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PMC at AES Los Angeles 2014

UK Monitor Manufacturer to Showcase 9.1 Audio Demos & Unveil New Large-scale Reference Loudspeaker at 137th AES Convention

LOS ANGELES, OCTOBER 1, 2014 — The 137th AES Convention, which is being held in the Los Angeles Convention Center from October 9-12, 2014, is an important one for UK-based loudspeaker manufacturer PMC (Booth 1628), who will be publicly exhibiting a new high-end product aimed at the large-scale reference monitor market for the very first time internationally. “We don’t want to say too much about it at this stage,” comments Communications & Artist Relations Manager Paul O’Farrell-Stevens. “Obviously, we’d much rather you come to see it for yourselves at the PMC stand! Suffice it to say that we think this represents a step change in high-end reference monitor technology, in terms of power, dynamics, and quality of reproduction.” In addition to the new product, the now-complete range of twotwo nearfield monitors will be on show at PMC’s booth, ranging from the smallest twotwo.5 to the twotwo.8 and the recently introduced twotwo sub1 monitor for LFE channel use.

PMC_MastersOfAudio_AES 2014In addition to the company stand at Booth 1628 on the convention floor, PMC will also be running their usual “Masters of Audio” production seminars in a separate dedicated PMC-equipped demonstration suite in the Convention Center’s Room 305, away from the hubbub of the main exhibition. Further along the concourse from the “Masters of Audio” suite is Room 306ab, which will also be equipped with an active PMC BB5 XBD-A surround monitoring setup to allow the annual AES Student Recording Competition to take place. Here AES student delegates will gather to audition their productions and critique each other’s work, while a distinguished panel of judges will award prizes for the most accomplished work.

This year, in association with the AES and Auro Technologies, many of the “Masters of Audio” seminars will be presented in the 9.1 Auro-3D format. As ever, the rolling program of workshops throughout the Convention will be presented by some of the top engineers and producers in the international recording business, giving attendees an insight into the tips, tricks and mindset of those at the pinnacle of their craft. Confirmed participants at the time of writing include:

• Chris Tabron (Beyoncé, Mary T Blige), Chief Engineer at Red Bull Studios New York, who will discuss recording and production with Om’mas Keith and Erykah Badu;

• Bassy Bob Brockman (The Fugees, Bob Dylan), who is presenting his regular seminar on the “Elements of Mixing,” with an associated Q&A session;

• Former AES President-Elect and Argentinian Mastering Engineer Andres Mayo, who will give an introduction to the concept of high-resolution mastering;

• The engineering, production and mastering team from Wisseloord Studios, Ronald Prent & Darcy Proper, who are conducting an Auro3D presentation, “Moving From Stereo To 5.1 And On Into 9.1”, featuring the music of Mando Diao, Tiesto and Alain Klark;

• Robert Vosgien of Capitol Mastering, who will be playing selections from and discussing his work on Bob Marley’s Legend compilation;

• Mix Engineer, Songwriter and Producer Jon Castelli (Lady Gaga, Beyoncé), who will be discussing the role and influence of the songwriting producer in modern productions with examples from his recent work;

• Morten Lindberg of boutique Norwegian recording label 2L, who will be explaining his high-quality recording methods, with examples from recent high-resolution releases on the label.

For more information on all of the new presentations and the full “Masters of Audio” seminar program, see www.pmc-speakers.com or come to Booth 1628 during the show.

Information for Editors

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 (ATL™) 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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Professional Wireless Systems Highlights Range of RF Solutions for House of Worship Events at WFX 2014

DALLAS, TX, SEPTEMBER 30, 2014 – Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, will showcase its range of RF solutions at WFX 2014 (Booth 1023), including its Helical Antennas and Domed Helical Antennas, Intermodulation Analysis Software System (IAS), GX Series of Combiners and DB Series of Multicouplers.PWS_Helical Antenna

“We are excited to bring our range of state-of-the-art RF and wireless equipment to the house of worship professionals in attendance at WFX 2014,” says Jim Van Winkle, general manager, PWS. “In addition to showcasing our RF solutions, PWS representatives will be on-hand to discuss our ability to provide on-site install services and support for wireless systems at HOW events of any size, especially with the influx of larger scale events for the upcoming holiday season.”

