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SSL Live for Oprah’s ‘The Life You Want’ Weekend 2014

“The clarity and the ‘air’ on the top end are remarkable.”

BRENTWOOD, TN – Oprah Winfrey has taken ‘The Life You Want Weekend’, a high-profile two-night self-help show on the road for eight weekends this fall. Along for the ride is CTS Audio, who is providing sound for the tour including a SSL Live. L500 console at the mix position, operated by CTS veteran front of house engineer Jon Schwarz.

Jon Schwarz with SSL Live. L500This two-night event starts the first night with Winfrey offering the inspirational story of her life’s journey. She speaks about identifying life’s purpose and leads exercises on taking action to reach goals. The second night, Oprah introduces motivational speakers from her network, who each give their own monologues in turn. “Eat, Pray, Love” author Elizabeth Gilbert, pastor Rob Bell and OWN TV personality Iyanla Vanzant are joined in some cities by alternative-medicine guru Deepak Chopra as well as DJ performances.

‘The Life You Want’ employs two stages; a traditional endplay arena stage with a multi-tiered set, multiple video and a stereo line-array music and playback system and a small B stage in the arena’s center, where monologues are delivered via a second, separate ‘in the round’ system. With the majority of the audio originating from the speakers and DJ performances, input count is small, under 30 channels, but when combined with the other performances elements, the show became a real undertaking. “They [the Oprah Tour] have a lot of video content,” explains CTS Vice President Mike Taylor. “It’s a very complicated show in terms of video cueing and audio because of all of the sources.”

The real challenge for this tour was generating a high-quality audio feed to ensure that all inspirational messages were heard both in the venue and for future TV Broadcasts and DVD’s. “Most, if not all of the show, is being recorded for TV, so we wanted to pass along the highest quality audio,” adds Schwarz. “They’re just taking analogue audio output back to the video world but they’ve noted how clean and warm it sounds and the dynamic range is fantastic.”
Though this was Schwarz’s first major tour where he was working with the L500, he had a chance to experience the dramatic difference in sound quality at a few previous CTS events and knew it would be an asset to this minimalist production. “The very first time I heard SSL Live, we had a show in a stadium and there was a moment with a person singing and playing the acoustic guitar,” Schwarz says. “I’ve done plenty of shows in stadiums with many different consoles and the very first thing I noticed with this one, was the clarity and the top end ‘air’ on it. I’ve never heard that, especially in a space that large with that much reverb time in the room. The clarity and the ‘air’ on the top end are remarkable.”

Schwarz points out that the L500’s input list can be organized by operator workflow and how banks of faders are programmed, which ended up being an asset for each show’s varying programs. The console has two lower 12-fader banks, or ‘tiles’ in the left and center positions, plus a third, 12-fader tile on the upper left of the console. “On most consoles, the sequence of inputs dictates workflow,” he explains. “With SSL Live, input list order just doesn’t matter as much. The concept of layers and banks is very cool; the first night’s show varies from the second night’s show, so I layer my banks based on what I need on the surface for each day. I also lay out what I need for different parts of each show in other layers on the center tile.”

Due to the setup of the event, redundancy becomes a key factor. “Because the format is predominantly one input, one person, I can’t have enough redundancy and back-ups,” he explains. “To accomplish this, several hardwired emergency microphones are placed at different stage locations, as well as a few others that are all controlled from a layer on the top left tile. I also have my master faders for the music PA and the vocal PA on the top left with the emergency mics due to the dual system design.”

Console operators of corporate-style events, such as Oprah’s, must man their consoles for much longer periods of time than with typical concerts. The design and layout of the SSL Live helps Schwarz to handle his job without fatigue. “On Saturday I sit behind the console for close to 10 hours straight,” he says. “With the SSL Live, operators can sit in one place without having to move around a lot. Having everything within arm’s reach is a huge convenience.”
He also mentions the Focus Channel section on the L500′s right side as being an asset during the tour. “At first I used the main, central touch screen a lot, but over time I find I touch the Focus Fader and Channel Control Tile more and the main screen less,” he says. “Grabbing hotkeys and using its small screen is fast and accurate and there’s a lot of information there. When I have to ride gain or EQ, based on what’s happening on the show with something really dynamic, I use it a lot.”

Schwarz also points out that the sound of the console allows him to mix differently than on another console. “Between the preamps and EQs, it reacts differently than other consoles I’ve used, so I can lean on them more than I would with others,” he says. “I’ve also found that the EQ is so musical, I’m able to do things that I’ve never been able to do with other consoles and the results are exciting. I had someone speaking, and the way that I could shelf one side and boost the other allowed me to cut the sibilance out and add air on the back side, which was something I hadn’t experienced on other consoles.”

