Archive of the Sound for Picture Category
Matched Sets of CU-29 Copperhead, AK-47 MkII and AR-51 Mics
 Pictured are matched pairs of TELEFUNKEN CU-29 Copperhead, AK-47 MkII and AR-51 Mics
TELEFUNKEN Elektroakustik of South Windsor, CT is introducing stereo sets of microphones from its popular and affordable R-F-T series of large diaphragm vintage tube microphones at AES 2012.
The AR-51, AK-47mkII, and CU-29 microphone systems, now being offered in matched stereo sets, feature a custom dual power supply capable of powering both microphones at one time, as well as a locking flight case that contains both microphones, cables, shock mounts, and wooden mic boxes. All the electronic components in each system are matched sonically and electronically, including matched capsules, transformers, and vacuum tubes.
AR-51 Stereo Set
The R-F-T AR-51 was designed to incorporate the amplifier circuit of the C12 and ELA M 251E into a more affordable package than its Diamond Series counterparts. This circuitry has been a favorite for hi-fidelity stereo pair recordings for decades. TELEFUNKEN Elektroakustik has taken this classic sound and developed the AR-51 Stereo Set.
The result is a vintage sounding microphone with a smooth mid-range, open top end, and a solid, well-balanced low frequency translation. The AR-51′s distinct character is great on anything from vocals to drums to acoustic guitar to saxophone. With a matched pair of AR-51′s, several stereo recording techniques can be executed for any source from drum overheads, acoustic guitars, piano and percussion to larger sources such as orchestras, choirs, and large chamber groups.
AK-47 MkII Stereo Set
The R-F-T AK-47 MkII began as a unique design to incorporate key elements of classic circuits such as the U47 and M49. These design decisions created a microphone with a rich and warm low-mid frequency response ideal for vocals, bass (acoustic and electric), brass instruments, and drums. With these applications in mind, TELEFUNKEN Elektroakustik has developed the AK-47 MkII Stereo Set. The AK-47 MkII in a uniquely voiced microphone with superior high frequency detail and rich low-end qualities. The Stereo Set lends itself to a wide array of stereo recording applications.
CU-29 Copperhead Stereo Set
Since its introduction, the R-F-T CU-29 Copperhead has proven itself equally useful on vocals, acoustic instruments, guitar amps, and drums. The amplifier in the CU-29 Copperhead features a new old stock TELEFUNKEN 6AK5W vacuum tube, Lundahl LL1935 output transformer, and a single-membrane version of the large diaphragm capsule used in the AR-51 and AK-47 MkII.
Sonically, the CU-29 Copperhead is a hi-fidelity microphone with a present but not harsh character. The microphone provides a warm, clear low end complemented by a smooth high end, with a delicate and intimate air to it.
Hear the entire line of TELEFUNKEN mics at AES Booth #1224
To learn more about TELEFUNKEN Elektroakustik, visit: http://www.t-funk.com
Gear Stays On Track for Rigorous Filming Schedule
 LOS ANGELES — When it comes to audio recording for reality television, Stickman Sound Owner and Sound Supervisor Fernando Delgado is an expert. With a wide range of shows in production, including Design Star on HGTV, The Devil’s Ride on the Discovery Channel, Top Shot on the History Channel and UFC Presents The Ultimate Fighter on FX, Delgado and his crew have come to rely on Sound Devices and its digital recorders, mixers and accessory products while working on multiple projects in the field. Armed with an arsenal of Sound Devices 788T Digital Recorders with CL-9 Linear Fader Controllers and Sound Devices 552 Field Production Mixers, Delgado and his team can handle anything their demanding slate of projects throw at them.
On FX Network’s The Ultimate Fighter, Delgado employs seven Sound Devices 552 based field audio packages, each with, four Lectrosonics 411a’s and a Schoeps CMIT Shotgun mic along with a Zaxcom Stereoline camera link system. The sound department deploys eight production sound mixers, a multi-track engineer and three audio assists who manage media, freshen batteries and troubleshoot any issues that may arise.
On Design Star, Delgado used six 552s and two 788Ts with two CL-9s, mostly to capture dialogue. The show, shot primarily in the field, kicked off with a cast of 12 contestants, three judges and a host, with each episode seeing the elimination of one contestant. As a predominately field-based reality show, Delgado used two 788Ts with CL-9s on a cart. Whether the contestants were in the field completing challenges or in the studio, the 788T was a mainstay in his rig.
All of the reality shows Delgado works on present some interesting and unique recording challenges. According to Delgado, “You never know what to expect when working in reality television. For instance, a unique aspect of recording the show Top Shot is that all of the gunfire is real. The show does not use any canned audio. When we’re not shooting the challenges for each episode, we take our two Sound Devices 788Ts into the field along with a sizable array of microphones and spend hours capturing audio. The producers want every weapon to sound exactly as if you were standing right next to it and the 788Ts do a fantastic job of capturing these sounds.”