Two of PWS’ flagship product lines, Helical Antennas and Domed Helical Antennas, will be on display at the show. PWS Helical Antennas, perfect for long throws and high gain, have become the industry standard for multichannel wireless microphone, in-ear and intercom systems, due in part to their unique characteristics, which offer users extreme flexibility. The circularly polarized UHF antennas cover a frequency range of 450 MHz to 950 MHz and offer 14dbi gain and 8.5dbi for the Domed Helical. With an inherent boost in gain, greater bandwidth, and dropout-resistant polarization, PWS Helical Antennas outshine the performance of traditional antenna designs. Popular for use with IEM systems, users can employ these antennas with other UHF systems, including wireless microphones and intercom systems.

For venues and installations in which site-line appearance is a priority, PWS Domed Helical Antennas offer a wider angle of coverage perfect for smaller stages and medium gain. Offering the same circular polarization as the original PWS Helical Antenna, the Domed Helical features a more durable, sealable enclosure with a compact profile. Inconspicuous and robust, the PWS Domed Helical Antenna is a great choice when aesthetics and function cannot be compromised.

PWS will also be demonstrating its Intermodulation Analysis Software (IAS), which cuts down on setup time by combining a database of wireless performance equipment and access to local television frequencies in use. “PWS’ IAS software is the solution RF technicians have been waiting for,” adds Van Winkle. “This saves tremendous time over traditional trial-and-error methods. Once a clean frequency is found in IAS, a simple pre-show equipment test will verify the software’s ‘offline’ analysis. Our proprietary software helps to speed up a tedious and error-prone process.”

Additionally, PWS will highlight its GX Series of Combiners, the GX-4 and GX-8, which offer selectable high and low output settings, as well as above unity gain on output, as well as its DB Series of Multicouplers, including the DB8 (8 outputs), DB16 (16 outputs) and DB24 (24 outputs). These diversity systems are designed to distribute antenna signals to multiple receivers without loss and with high isolation between ports.

Interested show participants are invited to stop by PWS’ WFX Booth (1023) to speak with executives about the company’s latest product offerings. The team will also be offering site surveys at a discounted price to show attendees who are interested in learning more about how to optimize their frequency coordination during house of worship events.

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.

DPA Microphones Brings d:screet™ Omnidirectional Miniature Necklace Microphone to WFX 2014

Company also features its line of d:vote™ 4099 Instrument Microphones

DALLAS, SEPTEMBER 30, 2014DPA Microphones showcases its new d:screet™ Omnidirectional Necklace Microphone at WFX 2014 (Booth 1016), which is not only perfect for religious holiday productions, but can also be used for a range of other house of worship microphone applications. The company’s d:vote™ 4099 Instrument Microphones, another ideal accompaniment for such performances and daily HOW needs, will also be on display throughout the show.

DPA Microphones_dscreet NecklaceThe new d:screet Omnidirectional Miniature Necklace Microphone addresses an industry need for a mic that can be mounted and removed quickly several times by untrained talent without a sound expert nearby, which is often the setting in a house of worship. Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for situations requiring quick costume changes, such as a Christmas play or concert at a house of worship. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

Representing years of research and development, the d:vote 4099 Instrument Microphones are condenser mics that feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the full dynamic range and subtle details of any instrument, these microphones are tiny, discreet, rugged and lightweight. The versatile gooseneck provides stable and repeatable positioning, while the variety of available clips and mounts enable the mics to be repositioned or moved to another instrument without worry of damaging the finish of an instrument of changing its sonic character. Through the use of DPA’s extensive adapter system, the d:vote can be used as a standard 48V phantom powered microphone via the included XLR connector and is compatible with virtually any wireless system. The mic comes standard with a 5.5-inch gooseneck, but an optional extension unit is available along with a detachable cable, which increases the convenience of instrument mounting. Further, the selection of cables makes it possible to tailor the mic to a specific task, such the heavy-duty cable for PA/Live gigs or a thinner option that’s easier to hide on a personal instrument.

