Archive by Megan Clifford
Maple Grove, MN, April 23, 2013 – Kevin Crow, Vice President of Audio Video Electronics announced that their firm has utilized 8 Earthworks ChoirMics™ in the sanctuary of St. Andrews Lutheran Church in Mahtomedi, Minnesota. Mr. Crow says that their firm specializes in acoustics, sound, video & stage lighting systems primarily in the house of worship market, but also works in the hospitality, corporate and education markets. “Earthworks is one of our very top choices for choir microphones in many of our church installations,” states Crow. “Earthworks is one of our strong preferences because they fit a really good niche for us.”
“Along with the customer Brad Nelson, Front of House Engineer for St. Andrews, we chose the Earthworks ChoirMics™ for the St. Andrews Church installation because they have a massive choir,” explains Crow. “Their sanctuary seats over 1200 people. Even though their choir may project well into the room, we still like to mic the choir because it really fills the room. We positioned the ChoirMics on the various sections of the choir (soprano, alto, tenor & bass). In this large sanctuary, the ChoirMics are virtually invisible from the congregation,” says Crow. “Even when photographed with a telephoto lens the ChoirMics are hard to see.”
“The main reason we prefer the Earthworks microphones, is because of their sound quality and gain-before-feedback. The sound quality that we obtain from the Earthworks sound element is just unbelievable,” says Crow. “There is also a giant organ very close to the ChoirMics, which is the largest organ in the state of Minnesota. It is a miracle that we can get as much sound from the choir with the organ and mics placed where they are. It is a real testimony to the exceptional quality of the Earthworks microphones.”
“After this installation was completed, church leaders and members comment on the improvement of the choir sound quality on nearly a weekly basis. These comments are typically: ‘The music sounded good before, but sounds so much better now.’ The improvement in sound quality is due to the use of quality microphones and a quality sound system working together. There are Earthworks ChoirMics into a Midas Legend mixer through an L-Acoustics Kiva/Kilo loudspeaker system. It’s like having all the best ingredients, you only need good music and this church has that for days,” says Crow.
“We end up recommending Earthworks microphones all the time, because they are the only high definition microphones in the industry. In addition they also offer more gain-before-feedback than any other microphones that I have ever seen. We use the Earthworks FlexMic™ podium microphones all the time, which is hand-down the best podium microphone in the world. I would also like to add that St. Andrews church also has an Earthworks PianoMic™, and they really love it.”
Crow concludes, “The use of Earthworks High Definition Microphones™ enables us to design and install very impressive sound installations. Needless to say, we are great fans of Earthworks microphones.”
For information on the Earthworks ChoirMics or other High Definition Microphones please contact Earthworks at 603-654-2433 ext. 114 or by email at email@example.com.
Milford, NH, January 21, 2013 –Earthworks will introduce its first 500 Series module, the 521 ZDT at the 2013 NAMM show this week in Anaheim, CA (Booth 6882).
Based on the ZDT Preamp technology designed by David Blackmer, the 521 ZDT brings the exacting standards of the Zero Distortion Technology preamplifiers to the convenient 500 series format, providing a “wire with gain” option to the 500 series rack.
The solid state ZDT 521 features switchable phantom power, polarity invert, and peak amplitude clip detection, just as in the original 1021 single channel ZDT Preamp. The transformerless output stage of 521 ZDT will easily drive long cable runs without loss of quality, making it ideal for remote recordings. Transparent gain is switchable from 5dB to 60dB in 5dB steps.
The Earthworks mic amp topology provides outstanding common mode rejection, excellent overload margin and an incredibly low noise floor, combined with the ultra wide bandwidth of the ZDT Preamps (1Hz to 200kHz +0.5dB) and distortion of less than 1 part per million (0.0001%). This exceptional level of performance is maintained over an extensive range of impedances applied to the input, making the 521 ZDT suitable for practically any microphone – ribbon, dynamic or condenser.
The 521 ZDT is expected to ship Spring 2013.
Earthworks P30/C on xylophone
Milford, NH, January 10, 2013 – With over 364 million views as of December 2012, Belgian–Australian multi-instrumental musician and singer-songwriter Wally de Backer, known by his stage name Gotye, has likely become somebody that you know with his hit song featuring Kimbra “Somebody That You Used to Know.” In May 2012, Gotye announced a world tour and as they wound the globe, Earthworks microphones came along along for the ride.