“It’s just so transparent, it really is,” says Taylor about the sound quality of Live. “Whether hearing an acoustic guitar and vocal or a full band for an event in a stadium with 30,000 people was stunning. We’ve also done a worship conference with 12,000 attendees and the sound was just incredible for just a vocal and a piano. Then to take it on a TV shoot of an awards show with full bands and hear what it could do was a testament of the flexibility and consistency of this console. The console is just so clear.”

www.ctsaudio.com

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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The Dalai Lama Presents 2014 Kalachakra Prayer with DPA Microphones

Reynolds Sound & Lighting Services relied on the company’s d:fine™ Dual-Ear Cardioid Headset Microphone for the 10-day Buddhist ceremony

DPA Microphones_Dalai Lama Crowd

LEH, LADAKH, INDIA, OCTOBER 15, 2014 – Earlier this year, His Holiness the Dalai Lama hosted Kalachakra, a religious event that takes place at various locations around the world every few years. With a now 79-year-old religious figure at the helm for the nearly two-week long Kalachakra 2014 prayer meeting, high importance was placed on finding a microphone that would project his voice to the nearly 200,000 followers who attended. The solution was found in DPA Microphones’ d:fine™ Dual-Ear Cardioid Headset Microphone, which was supplied from the company’s U.S. office. The microphone was such a success that it is now the preferred microphone for His Holiness for all of his speaking engagements.

33rd Kalackakra by His Holiness the 14. Dalai Lama, Ladakh, J&K, India,  July 2014. Photo by Manuel Bauer 2014. This picture is Copyrightprotected and only for use by the Private Office of His Holiness the Dalai Lama and internal use by the Organising Committee for use in direct connection with the 33rd Kalachakra.As the sound company of choice for the Dalai Lama, Reynolds Sound & Lighting Services supported this year’s prayer ceremony, which was held in Ladakh, up in the Himalayas, 16,000 feet above sea level. In addition to braving the treacherous travel to the location, the audio team from Reynolds was also faced with properly miking a person who would be speaking for long periods of time and whom they themselves could not physically contact.

“One of the biggest challenges for us was that the Dalai Lama would speak for about five hours every day, so we needed a high quality microphone that would provide excellent gain before feedback, excellent off axis rejection and low noise floor,” explains Felix Remedios, owner of Reynolds Sound & Lighting Services. “This event focuses on His Holiness speaking to a crowd of 100 to 200 thousand people over a period of 10 to 12 days. This would be stressful on anyone’s voice, and required the assurance of long term comfort and the ability to maintain critical placement. The DPA d:fine made it possible for us to ensure that his voice was loud and clear, and that all of the attendees could hear every word he spoke.”

33rd Kalackakra by His Holiness the 14. Dalai Lama, Ladakh, J&K,The Kalachakra 2014 event was held in a field equivalent to the length of four soccer fields, with the audience almost a kilometer away from the stage. “We had to be really careful to ensure that his voice was heard across the whole venue,” explains Remedios. “In addition to needing perfect reliability, given only one mic for a large audience, there was a high level of stage monitoring requirements for the surrounding Monks. I had contacted my friend and colleague Ron [Lorman] in New York, and explained that I was unsure that my previous mics would have the amount of gain that I needed. We additionally discussed the unique monitor needs for this event, as it was mandatory that the source element provided a flat response with substantial rear rejection. Ron recommended the d:fine products and he put me in touch with the company during a visit to the U.S.DPA Inc. supplied me with four mics to try out, which I brought back to India. My team was extremely happy with the quality.”

Once the mics traveled up into the Himalayas, Reynolds’ audio team, led by Sound Engineer Suresh J, were able to put them to the test for the first time. “We chose to use the cardioid version of the mic for the Kalachakra,” adds Remedios. “We had never used DPA mics before, but one of the first things we noticed was that there was no coloration in the signal. His Holiness’ voice sounded extremely natural and transparent, and we were able to get the gain levels we wanted. The DPA d:fine is certainly a big quantum leap from what we are used to, both in signal levels from the mic and overall quality of the design.”