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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SSL Live Is the Choice for Legendary Mexican Singer Juan Gabriel’s U.S. Tour


“It sounds exactly how the band is playing”

MEXICO CITY – Mexico’s beloved pop icon Juan Gabriel is touring the U.S. with an SSL Live, the first-ever dedicated live sound console from Solid State Logic. One of Mexico’s most successful vocalists, Gabriel is a Billboard Latin Music Hall of Fame inductee and six-time GRAMMY nominee who has sold over 30 million albums and performed throughout the world. When his Volver 2014 tour prepared for its U.S. leg, front-of-house engineer Rodrigo López was excited to mix on SSL’s latest innovation.

Rodrigo López with SSL Live copy“As soon as it was available, I wanted to use it,” López says of Live. “Just by reading ‘SSL,’ you know it’s a quality console. An engineer friend of mine who used Live for another U.S. tour provided the only training I needed. It’s very user-friendly. Sound check was my rehearsal with the console. It just sounded correct, it was really great. Everything was there, the way I wanted it to be.”

Live features the world-famous SSL SuperAnalogue™ preamplifiers that set the standard for sonic excellence and López says the benefits were instantly audible. “It just sounds perfect,” he says of mixing with Live. “It’s really clear and sounded exactly how the band was playing.”

SSL Live’s sonic quality was particularly noticeable on violins, López says. “We have seven violins for the mariachi. Sometimes it’s hard to hear because it’s loud on the stage. The first time I truly heard violins sound in the place I wanted them was when I mixed with SSL Live. What’s more, we’re running the mariachi musicians through a really small wireless microphone. It’s hard to have power on those instruments, but that just came naturally with the SSL.”

A 25-year veteran in the industry who also mixes FOH for Los Ángeles Azules and was previously with Marco Antonio Solís, López appreciates Live’s versatility, which allows engineers to work exactly the way they want. “The console accommodates to the way you’re mixing,” he says, “not the other way around.”

López added that musicians recognize SSL from thousands of recording studios around the world, and Gabriel’s band members were particularly amazed to see one on tour with them. “An SSL at front of house is really impressive,” he says. “Everyone wants to take a look at it.”

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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DPA Microphones d:fine™ 66 and 88 Miniature Headset Mics Make WFX Debut

Company’s d:fine Trade-Up Promotion Currently Underway

DALLAS, SEPTEMBER 29, 2014DPA Microphones presents its new d:fine™ 66 and d:fine 88 Miniature Headset Microphones for the first time at WFX 2014 (Booth 1016). Ideal for house of worship leaders needing to move freely about the pulpit without obstructions from a handheld mic or mic stand, the d:fine 66 and d:fine 88 have joined the company’s d:fine Headset Microphone family, which will also be on display throughout the show.

DPA Microphones_dfine on Male PerformerThe company’s d:fine Headset Microphones Trade-Up rebate program is still underway, as the promotion ends October 3, 2014. Participants will receive a $100 mail-in rebate for every purchase of select d:fine Headset Microphones, from an authorized U.S. dealer, provided they additionally trade-in a competitor headset mic. This special program is available to all U.S.-based microphone customers. In order to receive a rebate for each headset mic, customers must trade-in an equal number of competitor headset microphones.

DPA Microphones d:fine Headset Microphones were designed to meet a specific market demand, which in turn created a new niche of DPA headset users that did not affect the popularity of the original 4066 and 4088s. The new DPA d:fine 66 Omnidirectional and d:fine 88 Directional Headset Microphones come as a result of a growing need for durable body worn microphone solutions with excellent sound reproduction and sturdy casing for stringent use in live environments. With several options available in the line, the d:fine Headset Microphone Series now address every variety of sound handling and size options, depending on the intended application.

DPA Microphones_dfine Headset MicrophoneThe new DPA d:fine 66 and d:fine 88, which are recognized by their rounded capsules, are intended for users who require optimal sound and grid cleaning/changing options. With a contemporary look and classic sound, the d:fine 66 and d:fine 88 combines the 4066 Omni and 4088 Cardioid microphone capsules with features of the modern d:fine headsets, such as an advanced mount and flexible ear hooks.

