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Italian Superstar Pino Daniele Chooses DPA Microphones

Pino Daniele tour

Pino Daniele, one of Italy’s best known singer/songwriters and a man whose career spans both genres and decades, has recently started using a range of DPA microphones, including the company’s ground-breaking d:facto™ Vocal Microphone.

Fabrizio Facioni, Daniele’s sound engineer, jumped at the chance of using d:facto when the opportunity presented itself.

“I like its sound. It’s so ‘present’ and natural,” he says. “This microphone reproduces exactly what it is given in terms of the vocal, and that greatly simplifies my job.”

The d:facto Vocal Microphone joined a range of DPA mics that were used over the summer for the NERO A META’ tour, which reunited Daniele with band members from the 1980s alongside special guests. For his forthcoming theatre tour, the line-up is more intimate and includes Pino Daniele on vocals and acoustic guitar, a second acoustic guitar, an upright bass, piano and drums played by internationally acclaimed producer and arranger Alfredo Golino, who regularly works with artists such as Laura Pausini.

Facioni says: “The decision to use DPA microphones initially came about when I needed a microphone for Pino’s acoustic guitar. I spoke to Agora, our PA rental company, and they recommended DPA’s d:vote™ 4099 Instrument Microphones. After trying one, I knew it was perfect for the task. Both Pino and I were so impressed that we decided to use d:vote 4099s on his guitar and on the second acoustic guitar.”

Facioni adds that the improvement in sound made him question the microphones he was using on the other instruments in Daniele’s intimate line-up. It was at this point that Alfredo Golino suggested he got in touch with Salvatore Zocco from DPA’s Italian distributor M. Casale Bauer for more advice on the DPA range.

Salvatore Zocco says: “Alfredo is a great ambassador for DPA and has used the company’s microphones for a long time, so it was perfectly natural for him to put Fabrizio in touch with me. I was able to recommend the most appropriate microphones for Fabrizio’s requirements.”

The final choice came down to d:vote 4099 Instrument Microphones for the high hat, snare (top and bottom) and toms. DPA d:dicate™ ST4011C and ST4015C Recording Microphones were respectively chosen to handle overheads and percussion. The acoustic guitars and upright bass are also miked with d:vote 4099s, while Pino Daniele has two d:facto Vocal Microphones – one for when he’s standing and the other for when he performs with his acoustic guitar.

“I have been very satisfied with the results these microphones have delivered,” Facioni adds. These were exactly the mics I needed to give me a natural sound. I am a studio engineer as well, so I already knew DPA mics for piano and orchestra and I like them a lot. But this is the first time I have tried them for percussion and bass and I am definitely impressed.”

And perhaps more importantly, Pino Daniele himself has also been impressed with the performance of the d:facto Vocal Microphone which he used consistently during his summer tour of Italy’s sports arenas.

“We are now planning more dates in smaller theatre venues during November and December and the d:facto will once again be part of our microphone set up,” adds. “It has worked for Pino and he really like it. He says he now recognises his own voice!”

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Chartmakers Mastering Stocks Up On Prism Sound Kit

Henkka Niemisto photo credit Christoffer Relander (1024x683)

High profile Finnish mastering studio, Chartmakers Mastering, recently bought both a Prism Sound Dream AD-2 A/D converter and an MEA-2 EQ for its state-of-the-art facility in the Töölö district of the nation’s capital, Helsinki.

Established by Svante Forsbäck together with long-term associate Henkka Niemistö, the studio is celebrating its tenth birthday this year and is as dedicated to high-quality audio mastering services as ever.

“All music styles are more than welcome to use our services,” says Niemistö. “I usually work with pop, dance, hip-hop and electronic music and some metal and rock groups. My clients are mainly Finnish bands and include Husky Rescue, Pepe Deluxe, Sofi De La Torre, Machinae Supremacy and many more.”

Chartmakers currently runs three studios in Helsinki itself and a satellite about 20 minutes to the west in Espoo. Niemistö is a firm believer that the simplest mastering chain of very high-grade equipment delivers the best results. As such, he says that the AD-2 and the MEA-2 have both been on his mind for a long time.

“It was time to finally give them a go,” he says. “Svante and I have gone through pretty much everything on the mastering market, and Prism Sound was, for me, the last largely untested equipment to try.”