Gotye’s FOH engineer Lachlan Carrick was familiar with Earthworks in a studio setting, yet discovered the live sound microphones while touring with Gotye and Kimbra in early 2012. “I’d used Earthworks mics a couple of times in the studio for various things, and was always impressed with the way they came up,” explains Carrick. “Then more recently I was introduced to the new series by a fellow Australian engineer, Angus Davidson, who was mixing Kimbra at the time. The Earthworks mics sounded like they provided excellent transient response, with a natural, full tone. Although the Kimbra sound was very different to what I was going for with Gotye, I could see how the mics could work well for us.”
And work well they did. With 12 Earthworks microphones covering the stage and 1 M30 in the FOH booth for analysis, Carrick quickly found his favorite applications. “The DP30/Cs sound killer on congas and bongos!”
The complete Earthworks setup includes 3 SR40s on hats and overheads on the main drum kit, 4 DP30/C mics on congas, bongos and toys on the percussion kit, 2 P30/C flexible gooseneck instrument mics on various percussion instruments on the frontline specials, and 1 M30 measurement microphone in the FOH booth for analysis. And on Wally’s kit you’ll find 3 DP30/C mics on snare and toms.
As a touring professional who has used his fair share of microphones on stage, Carrick explains how Earthworks microphones differ from other mics he has used. “The Earthworks mics have a great build quality, and seem to be very robust,” says Carrick. “But the biggest difference is the dynamic response. Drums can really sound lively and exciting when the mics fully capture the very start of the hits. They really are quick and detailed.”
Carrick was equally complimentary of Earthworks’ support services, “The experience has been fantastic. Communication has been excellent, and everyone seems to want to help out!”
“I wouldn’t hesitate recommending Earthworks microphones for live concert applications,” concludes Carrick. “They’ve proved themselves to me many times over.”
Milford, NH, December 3, 2012 – At the end of a boom pole on a film set is probably the last place you’d expect to find a microphone designed for close miking toms and snare. Yet thanks to some ingenuity from Production Sound Mixer Mark LeBlanc, that is exactly where you’ll find the Earthworks DP30/C.
So, how did a drum microphone end up as 25 year industry veteran LeBlanc’s microphone of choice on set? After meeting with an Earthworks representative to discuss the challenges faced on movie sets, LeBlanc zeroed in on the DP30/C. “I selected the DP30/C because it would address a possible need to have a mic that could easily be hidden because of its non-standard shape,” LeBlanc explains. “Until that day I never considered using an Earthworks mic because the literature showed it to be a studio mic.”
While shotgun microphones are a more traditional choice for location recording, LeBlanc found the DP30/C provided a number of benefits that made it a clear choice for location recording despite its non-traditional shape. “The DP30/C rejects sound coming from the rear as good as, if not better than, some shotgun mics specifically designed to reject sound,” explains LeBlanc. “It’s extremely low vertical footprint allows me to use it in scenes that otherwise a microphone would not be able to get in.”
“The very first film I used the DP30/C on was a SyFy original movie called MonsterWolf. I was in a large government office building and was having trouble with some of the other mics I had in my kit at the time. I threw the DP30/C on the pole as a last ditch measure and was blown away by the results. Since then, the DP30/C has made an appearance in every movie I’ve mixed since.”
“All interior scenes for the award winning movie Beasts of the Southern Wild were recorded using the DP30/C. Additionally, the horror movie MaskMaker used the DP30/C for all interior and some exterior scenes. We just wrapped up the movie The Outsider staring Craig Fairbrass and James Caan, which features a scene in a large office building that used the DP30/C on an 18 foot boom pole.”
“It’s one of the most natural sounding mics I’ve ever used,” LeBlanc says. “Very little coloration of the sound as presented to the mic. It gives you a very good feel for the room as it was on the day of shooting. The photograph that the DP30/C makes an appearance in for Beasts of the Southern Wild is a perfect example. We were in a remote location, in a very confined set and when you watch that scene, it really draws you into that moment!”