Featuring a total of four capsules – two omnis and two cardioids – as both single- and dual-ear mounts, the complete d:fine Headset Microphones Series raises the bar for head-worn microphone solutions. Offering industry-leading sound quality, the mics are ideal for singers, public speakers, actors, musicians, house of worship leaders and broadcast professionals who insist on superior voice reproduction, comfort, ease of setup and a discreet look. They are also available in black, brown and beige with a variety of boom lengths and adapters for every professional wireless system.

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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SSL Duality Expands Horizons at Legendary Robert Lang Studios in Seattle

“With SSL in our studio, we look forward to a bright future as a leader in music production and education in the Northwest”

SSL Duality at Robert Lang StudiosSEATTLERobert Lang Studios is a living legend. This two room facility serving the Seattle and North Western U.S. creative community has a storied history as a creative space for groups, such as Nirvana, the Dave Mathews Band and legendary producers Butch Vig and John Goodmanson. As part of its ongoing commercial development and delivery of advanced education in collaboration with local colleges, the facility has upgraded one of its control rooms with an SSL Duality console.

A perfect illustration of the studio’s deep connection to the Seattle music scene, Robert Lang Studios recently played a role in The Foo Fighters’ new album Sonic Highways, “a love letter to the history of American music” set for release on November 10. The LP, which was recorded in eight different cities and features songs about a ‘local legend’ from each. Using the studio’s fully-restored SSL 4000 E Series console, the group recorded one of the songs for the LP.

“While working on the album, Dave, Butch [who worked with Grohl on Nirvana’s best-selling Nevermind] and I decided to use 24-track analogue recording driven by the legendary SSL 4000 E Series console,” says Lang. “Prior to Dave’s arrival, we’d just opened up a sound stage room, which made us fortunate enough to work with the band on the HBO miniseries Sonic Highways. This was all done in our large live studio room that can be serviced by either the E Series or the Duality control rooms.”

Airing on October 17, the docu-series focuses on the making of the album and the stories behind the songs, making Robert Lang Studios an ideal location for one of the shoots. Also home to Scott McKinley’s Seattle Music TV (SMTV) programs, the sound stage is driven by the E Series, twin Studer A827 24-track and two-inch tape machines or the Duality that takes on both analogue and digital recording and mixing. A recent addition to Robert Lang Studios, the Duality has opened up new business horizons as Lang and the local Shoreline Community College develop plans to collaborate in teaching the latest generation of engineers.

“The Duality room is a game changer for our studio complex,” adds Lang. “I’ve been doing a student education program here for several years and we added the Duality to not only serve commercial clients in the North West area, but also to attract more students in the school’s advanced courses. There are plans to add Duality to the curriculum for students in the Music Tech Department’s Continuing Education program, providing them the opportunity to work some of the industry’s top gear. Both Shoreline Community College and the City of Shoreline have approached us to solidify partnerships that will bolster the entertainment industry in the greater Seattle area.”

A key element of Duality for high-end music production is the hybrid workflow design that bridges the gap between analogue and DAW workflows. “The flexibility of Duality is amazing,” states Lang. “You have the digital audio workstation control that seamlessly correlates with the analogue side. My hat goes off to all the SSL engineers as they really developed something that is far beyond just another console. Being able to have that connection between analogue and digital, with a Pro ToolsTM control set up on the console and the ability for artists and producers to bring a hard drive in and almost instantly start mixing is just unique. The VHD mic pres are also very powerful to create a wide pallet of sonic colours. With SSL in our studio, we look forward to a bright future as a leader in music production and education in the Northwest!”

For expanding horizons, Lang is in the process of creating a student center as the newest addition to the studio complex as well as building a second studio/musical getaway called Studio Litibu, just around the bend from Punta de Mita, Nayarit, Mexico.