The kit was supplied by Finnish distributor Qualitron and Niemistö says that as soon as the converter and the EQ were connected he felt right at home with them.

“They are a joy to use. The converter continues to surprise me, almost every day,” he says. “The EQ has some strange way of adding a sort of ‘glue’ to the master sound — I can’t really explain it. They both definitely bring the game to the next level.”

Niemistö adds that he particularly likes the fact that the converter can drive two different sample rates to different AES/EBU outputs.
“The clock also sounds very nice,” he says. “Since I do a lot of bassy electronic music I love the fact that the EQ goes down to 19Hz and up to 27k.”

Niemistö is using his Prism Sound equipment on all of his current projects where it meshes well into his existing set-up.

“I personally use three Amphion Two18 speakers and two One18s in the back for full surround, and I have a Maselec MTC-2 mastering console,” he explains.

And there might well be more Prism Sound kit added into the Chartmasters slate in the near future.

Niemistö says: “We just got the Prism Sound compressor in to test, and we might have to get that one as well…”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Jason Phats Changes Direction with Prism Sound’s Orpheus

OLYMPUS DIGITAL CAMERA

Writer, producer, remixer and DJ Jason Phats has become the latest high-profile musician to purchase a Prism Sound Orpheus Firewire Recording Interface.

“The sound is extremely detailed and transparent. Clarity, depth, separation and stereo imaging is breath-taking – my jaw hit the floor when I first heard it,” he says. “I found myself kicking back in the sweet spot and going through my music collection. Suddenly everything made sense.”

Phats runs the Orpheus through a SSL Sigma summing mixer and likes the unit primarily for its ability to lever both Prism Sound quality conversion and mic preamps into a 1U box and then cram it full of features. These include line, microphone and instrument inputs, selectable RIAA Equalization for turntables, a built-in premium-quality monitoring mixer for each output providing for performer foldback and surround monitoring, and concurrent ADAT and switchable S/PDIF or AES3 digital I/O plus support for outboard MIDI devices.

Phats, who has sold over 5m records in a career spanning nearly quarter of a century. adds that the Orpheus has fundamentally altered the way he works.

“From the moment I started working with the Orpheus I could see myself getting closer to the sound I had been searching for,” he says. “I decided to stop releasing tracks and focus on a goal: a new sound, a new direction.”

Pursuing the new path took time but now, eight months later, Phats and his management are in the process of releasing his new material.

“With the Orpheus I could instantly identify where I was going wrong in my mixes and productions. Once I could understand the mixing process with such detail and depth I was able to achieve exactly what I wanted,” he says.

The first track from the new ‘Phats & Orpehus’ partnership was Jason Phats & Fenton Gee’s \ \ H I T E \ \ A T E R (White Water), which caused a real buzz in Ibiza over the summer. There is plenty more to come too.

“Every day is a joy in the studio with the Orpheus and I am very proud of the new material I have lined up for the future,” he says. “The huge leap in quality has led to some great collaboration.”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Marvel’s Guardians of the Galaxy Recorded with DPA Microphones

Simon Hayes 2

 

Oscar-winning production sound mixer Simon Hayes relied on DPA lavalier mics to record Marvel’s film adaptation of Guardians of the Galaxy, directed by James Gunn.

Hayes, who first used DPA microphones as Production Sound Mixer for the film adaptation of Mamma Mia in 2008, has turned to DPA d:screet™ 4061 and 4071 miniature mics on every film he’s worked on since then. Recently these have included Les Miserables (for which Hayes picked up the Oscar and BAFTA for Best Sound Mixing) and upcoming releases Tarzan, directed by David Yates and Kingsman: The Secret Service, directed by Matthew Vaughan.

Hayes chose DPA miniatures for Guardians of the Galaxy so that he could capture original dialogue, right at the point of shooting. Given that Director James Gunn’s vision for the film was to preserve the authenticity and emotion of the actors’ performances, he felt this was the best way to serve the film and its creative team.

“It was clear from the first meeting with James Gunn that he wanted to capture original performances, which of course isn’t always easy when you’re talking about large budget special effects and action-driven visual effects type movies,” Hayes says.

“We knew that we were going to be shooting three or four cameras at all times so the DPAs took precedence over the booms on a lot of scenes. This meant that, in the final mix, at least 75% of the dialogue that made its way into the movie was recorded on DPA [d:screet] 4071s and DPA [d:screet] 4061s.”

