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Archive for January 11th, 2013

Diablo FX Launches The First Wireless Guitar FX Control Pedal

First wireless pedal management system

Sound Control 6 is the first high fidelity, versatile
pedal management system allowing any combination of effects pedals

(Anaheim, CA, NAMM Show 2013, booth 1474 Hall E– January 2012) – Diablo FX, a new player in the guitar market, introduces a truly innovative solution for effects pedal players: Sound Control 6. The Sound Control system is the first wireless all-in-one effects pedal management system which enables guitar players to turn on and off multiple analog or digital effects in one stomp. Sound Control 6 is unique because of its wireless design, which means no cords and power strips at the front of the stage or in the way at practice.

Convenience
Everyone who uses pedals when performing experiences the same dilemma: set-up and break-down takes forever, power cords clutter up the stage and the performers had better be very practiced and skilled to stomp on the right pedal, or combination of pedals, at the right time. Joseph Lockyer, co-founder of Diablo FX, was no stranger to these challenges, and, playing more and bigger gigs, he really needed a simpler solution. At that point, he and Rick Schwab invented a new wireless pedal, the first of its kind: Sound Control 6, introduced to the world for the first time at NAMM 2013.

“I will never go back to pushing pedals again, because Sound Control 6 makes everything so easy. My set-up takes me about seven minutes now: take out my amps, plug in, take out my wireless pedal and put it on stage, and I’ll go have a beer while the rest of the guys are still setting up,” Lockyer says with a grin and adds “At the end of the night, I pick up my pedal, throw it in the bag, close my box up and I’m done.”

Control up to 6 pedals with one button
Not only is set-up easy, playing with Sound Control 6 makes your performance simpler and better. It is hard to turn a number of pedals on and off at the same time, within half a second. Even the most practiced players easily miss pedals again and again. Sound Control 6 can be placed anywhere on stage and it allows to control up to six effects pedals or effects loops. Simply select the pedals you want to be “on” for up to four different channels. Now, you can turn on or off up to six pedals on each channel with one button push. Listening to all the changes that happen with just one button click is amazing: turning on the EQ, adding analog delay, a little reverb – players appreciate the huge benefit to be able to do all those things without having to perform the usual “tap dance”.

High fidelity
When a pedal is not in use, Sound Control 6 bypasses it altogether. When using stomp boxes, the audio signal is degraded travelling through various pedals in line, regardless whether they are turned on or off. With Sound Control 6, however, a pedal that is not in use, will be physically bypassed, so the audio signal is not going through that pedal at all. This allows for minimal signal disruption. Another factor is the length of cable run across the stage. With regular stomp boxes, the signal has to travel through 75 feet of cord or more. Sound Control 6 only requires a couple of feet of cable to be connected, further decreasing loss of fidelity.

Versatility
Sound Control 6 allows for great versatility. “You can use it for up to six effects on each of the four channels, or as an amp switching device or use it as an effects loop for a digital processor. You can do so many things with it, it’s crazy” says Lockyer.

Pricing & Availability:
Sound Control 6 MSRP $599.00 – available at www.DiabloFX.com

About Diablo FX
Diablo FX was founded by Joseph Lockyer, Rick Schwab, Nick Linder and Matt Robinson – combining accomplished musicality, engineering, and business experience. The company’s motto is “controlling analog sound digitally”. Diablo FX is developing several follow-up products according to the same guiding principle. Sound Control 6 is 100% made in the USA.

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DPA Microphones Go On Tour With Rick Wakeman

 

DPA Microphones were present in abundance at the Gran Rex Theatre in Buenos Aires when world-renowned keyboardist and composer Rick Wakeman played two concerts featuring his best-selling albums Journey to the Centre of the Earth and The Six Wives of Henry VIII.

The concerts were the culmination of a South American tour that also included six band-only shows in Brazil, Chile and Argentina. The final two sell-out concerts in Buenos Aires involved two different full orchestral shows, complete with a five-piece rock band, a choir, narration and solo singers.

Front of House sound engineer and co-production manager Ian Barfoot, who has worked with Rich Wakeman on numerous occasions since 1985, was given the task of specifying the audio equipment for the tour.

“The two orchestral concerts in Buenos Aires involved more than 90 channels, of which more a third used DPA microphones,” Ian Barfoot says. “Although some of the equipment I wanted was not available in South America, I did insist on DPA microphones, especially for the orchestra. I used DPA IMK4060 Instrument Microphones for the harp and all the high strings such as violas and violins, while for the cello and bass we used DPA d:vote™ 4099 Instrument Microphones. We needed so many – over 30 in total – that we couldn’t source them all locally and had to ship the majority of them with us from the UK.”

For this tour, Barfoot and his co-production manager Erik Jordan also specified DPA’s d:facto™ Vocal Microphone, which was used by the two main vocalists Ashley Holt and Cecilia Barba.