DPA Microphones_dfine_Dalai Lama3In addition to the location of the prayer meeting, the overall setup of the stage and personal preferences of His Holiness also provided a unique set of challenges. The Dalai Lama sits on a high throne, surrounded by several senior monks both in front of and to each side of him. “Since we have worked with him for several years, we know that the microphone must always be placed beside him on stage so he or a member of his team can put it on him,” continues Remedios. “In order for a mic to get the perfect amount of gain it must sit exactly in the correct position. Luckily, the DPA d:fine is designed in a manner that even an untrained person can affix the mic. The Dalai Lama’s media team representative, Jigme Tsering, was able to fit it onto His Holiness each day. It worked out so well that on the last day the Dalai Lama put the microphone on himself and was very pleased.”

His Holiness wasn’t the only one impressed by the DPA d:fine Headset Microphones. “The Dalai Lama’s media team was so pleased with the quality of the microphone that they asked to keep it for his smaller prayer meetings,” concludes Remedios. “Of course we obliged and gifted them one. We also decided to follow suit. As one of the largest audio rental companies in the country, we work with the biggest corporate houses for several important, large-scale events. We plan to use DPA on all of them. It is definitely going to be our microphone of choice moving forward.”

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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Avicii Burns Up the Stage at Creamfields 2014 with SSL Live

“We A/B’d the SSL Live against another digital console and the results blew my mind”

DARESBURY, ENGLAND – Since its modest beginnings in 1998, the Creamfields dance festival has grown to become one of the largest electronic music events in the world. Creamfields 2014 featured multiple stages catering to crowds of EDM fans, which exceeded 60,000 daily. Swedish DJ, remix artist and producer Avicii headlined the South Stage at the peak of Creamfields 2014, while his FOH engineer, Wayne “Rabbit” Sargeant, ran the show using an SSL Live.L500 console. The main North and South Stages both featured large-scale PA systems, supplied by Britannia Row Productions, Ltd., with SSL Live consoles at front of house that kept fans raving for the three-day-long end-of-summer party.

SSL Live @ Creamfields 2014“Avicii has a simple setup, with Pioneer CDJ-2000NXS players feeding a DJM-900NXS DJ mixer,” explains Sargeant. “Unlike other engineers, I’d rather keep everything in the digital domain and avoid doing unnecessary A/D and D/A conversions, so I use the SPDIF digital output of the DJM and convert it to the AES digital format (which is accepted by most PA systems). The XLR analog outputs on the mixer have limited headroom so when a DJ hits them hard the outputs will distort. Using an SSL Live digital stagebox employed with the console gave me the exact capability that I needed, with an AES digital input to accept the mixer’s output at the stage. Patching the digital signal into the L500 gave me plenty of headroom on the output of the mixer and a cleaner signal path. I’ve found that in large venues where the bottom end is hard to control I’ll get a much tighter bottom at a 96 kHz sample rate, which of course is what I get with the SSL Live.”

Since Avicii does not have a set list and is always performing off the cuff, Sargeant describes his FOH duties akin to on-the-fly, live mastering. “Obviously, there’s a big industry for mastering and what I am really doing during the show is tuning the system and mastering the tracks that Avicii is sending to me,” he explains. “I used the L500 onboard multiband compression and dynamic EQ to enhance the tracks, make them sound consistent, and fine-tune the bass for the venue. I’m also using the Waves MAXX BCL processors as an AES insert to the console, and this is the best I’ve heard it. For EQ, I’m mainly using L500’s dynamic EQ, adjusting it to suit the different types of tracks. If it’s a techno track, you need a driving high-mid to keep the snare going. Some of the vocal tracks tend to be harsher, so I need to compress them and I find that the dynamic EQ works better for that application because it’s more subtle than just tweaking the parametric EQ. When mixing on other consoles, I generally find some of the high frequencies to be quite harsh. I’d have to EQ that out, but the SSL Live has this warmth and depth of the solid lo-mid response that balances the high frequencies so I did not have to do that.”

Added to the unique requirements of an Avicii performance is the fact that the DJ does not use standard instruments for his performances. As such, Sargeant has had to develop an engineering style unlike that of a traditional FOH engineer. “I constantly have to adjust the EQ on the left and right signal path as you would do when you’re in a mastering suite, which makes sense because a lot of Avicci’s tracks have varying degrees of mastering,” adds Sargeant. “He also had 11 new songs in the set that haven’t yet been mastered, so I used a lot of those mastering techniques to make the levels correspond with his other tracks.”