While on set for Beasts of the Southern Wild, the DP30/C’s 150dB SPL handling came in handy. “Being a drum mic, it can handle high decibels, which young actress Quvenzhané Wallis had a lot of. It was the only mic in my kit that did not get overloaded!”
With budget and timeline restrictions, the DP30/C has a hand in saving time and money on set. “The speed at which we can deploy the DP30 in car rigs is certainly a plus,” says LeBlanc. “My boom operator, Matt Champagne, knows exactly where I like them placed and has become quite adept at hiding cables and such. These days, we can generally rig a car for a scene in under 10 minutes.”
LeBlanc shares his final thoughts on the DP30/C’s presence on his film sets. “As a production sound mixer, we strive to capture the highest quality audio possible on set,” concludes LeBlanc. “A vast majority of ADR needed is due to factors beyond my control, planes, trains and dump trucks lumbering by in the middle of the take. What the DP30/C has given me is a tool that is extremely useful in high reflective areas such as large office building where a normal shotgun mic would struggle with the reflections. The DP30/C simply captures the dialog in a very natural way.”
Milford, NH, October 1, 2012 – After a 7 year hiatus, Garbage released their fifth studio album, Not Your Kind of People, in May this year. The band has hit the road in support of the album’s release and is taking the new Earthworks WL40V along for the ride.
Shirley Manson singing into the WL40V
Garbage’s FOH engineer, Brad Divens, is no stranger to Earthworks microphones on tour. “I used the DP25/C and the DP30/C on Don Brewer’s kit during the Bob Seger & The Silver Bullet Band tour last year,” says Divens. “I was so blown away by the microphones that I used them on Stephen Perkins kit while on tour with Jane’s Addiction, also adding a pair of SR25s for overheads.”
After learning about the WL40V Wireless Capsule, Divens reached out to Earthworks to ask about trying the capsule on Garbage’s lead singer, Shirley Manson. “I heard that it was being developed and close to being finished about the time Garbage was starting up rehearsals,” says Divens. “I called Kim Hilton at Earthworks and inquired about trying one out on Shirley. I figured since the drum mics were so amazing that the vocal mic had to be just as impressive.”
As a touring professional who has used his fair share of microphones and wireless capsules on stage, Divens explains the major benefit of using the WL40V that he found. “When Shirley said to me that this was the first time she’s used a microphone that sounded like what she uses in the studio, I knew it was the one.”
“Shirley is a very dynamic singer and the WL40V responds well to her different vocal styles. One song she’ll be very intense and aggressive and the next song very soft and lush. She loves the way this microphone sounds both in her ears and on the live recordings that I’ve done on the road,” explains Divens.
Divens also got to try out the Earthworks SR40V wired vocal microphone at the 98.7 FM & Grammys.com performance in May. “I thought the SR40V sounded incredible,” says Divens. “It required very little EQ. It had clarity, presence and a very rich sonic quality about it. The rejection is very impressive also. When we do these types of performances there are wedges involved and we all know how troublesome that can be at times.”
So, how does the WL40V Wireless Capsule compare to its wired counterpart, the SR40V? “It had the same sonic clarity and presence as the SR40V,” concludes Divens. “A great addition to the Earthworks family of microphones.”
Milford, NH – September 5, 2012 – When it comes to recording piano for jazz ensembles, producer Andy Ross knows a thing or two – after all, he recorded the highly acclaimed Mercury Prize nominated album ‘Golden’ by the Kit Downes Trio and has produced all five albums in the ‘Yamaha New Jazz Sessions’ CD series that has shifted 80,000 copies from the cover of the UK’s best-selling jazz magazine, ‘Jazzwise’, since its inception.
Andy owns Astar Studios, based in Heywood, Lancashire where the live room acoustics are among the very best in the UK and when recording jazz where musicians need to play together and interact, rather than track their performance, one of the biggest challenges that has caused Andy many a sleepless night has been to minimize sound spill from other instruments onto the piano.
Andy explains, “Although we have the facility to hire in any piano to suit a specific project, for recording small jazz ensembles I really like Yamaha’s C3 Grand and it was the piano we used for ‘Golden’. In fact Yamaha pianos are my preferred choice every time. So having the opportunity to record a fantastic piano with some of the most talented pianists in the country it’s important to capture the true sound characteristics of the piano and performer.”