The Devils Ride, which chronicle’s life inside one of Southern California’s motorcycle clubs, is another interesting project for Delgado, as it was recorded documentary style, with a skeleton crew. There were two camera teams, each with two cameras, and a sound mixer with a 788T, seven wireless receivers and a boom. Delgado and his team followed the bikers throughout their travels and captured everything along the way. The motorcycle effects were captured mostly through booms, with a lot of the recorded audio captured off lavalier mics.
“The quality of the build of Sound Devices products is what sets them apart from the rest,” adds Delgado. “I feel confident that if I dropped the recorder on the ground by accident, I could pick it up, dust it off and go right back to work without needing to check to see if I broke anything. Sound Devices consistently puts road-worthy equipment out there, and in my line of work that means everything.”
The Sound Devices 788T boasts eight full-featured inputs and records up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in a compact package. Sound Devices CL-8 is a powerful mixing control surface for its 788T recorder. Its large rotary faders and push buttons bring extensive mixer-type control to 788T inputs. The lightweight CL-8 can be used either mounted or remote from the 788T.
Sound Devices 552 contains five precision, high-dynamic range, transformer-balanced microphone inputs with expanded gain and headroom. The studio-grade inputs have their own limiter, sweepable high-pass filter and pre- or post-fade direct output. Additionally, Sound Devices 552 has an integrated two-track, 24-bit digital audio recorder that writes Broadcast WAV files (BWF) or MP3 files to SD and SDHC media. The recorder is ideal for applications where high-quality, 24-bit local recording is required.
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The thirteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.
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 **** Photo: Bud Raymond **** For those audio professionals working ‘in the trenches’, the ability to capture sound accurately and reliably the first time around is of paramount importance. There simply isn’t much opportunity for another take. That’s precisely why Bud Raymond, a location sound professional who works in TV and film, relies on Digital Hybrid Wireless® technology from Rio Rancho, NM-based Lectrosonics. more
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Match Microphones and Musical Instruments for Best Sound
 Pictured during rehearsals for his world tour is Steve Vai holding his iPad showing the new Ocean Way Microphone Locker app. Photo by David Goggin. Steve Vai has produced the new Ocean Way Microphone Locker app, based on the renowned CD-ROM created in the 90s, and long unavailable. Utilizing Allen Sides’ microphone collection at Ocean Way Recording studios in Hollywood, this new app allows the recording engineer to easily find the right microphone for the right instrument .
“When the app revolution hit, I remembered that great CD-ROM and knew it would make an extraordinary app,” explained Steve Vai. “I acquired the rights for the Ocean Way Microphone Locker CD-ROM contents and worked with Allen Sides, who is a very good friend, and Metal Sidecar, LLC to build an app from the material. Metal Sidecar did a fabulous job and the app is phenomenal. You can actually access Allen’s mic collection and match them with a complete range of musical instruments. You get tips on the best miking techniques and can listen to samples played by top session cats like Hal Blaine on drums.”
Allen Sides is considered the world’s leading authority on vintage and contemporary recording microphones and their uses. Sides owns the world’s premier microphone collection. He is also the owner of Ocean Way and Record One recording studios, is a legendary Grammy-winning engineer with close to 40 years of experience, and has worked with everyone from Frank Sinatra to Green Day. In this app, secrets are revealed on how to pair the right microphone with the right instrument with its optimum placement. This app also contains a comprehensive list of microphones and instruments and gives diagrams and specs on each.
The Ocean Way Microphone Locker app features tests of 66 mics and 33 different instruments, including drums and cymbals, percussion, guitars, a Hammond B-3 organ and a wide variety of brass, woodwinds and strings. The microphones include models from: AKG, Audix, Audio-Technica, B&K, Beyer, Coles, Crown, Electro-Voice, Groove Tube, Milab, Neumann, RCA, Sanken, Schoeps, Sennheiser, Shure, Sony and Telefunken. Sort by microphone to check out the best instruments for each, or sort by instrument to see which mics work best.
David Schwartz, co-founder of Mix magazine, produced the original CD-ROM that this project was based on, and coordinated the conversion of the original recordings and media into the app format with Steve Vai, Eric Theriault (with the rest of the app development team at Metal Sidecar) and Greg Wurth.
Priced at $9.99, the Ocean Way Microphone Locker is available at:
http://itunes.apple.com/us/app/ocean-way-microphone-locker/id557997768?mt=8
For information about Ocean Way, visit:
http://www.oceanwayrecording.com
Contact Robin Goodchild for all booking requests.