Given Sargeant did not have a lot of time to become accustomed to the L500, he said it was most helpful to have the dynamic EQ on the large screen and the standard parametric EQ on the Channel Control Tile. “That setup allowed me to do two things at one time that would normally be done separately on an analogue surface,” he says. “The interesting thing about the SSL is that there’s many different ways of working, so when you’re in the heat of the action you can keep it simple and straightforward. I was able to use the physical knobs and the touch screen controls for quick access to the EQ parameters.”

As Creamfields was Sargeant’s first experience using the SSL Live, he didn’t have time to do a full sound check, which is often the case with multi-act festivals. “Thankfully, I had an opportunity to A/B the L500 against another popular digital desk before Avicii’s performance and the results blew my mind,” he continues. “I thought to myself ‘I have just got to use the SSL. It’s the best sounding desk I’ve heard in years.’ It was like listening to a high-quality, 180-gram vinyl pressing being played on a beautiful Linn Sondek turntable, then amplified with amazing speakers. The sound was so analogue through the SSL, with creamy, thick low-mids and warmth. I think that part of the spectrum has largely been ignored in the digital desks, but through the SSL it was thick, warm and huge. I started in 1987, so I went through the analogue period. Then suddenly it turned around and we ended up with digital consoles that have not been particularly impressive. The SSL Live has picked up live audio after the market was sort of dormant for years. It’s an exciting prospect for live sound.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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Masque Sound Custom Audio Equipment Package Shines Light on the Steve Martin and Edie Brickell New Musical, Bright Star

SAN DIEGO, CA, OCTOBER 14, 2014 – When Sound Designer Nevin Steinberg was in search of a stellar sound system for Steve Martin and Edie Brickell’s world premiere American musical, Bright Star, he turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a dynamic custom audio equipment package.The cast of the world premiere of Bright Star. Photo by Joan Marcus.

Playing at the San Diego Old Globe Theatre and inspired by Martin and Brickell’s Grammy® Award-winning collaboration Love Has Come For You, Bright Star features 20 new songs and tells a beguiling tale that unfolds in the Blue Ridge Mountains of North Carolina between 1923 and 1945. Billy Cane, a young soldier who just returned from World War II, meets Alice Murphy, the brilliant editor of a southern literary journal. Together, they discover a powerful secret that alters their lives. Tony Award®-winning director Walter Bobbie makes his Old Globe Theatre debut with this entertaining musical of enduring love, family ties and the light of forgiveness that shines from a bright star.

“Working with such legendary and talented artists, there was a lot of pressure to deliver something special in the sound design that would capture the excitement of Steve and Edie’s latest creative venture,” says Steinberg. “The show’s music is rooted in bluegrass, which isn’t typical for a theatre setting, so I knew that the sound system designed to communicate this music couldn’t be typical either. The show called for something with incredible warmth and high resolution in order to properly convey this music to the audience, which proved to be one of the project’s biggest challenges.”

Wayne Alan Wilcox as Jimmy Ray Dobbs and Carmen Cusack as Alice Murphy in the world premiere of Bright Star. Photo by Joan Marcus.
For Steinberg, part of overcoming this challenge was deciphering which loudspeaker system would best deliver the show’s bluegrass tunes. “When choosing a loudspeaker system, it was important to take into account the different brands of speaker systems currently on the market and the pros and cons of each when fitted into the Old Globe Theatre’s specific layout,” adds Steinberg.

After careful deliberation, and drawing from personal listening experience, Steinberg chose Alcons Audio’s speaker technology. “Alcons Audio is one of the only companies to have successfully incorporated ribbon drivers into its line array systems, which is an incredible feat,” Steinberg says. “The resolution is very high, and, overall, the speakers help to raise the quality we can expect of the audio re-production. Though Alcons Audio is a relative newcomer to the theatre market, once I connected the company with Masque Sound, the team there made sure that the Alcons Audio system was properly prepped in the shop to fit seamlessly with the rest of my custom audio equipment package.”

Aside from the intricacies of the show’s music compositions, the split orchestra also posed a challenge. Bright Star’s orchestra is composed of nine musicians—five play acoustic instruments onstage, while an additional four play from a remote location off-stage. To make matters even more complicated, the musicians onstage perform on a moving platform. The staging and movement prevented the use of any trailing cable, so the sound system, including all instrumentation, amplification and monitoring components, had to be wireless. Furthermore, IEMs and an Aviom system were required to synthesize the remote musicians and onstage orchestra into one, coherent group.
Wayne Alan Wilcox as Jimmy Ray Dobbs and Carmen Cusack as Alice Murphy with the cast of the world premiere of Bright Star. Photo by Joan Marcus.
To bring Steinberg’s vision for the orchestra to life, Masque Sound provided eight channels of Sennheiser Digital 9000 Wireless Microphone Systems. “The Sennheiser 9000 has been a game changer,” says Steinberg. “It sounds so good, we forget that it’s wireless. While working on the designing the show, I was keen to try some other new equipment, which is why I was thrilled when Masque Sound connected me to K-array, which supplied me with a low-profile speaker system for stage monitoring. I had been enthusiastic about their products for just such an application. Masque Sound has always bent over backwards to help me forge relationships with new manufacturers and, subsequently, keep me abreast of the latest audio equipment developments. This is a perfect example of a situation in which I had a wish list and Masque Sound helped turn those wishes into reality.”