Photo Credit: Photo Courtesy of James Starlin

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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Studio Technologies Model 215 Dante-Enabled Announcer’s Consoles Translate the Next Generation of Gamers with Microsoft Production Studios

Xbox LIVE Multi-Lingual Interpreters Rely on Six Model 215 Units for GamesCom 2014

SEATTLE, WA, SEPTEMBER 23, 2014 – Microsoft Production Studios recently installed six Studio Technologies Model 215 Dante™-Enabled Announcer’s Consoles in its state-of-the-art production facility to handle multi-lingual translations for a program produced in conjunction with Xbox LIVE, Microsoft’s online gaming and media delivery service. The American English Xbox LIVE production streamed audio and video content during the recent 2014 GamesCom convention in Germany, the world’s second largest video game trade fair, attracting over 340,000 visitors, 6,000 journalists and 635 exhibitors from 88 countries.Microsoft Production Studios Audio Control Room

“Because GamesCom is primarily focused on a European audience, we needed to quickly produce interpretations of the American English Xbox LIVE production into Castilian and Latin American Spanish, French, Italian and German,” says John L. Ball, systems engineer for Microsoft Production Studios. “We had to figure out a way to produce the simultaneous interpretations within our existing facility space and, because the Model 215 Announcer’s Console is Dante-compatible, we could literally plug each unit into an available space and begin producing the live streaming broadcast instantaneously. The Model 215s worked perfectly, set up quickly and provided great audio quality.”

Designed to serve as the audio control center for announcers, commentators and production personnel, Studio Technologies’ Model 215 Dante-Enabled Announcer’s Console integrates all on-air talkback and cue audio signal routing in a compact tabletop unit. It offers three pushbutton switches with LED indicators that allow the user to control three audio output channels: one main and two talkback.

Studio Technologies Model 215 Dante Announcers Console in a Microsoft Production Studios Edit Room Used as a Voiceover Room during GamesCom 2014
Ball and his team set up Microsoft Production Studios’ main studio room, which boasts a Dante-based infrastructure, to broadcast the English language edition of the streaming show. Since all the room’s audio equipment was able to connect to any Dante-enabled device, Microsoft Production Studios’ video editing suites were then transformed into temporary voice-over rooms for the translating staff.

“The entire process was quite amazing from a technical perspective,” adds Ball. “We simply took the Model 215s into the different rooms, plugged them into the existing Ethernet network, made the appropriate routing through Audinate’s Dante Controller software application, and we were up and running in all five rooms in less than 30 minutes. It saved us a day’s worth of setup compared to running discrete analog audio lines. With Dante and the Model 215s, we could deliver the English version into the headsets of the interpreters and they, in turn, could quickly translate the audio and feed the content into the microphone plugged into the Model 215 that was connected to our network. We did not miss a beat and the worldwide Xbox community thoroughly enjoyed the production.”

Studio Technologies recently became a Dante licensee, and is embracing the audio-over-Ethernet movement by developing a line of Dante-enabled products that offer unique solutions using the most advanced, interoperable, proven networking technology. Studio Technologies currently offers the Model 214, 215 and 216 Announcer’s Consoles, Model 45DR and Model 45DC Intercom Interfaces, the Model 5202 Dante to Phones and Line Output Interface, and the Model 5204 Dual Line Input to Dante Interface as the first products embracing Dante.

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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California Baptist University’s Collinsworth School of Music Preaches to the Choir about DPA Microphones


Technical director for school’s music department relies on an assortment of company’s mics to solve live miking challenges

LOS ANGELES, SEPTEMBER 18, 2014 – Students at California Baptist University’s (CBU) Collinsworth School of Music are not only taught the art of making music, but the best possible way to enhance the performance aspect of their instrument or voice. That’s why their professors and mentors turn to DPA Microphones for on-stage amplification, which ensures that students gain first-hand experience with world-renowned professional equipment. With an audio locker that features a combination of the company’s d:vote 4099 Instrument Mics, d:fine™ Directional Headset Mics and a stereo pair of d:screet™ 4061 Omnidirectional Miniature Mics, the school is guaranteed an audio solution that covers the variety of music department needs for on-campus performances as well as on-the-road ensembles.

DPA Microphones_dvote_Cal BaptistMatthew McConnell, technical director for the School of Music at California Baptist University, was familiar with DPA’s reputation of excellent quality products, but it was his test seven years ago of a stereo pair of d:screet 4061s as a live miking solution that turned him into a loyal user. Since then, DPA mics have been integrated into Collinsworth’s equipment supply, creating a new generation of enthusiasts.