Leading man Chris Pratt was fitted with the DPA d:screet 4061 omnidirectional mic. “We felt that the 4061 added a little something extra in the bass region for his voice, which was quite exciting,” Hayes continues. “All of the other characters used 4071s on their chest rigs and if we were rigging microphones in their hair or in their helmets, we used 4061s to increase the bass.”

As the title suggests, the sets for Guardians of the Galaxy were not going to be small. Finding regular-sized Sound Stages a little small, set designer Charlie Woods had sets housed in old Ministry of Defence buildings to allow enough space. This provided Hayes with a few hurdles to overcome sound-wise.

“That kind of environment isn’t as easy to record sound in as a sound stage, so I had a lot of background noise and a lot of reverb to contend with,” he says. “Again, the DPA mics excelled at rejecting that reverb and just capturing dry, up-front vocals for me.”

One of the things that really sets Guardians of the Galaxy apart from its kin in the superhero film genre is its esoteric 70′s soundtrack, which was integral to the way the sound was mixed. Hayes explains why this was a huge consideration when recording:

“Mixed in with the huge space sound-effects that the sound design team built for us, we really wanted close-up dry dialogue so that we could push the music and the effects harder, and that’s what the DPA mics helped us to do,” says Hayes, who collaborated closely with Alexandra Byrne (costume designer) and Dan Grace (costume supervisor) to design the mic placements used within the actors’ costumes.

“We had some really interesting rigs. For instance, Lee Pace, who plays Ronan, was wearing a helmet for his whole performance and we actually placed two 4061 mics into the helmet because the microphones were creating a tiny bulge. We wanted to have the bulge uniform, so we put one above each eyebrow, which not only gave a uniform look to the helmet, but it also gave us the opportunity to have two tracks running on Lee Pace’s dialogue.”

Ronan has a particularly dynamic part in the film, as Hayes continues: “This placement allowed Lee Pace more creativity in the way that he was playing Ronan and I was able to assure him that because we had the two 4061 mics on him, he could literally go from a whisper to a shout without us having any trouble whatsoever.”

Dave Bautiste, whose character Drax the Destroyer goes through the whole film topless, presented another challenge altogether, which meant finding an ingenious solution.

“We collaborated with the Special Makeup FX department and were able to have a [d:screet] 4071 basically rigged into the special makeup effects, which was applied to his upper body so it became part of a scar in the middle of his solar plexus,” Hayes says. “This meant that even though we had a topless man through the whole movie, in every single scene we were able to have a perfectly placed 4071. DPA’s are so reliable that you can have it buried under makeup and you know that it’s going to work all day, you’re not going to have any problems from them.”

With a run of over 18 films on which he’s used DPA microphones, Hayes concludes, “In the marketplace today there aren’t any lavalier mics that sound as natural and as transparent as DPAs. I feel that when I’m using a DPA microphone, I’m hearing actors through their performance rather than the microphone factoring it.”

After the box-office success of Guardians of the Galaxy, a sequel has already been announced, due for release in 2017.

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Fairlight Delivers the Gift of Great Sound at Sky Vision Sound Studios

Robert Thompson Sky Vision

 

London-based Sky Vision Sound Studios, part of the BSkyB/Sky Vision family, has recently completed a major upgrade of its Fairlight equipment to bring it in line with BSkyB’s UK broadcasting facilities in Osterley. The three-studio complex, two mix rooms and a prep room, has upgraded its Fairlight Constellation console with a Fairlight EVO, six of which are already in use at BskyB. It has also upgraded its XYNERGI system by installing the latest software version – a move that is already improving workflow.

Sky Vision’s Audio Supervisor and Senior Dubbing Mixer Robert Thompson says: “Although we have handled work for external clients such as SKY, the BBC, Universal and Channel 5, the majority of our work comes from Sky Vision. As work often moves between BskyB’s sound studios and ours, it made sense for us to have identical equipment. The dubbing mixers at BSkyB were obviously very happy with their Fairlight EVO’s and this, combined with our own good experiences of Fairlight, meant we had no qualms about upgrading our own desk.”