Email: rob@oceanwayrecording.com or call 323-467-9375.
 **** Photo: Andrew Garrison **** Few production environments are harder on electronic equipment than those commonly encountered by location sound professionals. From sun and sand to snow and ice, the gear must keep working. Failure here brings a project to its knees. For independent filmmaker Andrew Garrison, C.A.S., an assortment of challenging conditions put his Lectrosonics wireless transmitter and receiver systems to the test during the filming of his documentary feature TRASH DANCE, the story of a choreographer who finds beauty and grace in garbage trucks, and against the odds, rallies reluctant city trash collectors to perform an extraordinary dance spectacle. more
Enhanced Surround Sound Analyzer Now Supports Blu-ray Disc 7.1 Format
 AMSTERDAM, SEPTEMBER 9, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will introduce new options and functional enhancements for its SurroundControl 31900/31960 and SurroundMonitor 11900 ranges at IBC 2012 (Stand 8.E76). The SD device versions of these products are shipping with a new 3G-enabled SDI de-embedder and Dolby(r) E, Dolby(r) DD+ and Dolby(r) AC-3 decoders.
In addition to several minor improvements, the current device firmware now supports the 7.1 DD+ format, ensuring compliance with current 7.1 surround formats for Blu-ray discs and other applications. The 7.1 DD+ format has been implemented alongside the existing 7.1 Cinema format on the SurroundControl and SurroundMonitor systems.
The Surround Sound Analyzer brings the clear and intuitive display method of the original 5.1 format to the enhanced 7.1 arena. Similar to the center channel, the unit displays the newly added side channels using color-coded lines. This way, the user can assess the relationship between the side channels and the phantom sources produced by the lateral-front and rear channels at a glance.
The new software release, featuring a correlation display depicting all possible 7.1 signal combinations, is ideal for professional users working with the 7.1 format. The multicorrelator display has been expanded to read out low-frequency phase errors of all channels versus the LFE, allowing users to make any corrections before phase problems show up acoustically or in bass-management systems.
 Featuring the integrated monitoring controller, as well as an optional 3G SDI de-embedder and Dolby(r) decoder, the SurroundControl 31900/31960 flagship unit integrates seamlessly into the production workflows of today’s broadcast applications. The units implement all major loudness standards, including EBU R128, ITU-R BS.1770-2/1771, ATSC A/85 and ARIB. RTW’s Loudness Range (LRA) instrument features the MagicLRA mode, a simple and intuitive view displaying integrated loudness and loudness variances within short time periods. Apart from the monitoring controller, the eight-channel SurroundMonitor 11900 implements all the same metering functions from the SurroundControl systems.
“Today, the broadcast and media industries face an increasing demand for 7.1 audio due to Blu-ray discs and other current distribution formats,” says Mahmoud Chatah, director of marketing and sales, RTW. “The integration of the 7.1 DD+ format in the SurroundControl 31900/31960 and SurroundMonitor 11900 product lines once again demonstrates RTW’s constant commitment to its customers’ evolving needs.”
September 4, 2012— Verbatim Studios announced this week the hiring of award-winning TV and radio mixer, Billy Harper. Formerly of CityVox, Harper has almost two decades of experience editing and mastering for video games, as well as extensive knowledge of voice recording and engineering in almost every medium.
Prior to his time at CityVox, Harper spent several years working with both Photomag and National Recording. Harper brings with him an impressive roster of clients including, Saatchi & Saatchi, Publicis, Deutsch, J. Walter Thompson, Red Car, Merkley+Partners and Uniworld Group.
“Billy is the perfect addition to the studio talent we already have in place at Verbatim,” said partner Dan Price. “His range is what will serve him well here. From his gaming work, to his VO expertise, he pretty much does everything—and gets awards for it, too. Which we like around here. We’re excited to have him.”
About Verbatim Sound Studios
Founded in 2002 as 38 Greene Studios, Verbatim is a recording and production facility located in the heart of Midtown New York City. Verbatim has established itself as one of the country’s most regarded facilities, working with virtually every major advertising agency (BBDO, Grey, Saatchi, Kirshenbaum & Bond, Cliff Freeman, Uniworld, McCann Erickson, Merkley, and Wieden + Kennedy) in New York and some of the world’s most prestigious brands, including AT&T, MTV, DirecTV, Google, Staples, & CBS Television. Verbatim is owned by brothers Dan and Jim Price, founders of Oink Ink Radio; for more information about us, please log on to www.verbatimstudios.com.