“Before discovering DPA Microphones, I’d tried everything to make the piano sound good live, but I wasn’t happy with any of the results,” McConnell recalls. “Since I wasn’t having much luck with anything else, I bought a stereo set of the DPA d:screet 4061 mics and thought they were fantastic, and then I just went from there. Now, I don’t have many students who haven’t used a DPA mic. I’m a firm believer in the observation factor, so if they’re seeing the mics in use and hearing them on live recordings, they can better understand the benefit of using DPA mics.”

During touring season, students discover, through firsthand experience, the advantages that come along with DPA. This includes ease of use and exceptional clarity, the same factors that McConnell initially found to be valuable.

“I bought my first d:vote 4099s because I was trying to solve a problem,” shares McConnell. “For years, I didn’t like the sounds I was getting from the string bass, so I looked around for clip-on mics and pickups, I didn’t really like any of those or how they worked. When I found the d:votes, I bought two because of the rubberized bass clip. I loved how easy it was to get the clips off the instrument as well as having some flexibility to be used with other instruments. I tried them out and thought they were great. I also loved how they sounded and how the performers could move around because it’s attached to the instrument. As a FOH guy, the sound the mics produce isn’t changing when the students move around. I get very consistent sound and levels, which makes mixing so much easier. Once I discovered how well the d:votes worked, I bought more for the cello players and then woodwinds and percussion. I thought, ‘These are great! I’m going to use them wherever I can!’ ”
When McConnell introduced the d:vote 4099s to students, they were wary that the clips would damage their personal instruments. But, once they saw how the rubber clips can easily be unclipped and repositioned on the instrument without any damage to the body, they were eager to use them. The d:vote 4099 creates an effortless solution for students who are in charge of setting up and tearing down their own equipment. Students have also learned of the mics’ accurate natural sound, balanced EQs and functionality.

“These mics really come in handy for our performances, which are largely led by students,” continues McConnell. “During the school year, students perform in large ensemble groups at churches and schools throughout Southern California. Upon graduation, we send four elite groups on a two-week tour of America’s western hemisphere, where they are tasked with setting up their own equipment. The clipping and repositioning of the d:vote is so simple that two violinists often share one mic connected to a wireless transmitter by swapping it onto their instruments between solos.”

In addition to the d:vote series, the music department has integrated the d:fine directional headsets into its mic rotation for vocal clarity. Used primarily on the conductors who often MC their own shows and stand in front of loudspeakers, a potentially problematic spot due to feedback, the school is using the mics in a unique manner.

“The d:fine headsets sound great and make it possible for the conductors to wander around and interact with people without feedback issues,” adds McConnell. “But, the truly remarkable thing about the d:fines is the way we use them for our piccolo and flute players. Since the instruments are so tiny, we had a hard time miking them. We were using overhead mics, but there was a ton of bleed from other instruments. So, we decided to outfit the musicians with d:fine headsets, and it’s been great. Since the end of it is so close to the ear where the d:fine sits, the mic ends up producing a sound that’s just like the performer hears. We also get great rejection of unwanted noise with the cardioids pattern and we’re able to really amplify the flute sound.

“Everyone’s got it in their head that you need to have a solo flute with full brass choir accompaniment behind it, but on an acoustic stage, you’re never going to hear that,” he continues. “In a studio you will, but not on a live stage without amplification. This has been the best way that I’ve found to accomplish that. The d:fine tames down the piccolo to make it musical. It’s the same thing with the flutes. I’m able to get a great sound with the d:fine on the flute, with very minimal amounts of processing on the console. The feel of the mics is great, too. With other mics, the flute players hated wearing headset mics, they didn’t like how they felt. I gave them the d:fine mics and they loved them and said they’d never want to use anything else ever again.”

Established in 2002, CBU’s Collinsworth School of Music holds students to high standards that encourage them to be the very best persons, students and musicians that they can be. In exchange for the hard work they commit, CBU musicians find a challenging program of study, an outstanding community environment and limitless performance opportunities in the United States and abroad. McConnell credits the support from Dr. Judd Bonner, Dean of the Collinsworth School of Music, for being the primary advocate in the students’ access to the DPA mics.