Tucked away in a Georgian Mews in the heart of London’s Fitzrovia, Sky Vision Sound Studios handles a variety of programming covering wildlife, docudrama, documentary, children’s TV shows, scripted content, sports and comedy. The diversity of the projects Sky Vision Sound Studios tackles is mind-boggling, as is the speed of turnaround this facility achieves.

“Last year we completed over 70 hours of broadcast TV, which for two mix rooms is pretty good going,” Thompson says. “That’s just shy of three hours a month – a lot of work by anyone’s standards. Of course none of this would be possible without the Fairlight systems we have in both rooms. It really is a credit to Fairlight we achieve what we do because you simply couldn’t get through such a large quantity of work without having a system that is so reliable and flexible.”

Sky Vision Sound Studio’s affiliation with Fairlight goes back to 1999 when the facility was first set up by dubbing mixer Trevor Barber. Thompson, who was brought in some years later to help increase the facility’s output, says: “I got switched on to Fairlight by Trevor because he wouldn’t use anything else. I didn’t start out as a Fairlight user – in previous jobs, and as a freelancer, I had mostly used Avid Pro Tools. But when Trevor first set up the studios he installed a Fairlight MFX hard disk recorder in Studio One. As soon as Fairlight introduced their new Xynergi range, Trevor came on board straight away. In fact, the Xynergi system we own and use today is serial number 5. It still works perfectly. The only thing we have changed is the operating software, which we have just upgraded again to the latest version.”

Thompson adds that transitioning from Constellation to EVO has been very straightforward, mainly because all Fairlight systems are very intuitive.

“We have had no issues moving over to the EVO,” he says. “Both Russell Skellon, who mainly works in Studio Two, and myself have been using Fairlight for a long time and we have so much experience that the system is almost second nature to us. I would say the same about XYNERGI and the upgrade to the latest software version. Setting up the XCS controller on the EVO so that it works the way we are used to was very quick to master and it was all so seamless that we were up and running almost immediately. The only thing that is taking a bit of time is exploring the new software features. We are now finding out all the new tricks it can do and it is already offering much greater functionality.”

As many users will testify, one of the main benefits of Fairlight is the ability to build customised workflows.

“We often have to deliver shows to multiple broadcasters worldwide, and with Fairlight I am able to build consoles and workflows that produce all the deliverables I need very efficiently,” Thompson says. “I also find editing on Fairlight incredibly intuitive because I can use the Picture Keys on the XCS to make my own controller and editor, which I design around my personal preference. It’s also really nice to personalise my common functions and assign them a macro so they can be done with just the push of a button. It gets me away from mouse based editing. The whole XCS mentality is quite exciting as it has the potential to operate as a controller across multiple applications.”

Thompson adds that Fairlight’s ability to accept and export multiple file formats is useful when the facility gets project from outside clients, “but to be honest we’ve honed the workflow between ourselves and Sky Vision to a point there this isn’t really relevant,” he says.

“What is useful, though, is Fairlight’s ability to give users two picture tacks at the same time.
If you are re-versioning and don’t get an EDL file that tells you what has been cut where, this can be a very tedious and time consuming process. With Fairlight’s integrated video we can streamline the process by running two picture tracks and comparing them in real time. This makes it much faster to manually make the cuts. It’s a great feature and one that really helps us.

“For example, the nature of our work is that we do quite a few versions of a specific programme mix. With the new software, we can easily conform all of our edits, including the mix, which was something we couldn’t do with previous versions. We’ve always had a good dialogue with Fairlight and this is something we’ve been specifically asking them to do, so having it now is just fantastic because it means we can work even faster as the whole reversioning process is now far more automated. Most other systems rely on third party software for this.”

Thompson adds that he is also looking forward to exploring the latest software’s new background recording feature, which offers lots of sound design potential.

“I’m still checking this out but it looks like another really useful feature,” he says. “You can record while you are scrolling and jog shuttling. It basically records anything passing through a specified output as a background task. I can also see this being useful for ADR because it saves the timeline becoming littered with takes.”

Having proved that Sky Vision Sound Studios can handle an annual output of more than 70 hours of broadcast TV on Fairlight’s previous software, Thompson is confident this can be exceeded now that the new version is in place. But despite all the time saving features the new EVO console delivers, he still feels the best thing about Fairlight is its sound quality.

“I suppose I’m a bit of a musician at heart,” he laughs, “which is why I really like the smoothness of the Fairlight I/O. Some of our clients are composers and musicians as well so it’s no surprise they also comment on how good this system sounds.”