 **** Photo: Fernando Delgado (left) and engineer John Steigerwald (right) **** Today’s reality TV shows focus on everything from interior and clothing design to marksmanship and even kitchen warfare. None of them, however, show brute athleticism quite like FX Network’s The Ultimate Fighter. The show features up and coming MMA (mixed martial arts) fighters in Las Vegas and follows them as they train and compete against each other for a contract with the UFC (Ultimate Fighting Championship). Capturing audio for the show is anything but routine. With demanding production schedules and being among one of the most RF saturated cities in the country, the show’s audio relies heavily upon a sizeable arsenal of wireless microphone technology from Rio Rancho, NM-based Lectrosonics. more
Sound Devices is a Staple in Ronan Hill’s Production Sound Rigs
BELFAST, N. IRELAND, AUGUST 23, 2012 — Emmy-nominated Production Sound Mixer Ronan Hill, currently on set for the third season of HBO’s Game of Thrones, has once again tapped digital audio recorders from Sound Devices to help record dialogue and ambiance for the fast-paced dramatic series. The company’s 788T recorder has become a mainstay in his cart-based and portable sound rigs.
Game of Thrones, a medieval fantasy television series created for HBO by David Benioff and D. B. Weiss, is an adaptation of A Song of Ice and Fire, George R. R. Martin’s series of fantasy novels chronicling the violent dynastic struggles among several noble families for control of the Iron Throne. With a character count of more than 300, a typical Game of Thrones scene can have more than 10 principal characters speaking. In order to keep ADR to a minimum, Hill is tasked with capturing all the dialogue on location as well as recording ambiance.
A loyal customer of Sound Devices, Hill first used a 744T recorder for the feature films Kings and Hunger, which earned IFTAs (Irish Film and Television Award) for Best Sound. He also used the 744T to record Five Minutes of Heaven and The Eclipse, which also garnered IFTA nominations.
Hill used Sound Devices 788T on the first season of Game of Thrones, which won CAS and IFTA nominations for Best Sound. At the start of season two, Hill invested in a Sound Devices 788T-SSD, which became his main recorder on the cart, with the 744T used as a cart-based, two-channel backup. His original 788T became his dedicated portable run-and-gun recorder and is fitted with a Sound Devices CL-8 mixing controller. It is always on stand-by for when Hill is on-location.
Hill’s rig consists of Sennheiser MKH 60s and an MKH 70 outside and mostly MKH 50s for interiors. The show, primarily shot in Northern Ireland, takes place in a lot of remote and hard-to-reach locations. Through his tenure on the series, Hill has encountered all environmental conditions; including extreme cold in season one and a hurricane in season two. On many of these on-location shoots he relies on Audio Ltd. radio mics and DPA 4071 lavalier mics to provide isolation from the environmental conditions. Hill also uses Audio Ltd. 2040 radio mics with an RK6 (six-channel radio rack) on his cart and one or two RK3s (three-channel radio racks) in his portable setup, so he can quickly go from cart to portable.
The cart-based 788T-SSD is also fitted with a Sound Devices CL-8, which allows inputs one and two (the boom and lav mix) to be mixed to the left channel to produce a production mix for editorial and dailies. No audio is recorded at the camera. Hill also has a Sound Devices CL-WIFI, which is very useful for track-naming, among other benefits.
Game of Thrones is shot on the ARRI ALEXA. The time-code on all cameras and recorders is set to 23.976 fps. The 788T-SSD’s rock-steady time-code lends itself to being the master time-code generator. The ALEXA holds time-code well, and if jammed after a frame-rate change or the battery is removed for too long, sync issues are averted.
“I have always found the Sound Devices recorders to be very flexible, reliable and user friendly, but most of all they sound fantastic,” says Hill. “They get used in all conditions and always perform well. I can’t wait to hear what they come up with next.”
The Sound Devices 788T boasts eight full-featured inputs and records up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in a compact package. Based on the 788T, the Sound Devices 788T-SSD includes a factory-supplied 256-GB solid-state hard drive, allowing for superior performance in the field.
Sound Devices CL-8 is a powerful mixing control surface for its 788T recorder. Its large rotary faders and push buttons bring extensive mixer-type control to 788T inputs. The lightweight CL-8 can be used either mounted or remote from the 788T. The Sound Devices CL-WIFI allows users to control the already powerful 788T from anywhere on set. CL-WIFI works together with its companion iOS software app to allow iPads, iPhones and iPod Touches to control a connected 788T. The CL-WIFI turns an iOS device into a simple, portable control surface, enabling a sound mixer to move around on set, away from the sound cart, while still retaining extensive control and monitoring of the 788T recording system.
Sound Devices, LLC designs and manufactures portable audio mixers, digital recorders and related audio equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The thirteen-year-old company designs and manufactures from its Reedsburg, Wisconsin, headquarters with additional offices in Madison, WI, and Highland Park, IL. For more information, visit the Sound Devices website www.sounddevices.com.
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