from nearby sound sources
• Extreme SPL handling, 160 dB peak
• Low handling noise; three-step pop-protection grid
• Extremely linear response
• Sleek design; flexible adapter system for professional wireless systems

Made for

• Live stage vocals, from club to concert hall
• Broadcasting studios and TV sets
• Wired or wireless handheld use
• Engineers who prefer to shape the final sound themselves

In the box

• d:facto 4018VL vocal microphone in the chosen version (wired DPA handle or adapter for wireless, black or nickel grid)

DPA d:facto 4018VL: frequently asked questions

4018V or 4018VL: what is the difference?

Besides the response, the two are identical. The 4018VL is extremely linear; the 4018V is linear with a 3 dB soft boost at 12 kHz, often chosen because it cuts through on a broadcasting set.

Can I use it wired and wireless?

Yes. The B01 version has the wired d:facto handle with XLR. The SL1, WI2, SE2-ew and SE5 versions come with an adapter that fits selected wireless handheld transmitters; ask us which adapter suits your system. You can switch the adapter later without any loss or change in sound quality.

How does it handle stage monitors?

It has high side and rear rejection with at least 9 dB attenuation to the sides and uniform side and rear damping, while the front acceptance angle of ±60° gives the same work field as a cardioid.

Will it handle loud vocals?

Yes. It handles up to 160 dB SPL peak (THD 10 %), and the three-step pop-protection grid and very low handling noise suit energetic singers.

What do the B and N codes mean?

They give the grid colour: B is black, N is nickel.

Where can I buy the DPA d:facto 4018VL in India?

The DPA d:facto 4018VL is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Live lead vocals, wired

Live sound engineers and singers.

Connections

Setup

1. Connect the microphone and switch on P48.
2. Place the wedges outside the front ±60° acceptance angle.
3. Set the gain and mix.

Tip: At least 9 dB attenuation to the sides, uniform side and rear damping.

Workflow 2: Wireless vocals

Performers who move around the stage.

Connections

Setup

1. Choose the adapter that fits your wireless handheld transmitter.
2. Fit the d:facto capsule and grid on the transmitter.
3. Set the level at the receiver and console.

Tip: No loss or change in sound quality when you switch to wireless.

Workflow 3: Broadcast studio

TV and broadcast sound engineers.

Connections

Setup

1. Connect the microphone.
2. Set the gain for the presenter or singer.
3. Shape the sound to taste; the response is extremely linear.

Tip: True studio sound on a broadcasting set.

Workflow 4: Loud, energetic singers

Engineers handling very dynamic voices.

Connections

Setup

1. Allow headroom for the loudest peaks.
2. Let the singer work close to the grid.
3. Mix.

Tip: Handles up to 160 dB SPL; three-step pop protection.

Workflow 5: Changing wireless systems

Rental companies and venues with several wireless systems.

Connections

Setup

1. Unscrew the d:facto head from the current adapter.
2. Fit the adapter for the other wireless transmitter.
3. Carry on with the same sound.

Tip: Switch the adapter, not the whole microphone.

Workflow 6: Busy stage with close instruments

Engineers fighting bleed on crowded stages.

Connections

Setup

1. Aim the microphone at the singer.
2. Use the high separation from nearby sound sources.
3. Balance in the mix.

Tip: Same work field as a cardioid, with high side and rear rejection.