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About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlight.com.au

DPA Microphones Makes Incognito’s Percussion Sound Crisp and Clear

Joao Caetano Incognito 2

 

Jazz Funk band Incognito celebrates its 35th anniversary this year and to mark the occasion the band was recently filmed at London’s Shepherd’s Bush Empire for a live convert DVD.

To ensure that the sound was as a tight as possible, Incognito’s percussionist Joao Caetano took along his own selection of DPA microphones including four d:vote™ 4099 Instrument Microphones and a stereo pair of d:dicate™ 4011A cardioid microphones, which were used as overheads for the recording.

“Normally I use d:dicate™ 4011A Cardioid microphones for studio work and rely on the d:vote 4099 Instruments Microphones for live performance. But on this occasion we were recording audio for a DVD so I supplemented the line-up with the d:dicate 4011As because I wanted to capture the best sound possible. Our front of house engineer, Chris Lewis, was very happy that I had brought them out of the studio for the task. He always insists that I use my DPAs on all our gigs.”

25-year-old Caetano is a fully fledged member of Incognito having joined Jean Paul ‘Bluey’ Maunick’s band in 2010. Originally from Macau, he came to the UK to study Music at Chichester University. Since graduating he has worked as a professional percussionist in the UK and has also composed and recorded music for television. Alongside his Incognito projects, Caetano has also worked and performed with the likes of Chaka Khan, Leona Lewis, Jessie J, Dionne Bromfield, Mario Biondi.

“Although I am primarily a percussionist, I am also very melodic because I studied violin for 12 years and guitar while I was at university,” he says. “I incorporate an awareness of other instruments into my work and I do like to capture the best sound possible, both in the studio and on the live stage. This is the main reason why I invested in my own selection of DPA microphones – in my opinion they are the best microphones in the world. They wipe the floor with everything else.”

Incognito tours every year and 2014 is no exception. The band are currently performing at various venues around Europe and Caetano takes his trusted d:votes with him wherever he goes.

“I use them on my congas and bongos because they deliver a really crisp, clear sound,” he explains. “They are very reliable and, of course, very portable because they are so small. I love the fact that they are well engineered and that they can be used on a range of instruments thanks to the clips that DPA has designed for them. Everything about them is good – even down to the cables and the case they come in. Compared to other microphones, they are streets ahead and once you have tried them you never go back to anything else.”

Joao Caetano is also working on a solo album project and says this will be recorded with DPA microphones because he wants it to sound ‘beautiful’.

“I’m playing guitar on this album and I’m definitely using my d:dicate 4011A microphones to capture that,” he says. “I have also been recommending DPA microphones to other musicians that I work with and am more than happy to point them in the direction of DPA’s UK distributor Sound Network, who were a great help when I was buying my own microphones.”

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Prism Sound Announces A Drum Masterclass In Germany

Gavin Harrison

Internationally acclaimed drummer Gavin Harrison is collaborating with Prism Sound to deliver a unique Drum Masterclass, which will take place at KMR Audio in Berlin on Saturday November 1, 2014.

Harrison has worked with a wide range of artists including Iggy Pop, Porcupine Tree, Sam Brown and King Crimson. His Masterclass in Germany will focus on techniques for recording drums in a studio and will give those attending the opportunity to record a track on his Sonor drum kit.

Harrison recently gave a similar Masterclass at Ananda Studios in the UK, which was hugely successful. Prism Sound supported that event by providing audio interface equipment.

Bernard Nocker, Prism Sound’s sales representative in Germany, says: “We were so inspired by it that we decided to host another event in Germany where there is enormous demand for this kind of hands-on workshop. Gavin is an inspiring teacher and during the Masterclass he will focus on the demands of being a session player and how to deliver a great performance, even when under pressure. He will also give each attendee individual feedback so that they can raise their game to another level.”

To ensure the highest possible audio quality throughout the recording chain, Prism Sound will once again deploy a number of its Atlas USB audio interfaces to track the microphones from the drum kit into Logic. Aimed squarely at multitrack recording applications, Atlas benefits from Prism Sound’s 27 year history in digital audio processing and interface design. It incorporates the company’s latest award-winning CleverClox dual hybrid clocking technology and offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot. With eight acclaimed Prism Sound microphone preamplifiers as standard, Atlas is ideally suited to the needs of drummers.