Additionally, Masque Sound supplied Steinberg with a DiGiCo SD10T Live Digital Console, DPA 4011 microphones for the remote orchestra, additional Sennheiser wireless systems and DPA lavalier microphones for the cast and Shure UHF-R® Wireless Microphone Systems for a few of the instruments on the bandstand, as well as Sennheiser in-ear monitor systems.

“Masque Sound is part of a great audio team assembled for this production, which includes our mixing engineer, Scott Sanders, and my longtime associate, Jason Crystal, who each played an integral part in ensuring the show’s success,” adds Steinberg. “And the staff and crew at the Old Globe Theatre have been great to work with throughout this journey. I can’t wait to see what happens next with this beautiful show.”

Bright Star runs through November 2 at the Old Globe Theatre.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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PMC Sells First QB1-A Monitors to Iconic Capitol Studios

The World-famous Studios A & B Are Each to Receive a Pair of QB1-As

Los Angeles, October 10, 2014 — U.K. loudspeaker manufacturer PMC is proud to publicly announce the first sale of PMC’s QB1-A reference monitors. The sale of two pairs of the new reference monitors to Capitol Studios has been confirmed at the AES Convention in Los Angeles as part of the ongoing refurbishment program at Capitol, with one pair destined for Studio A, the other for Studio B.

unnamedLaunched this week at the AES show, the QB1-A is PMC’s new high-end monitor (Booth 1628). Designed to provide a new reference standard for medium- to large-scale recording facilities in terms of accuracy, dynamics, resolution and headroom, it offers over 4800 Watts of power per channel and incorporates analogue and digital inputs, PMC’s Advanced Transmission Line (ATLTM) bass-loading technology, DSP control, and the latest generation of PMC’s Class-D amplification and driver designs.

Capitol’s engineers and management were part of a network of international industry professionals who provided invaluable feedback on the design of the QB1-A as it evolved. Prototype versions of the speakers have been installed in Capitol Studios for some months, with regular upgrades as the product was honed in the final stages. These early versions will shortly be replaced by the first production QB1-As from the PMC
factory in the U.K.

“Our relationship with Capitol has been an important element in the QB1-A project from very early in the design process,” comments PMC’s Communications & Artist Relations Manager Paul O’Farrell-Stevens. “And of course we’re delighted that such an iconic recording facility is providing us with our first

QB1-A sale. For anyone connected with music, anywhere in the world, Capitol is one of the most instantly recognizable recording studios, with an extraordinary heritage coupled with state-of-the-art equipment. The QB1-A represents a step change in high-end reference monitor technology, and as Capitol Studios goes from strength to strength following its recent refit, we are very proud that our new monitors are now part of
the story.”

For more information on the QB1-A Capitol sale, come to the PMC stand (Booth 1628) at the AES Convention.

About PMC

PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATLTM) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without colouration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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DPA Microphones Presents Grand Piano Listening Demo at AES 2014

Company to incorporate variety of d:dicate™, d:screet™ and d:vote™ Microphones into piano for attendee headphone listening stations

LOS ANGELES, OCTOBER 9, 2014 DPA Microphones will host a Grand Piano Listening Demo throughout the 137th AES Convention (Booth 1109). As part of these demonstrations, the company’s d:dicate™ 2011C and 4011A Recording, d:vote™ 4099P Instrument and d:screet™ 4061 Miniature mics will be connected to a Steinway Grand Piano. Visitors will have the opportunity to listen to the quality and differences of each microphone at headphone listening stations.

DPA Microphones_Grand Piano Listening Station_Pic1Employed in top recording studios and live applications around the world, DPA’s d:dicate™ 4011A Cardioid Condenser Microphone is perfect for both close-ups on individual instruments and vocals as well as for spot-miking symphonies. Its state-of-the-art components have been carefully selected to provide optimal neutrality, accuracy and extremely low distortion. The mic can handle incredibly high sound levels and even includes a 20dB pad switch in the center of the XLR connector to attenuate the output of the microphone. A flat on-axis frequency response and excellent phase response deliver a totally faithful reproduction of the original sound.