“In the past, despite extensively using screens and baffles, it has been very difficult to bring spill down to an acceptable level and although I have plenty of post-production tools at my disposal, there is ultimately a compromise to settle for. So when I heard about the Earthworks PM40 and read the reviews I wondered if this was the solution I was looking for and instructed my studio manager to locate one. This lead us to the great guys at Unity Audio from whom we hired a PM40 for this year’s Yamaha New Jazz Sessions recordings and boy are we impressed. Set up was simple – no more awkward positioning of mic stands or the need to use the old school trick of covering the piano with a duvet. The Earthworks PM40 with its unique design allows for the piano lid to be closed completely and once shut, the amount of spill was minimal.”
Andy said, “The fantastic tone of the Yamaha C3 Grand was beautifully captured by the PM40, it did everything I could have hoped for and more. Even closing the lid on the piano which can often affect the quality of the sound when recording, did not happen here at all. I just wish I had known about this mic sooner.”
August 27, 2012, Milford, NH ? Earthworks Audio has teamed up with Front End Audio to give away two microphones in August. One winner will receive a QTC30 multi-purpose omni and the other winner will receive the all new WL40V Wireless Capsule.
With a frequency response to 30kHz and excellent impulse response, the multi-purpose Earthworks QTC30 will reproduce sounds with perfectly flawless imaging and true-to-life detail. The microphone’s circuitry is extensively tested and hand selected to match its capsule, delivering the highest levels of clarity, nuance and realism to your sound.
The first ever 40kHz wireless microphone capsule, the Earthworks WL40V will make you rethink the limits of wireless microphones. With its textbook perfect hypercardioid polar pattern and extended flat frequency response, the capsule will grab vocals and reproduce them with amazing openness, clarity and detail.
Front End Audio, one of Earthworks’ premier dealers, will host the giveaway on their website. Enter at: http://www.frontendaudio.com/Articles.asp?ID=362. The contest runs from August 15 – 31, 2012. A complete list of rules can be found on the contest entry page.
Milford, NH – July 26, 2012 – After 14 months of development, the Earthworks WL40V Wireless Vocal Microphone Capsule is now shipping.
The WL40V is a wireless microphone capsule head suitable for use in a variety of live sound applications. The capsule head has a three ring bulls-eye connector and is interchangeable with any of the screw-on-type handheld transmitters that receive a 31.3 mm / pitch 1.0 mm.
Ideal for live performance, stage and broadcast use, the WL40V delivers a detailed and realistic vocal sound that requires little to no EQ. Its textbook perfect hypercardioid polar pattern and extended flat frequency response translate to a natural on- and off-axis performance coupled with benchmark levels of clarity and detail.
MAP pricing for the WL40V is $899.
M23, M30, M30BX, M50
Milford, NH – July 5, 2012 – Earthworks has upgraded its measurement microphones to include electronic calibration files in addition to the accessories previously offered at no additional cost.
With the purchase of any Earthworks measurement microphone beginning on July 1, 2012, customers will receive an electronic calibration file, mic clip, ½ inch calibrator adapter and case. Customers will receive their ECF via email after registering their Measurement Series microphone on the Earthworks website.
Together with the provided sensitivity of your individual microphone, the ECF can be used to calibrate your specific microphone to your measurement software or system.
Hand built, tuned and tested in the Earthworks facility in Milford, NH, the Measurement Series includes models with upper frequency responses of 23kHz, 30kHz and 50kHz. Each microphone’s capsule is hand tested and matched to its circuitry to provide the most accurate responses.
MAP pricing: M23 – $459; M30 – $649; M30BX – $799; M50 – $1299
Milford, NH, June 21, 2012 – Earthworks introduces the newest model in the FlexMic Series, the FMR600 FlexMic, designed for permanent installation in podium applications. With a 23.62 inch total length, the FMR600 is ideal for most podium and house of worship applications.
The FMR600 features a rigid center with flexes at both ends that have no handling noise, allowing seamless and quiet repositioning.
The FMR600 also includes Earthworks’ patented polar technology, which allows orators to move as much as 90 degrees off-axis and still maintain the same pristine sound quality and high intelligibility. It is available in both cardioid and hypercardioid polar patterns.
MAP $559. Shipping July 2, 2012.
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