Gavin Harrison’s Prism Sound Drum Masterclass runs for three hours and is not suitable for beginners. Capacity is limited to a maximum of 12 participants and the cost of the session is €150 per person. Anyone wanting to attend should visit:

http://www.prismsound.com/music_recording/store/store_offers3.php?lng=de

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

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Fairlight Unveils the Next Generation of Audio Post Production

CC-2 w Optional MADI Expansion Cards HR Smaller

Internationally acclaimed as the first company in the world to introduce FPGA technology to the audio post production business, Fairlight has now consolidate its position as an innovator with the launch of its second generation Crystal Core (CC-2) technology.

Hailed as the most powerful post production audio engine ever created, CC-2 incorporates an impressive 1000 playback channels, 100+ output buses and 100 live inputs. When teamed with Fairlight’s new V5 operating software, it offers the ultimate professional solution for the demanding delivery requirements of today’s broadcast industry.

In keeping with Fairlight’s long tradition of seamless upgrade paths, CC-2 is entirely compatible with the audio hardware currently operating with the company’s established CC-1 engine.

Tino Fibaek, Fairlight’s Chief Technical Officer, says: “Future proofing our technology has always been at the heart of our business philosophy. With the launch of CC-2, we have ensured that existing Fairlight customers can easily upgrade without having to replace their current audio interfaces or control surfaces. This means they can extend the life of their original hardware investment, whilst benefiting from the increased capacity that CC-2 brings.”

Fairlight’s CC-2 engine features a processor chip that is five times more powerful than the chip in its CC-1 engine. It also has four times the PCIe bandwidth, new dual channel memory architecture, an on-board expansion slot and almost twice the MADI connectivity.

Augmenting Fairlight’s renowned editing model, V5 sees the addition of Clipbender, an enhanced time compression and expansion feature allowing audio within a single clip to be aligned to picture, with multiple bend points and real time non-destructive processing.

Fairlight’s V5 software has advanced to a full 64-bit application, allowing unrestricted access to the full power of Intel’s latest processors. The associated increase in memory and speed delivers more simultaneous plug-ins, more video formats and larger media files. When used in combination with CC-2, this platform delivers faster than real-time, offline mixdown.

Also developed a part of the new 64-bit architecture is a brand new video engine, leveraging GPU acceleration for real-time video processing, offering support 4K video resolution, and features built-in HEVC decoding.

For more information about Fairlight’s new CC-2 audio engine and V5 software, please visit www.fairlight.com.au

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About Fairlight:

Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.

www.fairlight.com.au

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DK-Technologies Appoints Anders Kjempff As New Sales and Marketing Director

Anders Kjempff

DK-Technologies has announced the appointment of Anders Kjempff to the position of Sales and Marketing Director, with responsibility for promoting the company’s range of audio and video metering products including the award winning DK Meter. He will be based at DK-Technologies’ head office in Herlev, Denmark.

Kjempff brings extensive management experience to the role having previously run his own IT sales company, which he sold earlier this year. Prior to that he spent nine years with broadcast transmission company ProTeleVision Technologies (PTV) where he was Sales and Strategy Director.

Karsten Hansen, CEO of DK-Technologies, says: “There is a real sense of ‘Sliding Doors’ about Anders’ appointment because, in a parallel dimension, he should have joined the company in 2001 when DK bought the Studio Products Division of PTV. At that stage he was working for the part of the company that we didn’t buy, and that’s why he didn’t come across then. I am really delighted that our paths have finally come together. Anders has so much industry experience and is such a consummate sales and marketing professional that this is really great news for the future of DK-Technologies.”

Commenting on his appointment, Anders Kjempff adds: “I have known about DK-Technologies for many years and have always admired its approach to product design and development. DK products are conceived from a blank sheet of paper – there are no third party algorithms or components because everything is designed from scratch with no compromise. That is why the company has such a strong international reputation for quality. I am delighted that I am now part of this because I share the same values. Coming to DK really does feel like coming home.”