Also part of the demonstration is the d:dicate 2011 Twin Diaphragm Cardioid Microphone, which is primarily optimized for use on stage. Its off-axis response is linear, much like the 4011, but features a smaller frequency bandwidth that increases stage separation and gain-to-feedback, making the mic level easier to control. Utilizing the company’s MMP-C preamplifier, the 2011C offers low distortion with a completely accurate sound. It is possible to transform the basic 2011 mic into a new configuration at any time by combining it with another DPA capsule or preamp. This includes the company’s MMP-A Class A preamplifier, which features a subtle character alteration with a bit more “body” to the low end.

DPA Microphones_Grand Piano Listening Station_Pic2The company is also presenting the d:vote™ 4099P, a Stereo Piano Microphone System version of its supercardioid d:vote 4099 Instrument Mic Series. The complete system includes a pair of sensitivity-selected mics on goosenecks with magnetic mounts to allow the most accurate capture of a piano. With clean and transparent stereo sound quality and realistic dynamics, the d:vote 4099P is a piano miking solution that makes it easy to achieve a high level of isolation. With its low profile and unobtrusive design, the d:vote is perfect in closed lid scenarios for capturing true acoustic piano sound in a live setting. Its versatile magnet mount and gooseneck system provides stable and repeatable positioning at different angles to provide a variety of sound nuances.

Finally, the d:screet™ 4061 Omnidirectional Microphone with new robust cable strain relief will highlight the company’s miniature mic options. A versatile workhorse that adapts to numerous miking scenarios, the d:screet 4061 is the obvious choice for any application requiring a big sound and a small footprint. Originally designed for use in theater, television and close-miked instrument applications, the d:screet™ 4061 is highly unobtrusive and features eminent sound quality, with a large range of accessories and adapters available for all pro wireless systems. These tiny condensers exhibit an exceedingly accurate omnidirectional pattern and therefore do not need to be aimed directly at the sound source to achieve quality pickup. Incorporated on all d:screet Miniature Microphones, the robust strain relief ensures that users who are not used to handling miniatures can feel reassured by the increased reliability and durability, making them ideally suited to the rigors of various productions.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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DPA Microphones Features d:facto™ Vocal Mic Grids and d:vote™ 4099 Touring Kits at AES 2014

LOS ANGELES, OCTOBER 8, 2014DPA Microphones presents the latest versions of its d:facto™ Vocal and d:vote™ 4099 Instrument Microphones at the 137th AES Convention (Booth 1109). Among the updates are the golden finish and nickel grids for the d:facto, which follow DPA’s continued commitment to providing the best vocal microphone on the market. Representatives will also discuss the d:vote 4099 Rock and Classic Touring Kits.

DPA Microphones_dfacto GridsThe d:facto Vocal Microphone golden and nickel grids are available as accessories to existing systems, complete with foam and mesh pop screens. The nickel option matches the finish available on the Sennheiser 2000, 5200 and 9000 wireless systems. Additionally, per special request, both grids are available as complete systems, which includes the d:facto’s 4018V capsule and wired handle or specified wireless adapters. Offering a true studio sound for the live stage, the d:facto line provides an amazingly natural sound with high separation and extreme SPL handling. In addition to use with the wired DPA handle, the d:facto Microphone provides singers and engineers with the added benefit of a state-of-the-art adapter system, which allows for seamless integration with many professional wireless systems.

dvote 4 touring kit-X2 (1)With the choice between a four-piece or 10-piece Peli case package, the d:vote 4099 Instrument Microphone Rock and Classic Touring Kits are intended for the touring musical group Despite its tiny, discreet size and lightweight design, the DPA d:vote is rugged and stable as it features a versatile and extendable gooseneck, sturdy shock mount and a detachable heavy-duty cable, making it ideally suited to the rigors of touring and live performance. As it was intended for fast-paced settings, the mic can easily be unclipped and repositioned or moved to another instrument with one hand. Additionally, the d:vote’s mounting system is designed to be extremely gentle, never marring the finish of any instrument.