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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Masque Sound Takes Off with First National Tour of the High-Flying Hit Musical Comedy, Pippin

Custom Audio Equipment Package Delivers Broadway Experience to Audiences around the Country

DENVER, CO, SEPTEMBER 15, 2014 - When the Broadway smash hit Pippin embarked on its first national tour on September 6 at The Buell Theatre in Denver, Colorado, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was along for the ride to support Sound Designers Jonathan Deans and Garth Helm’s vision for the high-flying, death-defying musical comedy.The Cast of the National Touring Production of PIPPIN. Credit Terry Shapiro (2)

Pippin tells the story of a young prince as he sets out on a thrilling journey to find meaning in his existence. He notes two potential paths: he can choose a happy, but simple life or risk everything in favor of a momentary flash of glory. A magical show, Pippin has become a well-known staple in the theatre community for its many classic Broadway numbers, including “Magic to Do,” “Corner of the Sky,” “Glory,” “No Time at All,” “Morning Glow” and “Love Song.”

Deans and Helm have been with Pippin since its Broadway opening in April 2013 and are both intimately familiar with the show’s audio requirements. “The creative concept behind Pippin was designed in New York, so we are now trying to bring that Broadway experience to the different theatres on the tour,” says Deans. “The show itself essentially stays the same as the one that appears on Broadway in every aspect, except for the sound design. Because we are putting on performances in different theatres of various sizes and capacities, as well as some with balconies and some without, we needed a very flexible sound system that could provide full coverage, with no matter to the room and its dimensions.”
John Rubinstein as Charlemagne and Sabrina Harper as Fastrada in the National Touring Production of PIPPIN. Credit Terry Shapiro (2)
In order to deliver as close to the Pippin Broadway experience as possible, Masque Sound provided the designers with a DiGiCo SD7 Live Digital Console complete with Stealth Digital Processing™. “The SD7 is very versatile, sounds great and does everything we want it to do,” says Helm. “It is extremely helpful in ensuring that we can expect exceptional sound coverage in all of the theatres in which the production will be playing.”

As part of the custom-designed audio system, Masque Sound also supplied an array of d&b audiotechnik speakers, which the designers chose for their excellent sonic soundscape, as the speakers help to keep the continuity between the Broadway show and the tour productions. In addition, a selection of microphones from Shure, Neumann and DPA, as well as a 40-channel wireless package featuring Sennheiser mics with DPA booms, were also included in the audio equipment package.

“The crew at Masque Sound is always wonderful to collaborate with,” adds Deans. “Masque Sound worked closely with us to build the ideal speaker package to fit our sound requirements. The crew really looks after the best interests of the show. They care about the production, they care about us, and that always makes working with them such a rewarding experience.”

In addition to providing the custom audio package for the show, Masque Sound also supplied frequency coordination for the show’s 40-plus channels of wireless microphones. Masque Sound’s expert team provided the touring crew with the information and RF equipment that they needed to ensure that all of the show’s wireless transmission would remain interference free.
Sasha Allen as Leading Player and the cast of the National Tour of PIPPIN. Credit Terry Shapiro (2)
Deans and Helm also acknowledge the importance of their own crew’s hard work in ensuring the show’s success. “Our Associate Sound Designer Drew Levy, Production Sound Supervisor Alex Ritter and two fantastic sound mixers, A1 FOH Mixer Maxine Gutierrez and A2 RF/Backstage Support Nathan Meredith, look after the show, tour with it and do an amazing job on all accounts.”

Pippin is directed by Diane Paulus and features choreography by Tony® nominee Chet Walker in the style of Bob Fosse and circus creation by Gypsy Snider of the Montreal-based circus company Les 7 Doigts de la Main, also known as 7 Fingers. The show opened on Broadway on April 25, 2013 and went on to win four 2013 Tony Awards, including Best Revival of a Musical and Best Director of a Musical for Paulus. The Pippin tour is currently slated to run through August 2015 with 33 stops, including Denver, Los Angeles, San Francisco, St. Louis, Washington DC, Atlanta, Dallas, Chicago and Seattle.