Under Kjempff’s guidance, DK-Technologies will be looking to promote its world class products and expand its sales network on a global scale.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

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Prism Sound’s Audio Test Equipment Plays a Pivotal Role at BW Broadcast

Scott Incz BW Broadcast

Croydon-based BW Broadcast has increased its stock of Prism Sound audio test equipment by investing in two more dScope Series III Digital Audio Analysers, bringing the total number of units it owns to nine.

Founded in 1997 by Scott Incz and Roger Howe, BW Broadcast designs and manufactures cutting edge but affordable broadcast equipment for FM, AM, HD Radio and Internet broadcasting. Known for its innovations in low-power FM transmission, RDS encoders and processors, BW Broadcast has undergone rapid growth in recent years thanks to the development of a successful range of DSP products including its V2 FM transmitters and the DSPX range of audio processors.

“To support our growth, we have recently taken on new staff in all departments,” Scott Incz says. “We have also increased production to meet demand and this has resulted in an expansion of our product test facilities so that we can maintain high standards of quality control.”

Incz says that Prism Sound’s dScope Series III has played a pivotal role at BW Broadcast since the company acquired its first analyser 10 years ago.

“When we first decided to buy an audio analyser we looked at products from a couple of different companies and eventually chose Prism Sound’s unit because it offered more functionality,” he says. “Obviously, price was a consideration but I don’t like the way that some companies sell you a basic product and then charge you more for plug-ins or additional features. In Prism Sound’s case, the dScope Series III was a single box that did everything I needed it to do – and, of course, it was British-made, which was also a bonus.”

Prism Sound’s dScope Series III audio analyser is a powerful audio test solution that leads the way in advanced generation and analysis tools. Used in both R&D labs and production lines around the world, dScope Series III includes precision analogue and highly-optimised digital outputs and inputs. Precise and automatic gain-ranging allows high resolution measurements over a massive range, from a few micro-volts to more than 150 volts RMS, and from less than 1 Hz to over 90kHz. Its interface processor uses dedicated DSP to provide a wide range of real time measurements, while its software uses the host PC for almost unlimited number crunching and analysis options such as Fast Fourier Transforms, unique ‘FFT Detectors’, swept sine and multi-tone testing. Designed to be highly programmable, the dScope Series III can be automated from a wide range of third-party software using Active X controls, or internally using VBScript.

BW Broadcast is using its latest Prism Sound dScope units in two new, state of the art Automated Test Equipment (ATE) systems, which are quality checking its range of transmitters, receivers and digital audio processors.

“Our new ATE systems incorporate various manufacturers’ products including Prism Sound’s dScope,” Scott Incz says. “The system is incredibly fast and each system can test up to 40 products a day. It is also very easy for our staff to use – they just load up the unit being tested, select the model on the computer programme, enter the serial number and press go. 15 minutes later they have 200 test results, all of which are stored to a central database. This means that if a customer has a problem with one of our units – even if it is years later – we can access all the original data to help resolve the issue.

“Prior to installing our new ATE systems, we spent hours checking every piece of equipment and inevitably mistakes would occur. The two identical ATE systems have made a huge difference to our productivity and we are now looking to add a third one.”

Scott Incz added that dScope Series III is a central piece of the jigsaw. “We couldn’t operate our ATE without it,” he says. “We use dScope to test every aspect of our products’ audio performance, including measuring the performance of our DSP code. dScope allows us to carry out numerous audio-related tests and always gives accurate results. We particularly like the FFT multitone testing feature because it allows us to take multiple measurements at the same time, which really speeds up the testing process.”

Although Prism Sound can offer computer scripts for production line testing, BW Broadcast decided to commission its own script for its ATE.

“We went the custom script route because we wanted our ATE to work with lots of different test products,” he says. “It took over a year to develop our custom script and we soon discovered that the parameters were moving as the development went along. This is inevitable with computer scripting – the system you end up with is not necessarily the one you thought you would get. Since our ATE went live just over a year ago we’ve done a number of re-writes and tweaks, which have improved it even further.”

BW Broadcast sells its products to radio broadcasters all over the world, as well as to movie theatres and sports stadiums. The company’s Award-winning technology has recently been used in both the Soccer and Rugby world cups and the Olympics.

The company also works with major car manufacturers, supplying high performance testing for their in-car entertainment development and production lines. Its engineering department also routinely works on custom and ‘special’ transmission projects for non-profits, charities, governmental and military organisations.

For more information about BW Broadcast, please visit www.bwbroadcast.com

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

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