Included in the new 10-piece d:vote Touring Kits are 10 high SPL d:votes, 10 microdot-XLR adapters and 10 heavy-duty mic cables, as well as a variety of mic clips best suited for each musical style. The smaller four-piece kit includes four high SPL d:votes, four microdot-XLR adapters and four mini mic cables, as well as two universal mic clips and four additional mounts for instruments of varying styles.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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Sound Devices 970 Takes Audio to the Rack at AES 2014

64-Track Dante™ and MADI-Equipped Audio Recorder Features New FileSafe™ Technology to Guard Against Unintentional Drive Removal and Power Loss

LOS ANGELES, OCTOBER 7, 2014 – Sound Devices 970, the company’s first-ever dedicated audio-only rack-mounted recorder/player, makes its AES debut during this year’s convention (Location Sound Booth 1340). The 970 boasts an impressive 64 channels of Dante™ and MADI, and incorporates Sound Devices’ latest FileSafe™ technology, which recovers audio files if drives are unintentionally removed or power is lost during recording. The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording such as capture of multi-channel sound for large-scale live performance and acquisition of dialogue for TV reality shows, drama and film.

The Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit Broadcast WAV files from any of its 144 available inputs. Inputs available include 64 channels of Audio-over-IP using Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. It is a supremely powerful tool for professionals who require a significant number of audio channels. Any input can be assigned to any of the 64 tracks and any of these tracks can be routed to any output. In addition, 32-track recording at 96 kHz is supported.

The 970 records to up to four attached drives, which include two front-panel drive caddies and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track count recordings.

FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted, is incorporated directly into the 970. During recording, data is written to a proprietary Sound Devices file format optimized for high-data rate, real-time audio recording using an ‘.sda’ file extension. When a recording ends, files are automatically “finalized” by converting the ‘.sda’ files to standard ‘.wav’ files. In the event that files cannot be finalized, whether due to power loss or inadvertent drive disconnection, they still remain intact on the drive. Users can recover these files by simply inserting the drive back into the 970. In the absence of the 970, the FileSafe Mac or PC utility, available as a free download (http://www.sounddevices.com/products/filesafe/), can be used to recover files that have not been finalized.

In addition to RS-422 and GPIO control, the Sound Devices 970 features an embedded Web-based control panel for remote transport and setup control from any browser-enabled device as well as the ability to remotely instigate file transfer over Gigabit Ethernet with SMB. In mission-critical audio-over-IP AV installations, where hundreds of audio channels are distributed between zones, the ability to setup a redundant Dante network to protect against loss of audio due to network failure provides peace of mind. The ability to have one drive transferring files over Ethernet, while another continues recording, offers significant production time savings.

Users can perform fast file metadata editing of scene name, take number, notes, track names, circle status and reel folders during, before and after recording across all drives. Metadata is stored in industry standard Broadcast Wave iXML and bEXT containers.

With its vast array of input and output types, the 970 allows for live conversion between analog, AES digital, MADI and Dante, acting as a bridge and routing matrix between these types of audio I/O. The built-in, rock-steady Ambient Recording Lockit time-code technology makes the 970 well suited to operate as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports external synchronization from word clock, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

Sound Devices 970 is designed with a large five-inch screen for large, easy-to-read, full scale metering of up to 64 tracks and for fast and intuitive menu control. It also features the Sound Devices proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

RTW Mastering Tools PlugIn Makes US Debut at AES 2014

Additional Loudness Solutions on Display at Avid Connectivity Partner Pavilion

LOS ANGELES, OCTOBER 6, 2014 – RTW, the market leader in visual audio meters and monitoring devices, will showcase its RTW Mastering Tools, the second plugin in its Masterclass PlugIns line of software-based metering solutions, at the 137th AES Convention (Avid Connectivity Partner Pavilion Booth 1101). Ideal for post production, TV, film and music recording, the new addition brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications as a standard-format plugin for Windows and Mac OS platforms, including AAX Native 64-bit plugin for Avid ProTools 11.

Designed for simple, intuitive operation by a broader user base, RTW Mastering Tools offers a wide range of PPM scales, displays and TruePPM measurements. As with all of RTW’s software plugins and TouchMonitor line of meters, RTW Mastering Tools provide support for many of the leading global loudness standards including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, plus MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multicorrelator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances.

“We are thrilled to introduce our new RTW Mastering Tools software to our friends in the U.S., especially as part of Avid’s Connectivity Partner Pavilion at AES,” says Andreas Tweitmann, CEO, RTW. “Our plugins put a very powerful tool for mastering, metering and loudness measurement into a convenient, easy-to-operate software package, adding further efficiency to the overall workflow. Having them available for use right within Avid ProTools is an exciting step for us and we are happy to join our new partner during this year’s show.”