For ticket information, please visit www.pippinthemusical.com/tour.php.

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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Mistresses Has a Love Affair with DPA Microphones


Company’s d:dicate™ 4017 Shotgun and d:screet™ 4071 Miniatures prove to be the ultimate dialogue miking solutions for primetime soap

LOS ANGELES, SEPTEMBER 15, 2014 – ABC’s Mistresses is a primetime soap opera starring Alyssa Milano that is based on the lives of four girlfriends living in Hollywood who are involved in an array of illicit and complex relationships, but it is the show’s miking solution that is far from complicated. A longtime DPA Microphones user, Sound Mixer Joe Michalski relies on the company’s d:dicate™ 4017 Shotgun Mic in conjunction with several d:screet™ 4071 Omnidirectional Miniature Mics to achieve a pristine sound that requires almost no editing in post.

DPA Microphones_ddicate 4017B Boom_MistressesUsed primarily for wide-angle outdoor shots, the d:dicate 4017 was recently put to the test on a motorcycle scene during which Milano was the passenger. Unlike many situations for which a shotgun mic would be used, the boom operator was not able to be positioned behind the actors, on the back of the trailer that was towing the bike. Having to use both arms to hold the boom, the operator was unable to secure himself in the moving trailer, which resulted in several safety concerns.

“In order to record the two pieces of dialogue that we needed for that scene, we took the 4017, placed it in a Rycote Zeppelin windscreen and then mounted that off the handlebars,” explains Michalski. “From there, we were able to split the audio between Alyssa’s character and the male actor driving the motorcycle. It was just a sick position. Normally, you have to deal with the sounds of the trailer, the truck that’s pulling it and the other motorcycles in the shot, but the mic was more parallel to the ground with the position it was in, so all of the noise was rejected. It sounded almost like we were on stage shooting off a green screen.”

For this shoot, Michalski had 20dB spread between the noise and the dialogue. Once it goes to post production, the only thing they’ll need to do is add the motorcycle sounds because they’ll have a clean voice recording with no background sounds. As a backup, Michalski also outfitted both actors with the d:screet 4071, which provided him with an additional, clean track. “With the signal noise being so far above the noise, with either my shotgun or my lavs, it’s a perfect world for the post team because they can play with the scene later,” adds Michalski. “They can add more background or take it out.”

These characteristics are also being noticed by the actors, who prefer not to go back to the studio for ADR. Due to its compact size, the d:screet 4071s are ideal in situations when a boom isn’t, including shots on-location at a pizza restaurant with noisy ovens or out on the street across from a rowdy outdoor bar, where ambient noise can’t be controlled, no matter the position of the shotgun.

“We’ve been applying lavs to all of those scenes and going without a boom,” says Michalski. “Alyssa was also a little concerned with the background noise at some of the restaurants, because she isn’t going to have time to ADR, so we suggested using the d:screet. Generally, actors and costume designers are not fond of lavalier microphones because the wires are obtrusive, especially on Mistresses, where the outfits seem almost painted on. But, the DPA mics have the thinnest cable of any microphone out there and the wardrobe assistants can place it into the costume or directly onto the skin. Whereas you can typically see the competitors’ cables under tight costumes like those used in Mistresses, DPA can be easily hidden along a seam line. The actors are definitely much more receptive to this.”

Michalski has used several microphone brands over the years, but it is DPA Microphones that caught his eye. Having recently purchased his second d:dicate 4017B, he currently owns a total of 10 DPA mics, which he says will now serve as his primary microphone offerings for productions. “I’ve heard a lot of competitor mics and DPA mics just sound more natural,” concludes Michalski. “You don’t have to worry about any of the problems you see with other brands because DPA has such solid mics, even the sheer physical difference is noticeable.”

Kansas City born Michalski has worked as a boom operator and sound production mixer on various projects for the more than 20 years. His recent work includes, Jane By Design, Sons of Anarchy, Suburgatory, The Mindy Project, Without a Trace, Shameless and Grey’s Anatomy.

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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