“The DPA d:facto Vocal Microphones were supplied by DPA’s UK distributor Sound Network, who I often work with and always get great service from,” Barfoot says. “The d:factos were simply great and didn’t give us a moment’s trouble. They are very honest microphones and, to my ears, quite uncoloured. They don’t suffer from proximity effect and they coped just as well with the restrained orchestral shows as they did with the full-on band shows, which were very old school Rock and Roll. Once the monitor engineers got used to them, they were more than happy to use them in stage wedges. During the last two orchestral shows the delicate and highly accurate nature of the microphones could be fully appreciated by the singerds and the band as, to assist me, they switched to In Ear Monitoring to keep the stage levels down to a minimum.”

Barfoot adds that Rick Wakeman’s long-time vocalist Ashley Holt was especially pleased with the DPA d:facto’s performance.

“He was a little reluctant to use one at first because it was ‘different’ and not what he was ‘used to’, but after a couple of rehearsals he became a firm fan and I think he was hoping that Santa Claus would deliver one to him on Christmas morning.”

As a firm fan of DPA microphones, Ian Barfoot says he always insists on having a good selection available for every show he does because they consistently deliver a great sound and are also incredibly durable, especially on tour.

“In an ideal world I would have liked a few DPA 2011 twin diaphragm cardioid microphones to scatter around these orchestral shows, but as I couldn’t source them locally we managed with what we had,” he says. “Making sure the strings are properly covered is always my main concern with orchestral shows, but as we were using DPA IMK 4060s on those I knew I wouldn’t have any problems.”

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

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Recording The Unique Film Sound Of Les Miserables with DPA Microphones

 

 

 

DPA Microphones played an integral part in recording the audio for the film version of the hit musical Les Miserables, which features an all-star cast including Hugh Jackman, Russell Crowe, Anne Hathaway, Samantha Barks and Sacha Baron Cohen.

Nominated for nine BAFTA Awards, including one for Sound, Les Miserables used an innovative technique that involved recording vocals live on set with the cast singing to a live piano accompaniment played to them through earpieces.  The orchestra was recorded later in post-production, with the musicians taking their lead from the performances of the cast.

This break with tradition enabled the director Tom Hooper to create a truly emotive experience for audiences watching the film. Production Sound Mixer Simon Hayes, who was responsible for capturing the film’s entire audio content, says it was a truly unique way of working and one that would not have been possible without exceptional microphones, in particular DPA 4071 lavalier microphones.

”When judging different lavaliers I had always considered the differences in sound between various brands of lavalier to be a matter of taste rather than a clear cut situation of one brand being superior,” Hayes says. ”That was until I listened to a DPA up against the competition. In my opinion the DPA is better, more open sounding, less chesty and sounds more like a boom mic than any other lavaliers I have heard.”

Hayes had 50 DPA 4071 lavalier microphones at his disposal during the filming of Les Miserables, all of which were supplied by Richmond Films in conjunction with DPA’s UK distributor Sound Network.

“Normally when I am recording a film I prioritise boom mics, especially if the scene is being shot with a single camera. But with Les Miserables, Tom wanted all the angles covered from all sides to capture the perfect performance. This meant we couldn’t rely so heavily on the booms because the wider angle coverage would stop them getting close enough. Our solution was to come at the recording from a different angle and make lavalier microphones our priority.”

Abbey Road engineers checked the sound quality of the DPA 4071 lavaliers to make sure they were the best choice for vocals. Hayes says they were impressed with the results.

“We tested various models and found the DPAs were clearly the best. In fact nothing else came close. The sound quality, frequency response and dynamic range were easily good enough to master and they were able to handle very high SPL levels from vocals without sounding harsh as they approach their maximum SPL. I have never heard a vocal make them square off, yet such is their dynamic range and sensitivity that they can faithfully reproduce even the smallest ‘breathed’ vocal.”

With Abbey Road happy with his choice of lavalier, Simon Hayes’ next task was finding a way of using them that gave the best sound but still allowed them to remain invisible to audiences.

“We collaborated with the costume designers to conceal cables within the clothes and to disguise microphones that were positioned on the outside of the costumes,” he says. “DPA’s mini concealers allowed us to mount them perfectly so they were virtually undetectable. This solved the problem of clothing rustle and, on the rare occasions when they were in shot, we were able to paint them out afterward using post production techniques.”

Le Miserables took 15 weeks to shoot and an additional seven weeks were spent rehearsing with all the actors miked up so that the audio could be sent to Abbey Road for feedback. Simon Hayes says he is delighted with the sound and believes what was achieved wouldn’t have been possible without the DPA lavaliers.

“They are the only lavaliers that could cope with what we were trying to do,” he says. “Apart from their exceptional audio quality and dynamic range, they were also incredibly durable and gave us no problems, not even when we got them soaking wet during the scenes we shot in the rain. We simply swapped them around and dried them out with a hair drier before using them for the next take.

“Normally I record dialogue, not music, so this was a very different kind of project for me, but I absolutely loved it. Lots of people thought what we did wouldn’t be possible, but we pulled it off and I am very proud of what we achieved.”

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

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