Also on display will be RTW’s Masterclass PlugIns Loudness Tools software (also available as an AAX Native 64-bit plugin for Avid). RTW Loudness Tools was designed to serve the needs of users in the DAW sector. Finally, RTW will also demo its TM3-Primus, the latest entry to its smart product category, a compact, fully-loaded specialized meter at an entry-level price point, perfectly suited for individuals working in smaller production environments such as OB vans.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

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Studio Technologies Releases Model 45DR and 45DC Dante-To-Party-Line Intercom Interfaces

Units Easily Interface Party-Line Intercom into Dante Digital Media Environments

SKOKIE, IL, OCTOBER 6, 2014 – Further demonstrating its commitment to providing Dante™ Audio-over-Ethernet solutions, Studio Technologies, the manufacturer of products for the professional audio, installation and broadcast markets, announces its Model 45DR and Model 45DC Dante-to-Party-Line Intercom Interfaces. The Model 45DR Dante to 2-Channel Party-Line Intercom Interface is designed for applications that utilize 2-channel analog party-line (PL) intercom circuits, while the Model 45DC Dante to Dual Party-Line Intercom Interface is designed for applications that utilize one or two single-channel analog party-line intercom circuits. Both units easily interface party-line circuits into standard Ethernet networks, providing production personnel with the flexibility, ease of use and high-quality audio that is required.

“Studio Technologies is continuing to meet the growing demand for Audio-over-Ethernet solutions by creating two more specialized Dante-enabled products,” says Gordon Kapes, president of Studio Technologies. “Our new Model 45DR and Model 45DC Intercom Interfaces bring Studio Technologies’ experience with party-line intercom to Audinate’s Dante technology, providing great performance along with simple setup, flexible configuration and network interconnectivity. With these units, party-line intercom can now join the Dante revolution.”

Dante Audio-over-Ethernet media networking technology is used by both units to transport the send and receive audio channels associated with the party-line circuits. Analog-based hybrid circuits with automatic nulling provide excellent audio quality and high return-loss. Two Model 45DR or 45DC units can interconnect “point-to-point” by way of a standard Ethernet network. Alternately, each model can interconnect with other devices, such as matrix intercom systems, DSP processors and audio consoles. Both units are directly compatible with the RTS® ADAM® OMNEO® matrix intercom network.

The Model 45DR Intercom Interface is designed for applications that utilize 2-channel analog party-line intercom circuits. These circuits are typically used in studio and remote broadcast applications. Party-line power and two channels of audio termination can be supplied by the Model 45DR, allowing direct connection of user devices, such as the popular RTS BP325 belt pack. The Model 45DR can also connect to an existing 2-channel powered intercom circuit.

Alternatively, the Model 45DC Intercom Interface is intended for applications that utilize single-channel analog party-line intercom circuits. This type of intercom circuit is popular with entertainment applications. Two independent channels of party-line power and audio termination can be supplied by the Model 45DC. This allows direct connection of two “strings” of single-channel user beltpacks, such as those offered by Clear-Com®. The Model 45DC can also connect to two existing single-channel powered intercom circuits.

Both units can be powered by Power-over-Ethernet (PoE) or an external source of 12 volts DC. They are lightweight with a “1/2-rack” enclosure size, making them well-suited for portable, broadcast “throw down,” or rack-shelf applications. Optional front panels are available to allow one or two units to be mounted in 1U of a standard 19-inch equipment rack. The operating firmware of both units can be updated using a USB flash drive. To implement the Dante interface, both models use Audinate’s Ultimo™ integrated circuit. The firmware in this integrated circuit can be updated via the Ethernet connection, helping ensure that its capabilities remain up-to-date.

The Model 45DR and 45DC Dante-to-Party-Line Intercom Interfaces are both now shipping. To learn more about Studio Technologies’ latest Dante-enabled product developments, visit www.studio-tech.com.

About Studio Technologies, Inc.
Studio Technologies, Inc. provides tailored, high-performance video, audio and fiber optic products for the professional audio and broadcast markets. The company was founded in 1978 with a commitment to design and manufacture dependable, individualized solutions for broadcast studio, stadium and corporate environments. Known for “designing for the way professionals work,” the company is recognized as an industry leader that has never wavered from its individualized design pledge. Product categories include fiber-optic transport, broadcast support, mobile broadcast, intercom and IFB, announcer consoles, and loudspeaker monitor control systems. For more information, please visit the Studio Technologies website at www.studio-tech.com or call 847.676.9177.

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