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Archive by Sue Sillitoe

DK-Technologies Steps Up Audio and Waveform Monitoring at IBC 2013

DK-Technologies is using the IBC 2013 platform to launch the PT0800 Audio and Waveform Monitor. This flagship addition to the DK range introduces a unique combination of Audio, Loudness and Waveform monitoring at the highest precision, allowing it to blend into virtually any metering application.

On show at DK-Technologies’ IBC 2013 stand (8.B60), the PT0800 offers broadcasters an extended collection of high quality video and waveform monitoring tools. The video section is flanked by an audio toolbox, complete with Bargraphs, Moving Coil Emulation, DK’s proprietary StarFish™ display technology, FFT spectrum analysis and much more. In addition, the PT0800 complies with all major broadcast standards and includes Loudness and True Peak logging.

The DK-Technologies’ PT0800 is highly customizable and allows for virtually any combination of audio and video tools to be viewed and adapted to the specific application and use. The user interface functionality can be tailored to accommodate the functions, views and features desired by the end-user.

“The PT0800 is the most flexible and customizable high quality metering unit on the market today,” says Uffe Kjems, DK-Technologies Product Marketing Director. “This product will make audio and video engineers’ lives much easier and will help broadcasters cope with the fast changing requirements that they face.”

The PT0800 hardware is modular and allows for input/output choices of AES, HD SDI, Analogue, and Dolby E formats, enabling up to 4 camera inputs alongside up to 64 audio inputs and 16 outputs, all under preset control.

DK-Technologies will start shipping the new PT0800 Audio and Waveform Monitor from October, 2013. If you would like more information about this product, please visit www.dk-technologies.com or visit the company at IBC 2013 – Hall 8, Stand B60.

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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.

Ethix Management Appoints Doug Maddison At Technical Director

Event production specialist Ethix Management has marked an exceptionally successful 12 month trading period by appointing Doug Maddison to the position of Technical Director.

The company, which produces a wide range of events from product launches and outdoor festivals to corporate hospitality, has recently undergone a major corporate restructure, and Maddison’s appointment is the next step in that process.

Paul Jones, founder and Managing Director of Ethix Management, explains: “In 2012, Ethix partnered with the Star Events Group to provide technical production, including sound, lighting and power, for the Olympic and Paralympic Torch Relays around the UK. In order to cope with the additional workload, I took the decision to split the company into two separate entities – Ethix Management, to service our existing clients, and the newly formed Ethix Production Services, to service the Olympic contract.

“Both companies have been incredibly successful and have attracted many new clients and projects, therefore I needed to strengthen the management structure in order to keep up momentum and take the businesses forward into the future.”

Doug Maddison, who has been with Ethix Management for five years, has now taken on responsibility for running the technical side of the business, leaving Jones free to concentrate on winning new contracts.

“Doug is highly experienced in the technical side of event production and is the ideal person to help drive the company forward,” Paul Jones adds. “I am confident that with Doug as part of the management team we can continue to grow both companies and deliver the same high levels of quality and service that we are renowned for.”

Ethix is currently involved in a number of high profile productions around the world. It recently provided event production for the Big IF Rally in London’s Hyde Park and for the Get Reading Festival, which attracted thousands of people to London’s Trafalgar Square. Its next major project will be Now or Never, an art installation project organised by the Vienna Tourist Board, which takes place simultaneously in Vienna, London and Berlin in September 2013.

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About Ethix Management:
Ethix Management has been providing rental services for over 10 years and supplying professional production solutions across multiple platforms for large scale outdoor events. Ethix is listed with the UKTI as a supplier for major sporting events in the Springboard to Success Directory. It has supplied many G8 and G20 summits in Europe on behalf of Associated Press and has worked for Broadcast Solutions as a supplier for CHOGM in Malta, Uganda and the forthcoming Sri Lankan meeting in 2013. The company has seen a substantial growth in 2012-2013, with work ranging from the Queen’s Jubilee Celebrations on Piccadilly for Bliss Events, to the technical supply of the Vital Venue in Derry-Londonderry City of Culture 2013, working in partnership with Star Events Group.

For more information about Ethix Management, please visit:
www.ethixmanagement.com

Ellie Goulding Switches To DPA’s d:facto™ Vocal Microphone

Award-winning singer songwriter and multi-instrumentalist Ellie Goulding has switched to a DPA d:facto™ Vocal Microphone after trying it for the first time at the Chime for Change concert, which took place in London in June.

Currently touring in the USA to promote her second album, Halcyon, Goulding is now using the a wireless version of the d:facto Vocal Microphone for all of her concerts.

Goulding’s Front of House sound engineer Oz Bagnall and monitor engineer James Neale were introduced to the d:facto Vocal Microphone by Dave Kay at Adlib Audio. He recommended it as an ideal replacement for the hardwired microphone she had been using on her previous European tour. DPA’s UK distributor Sound Network was able to arrange a demo just prior to the Chime for Change concert, and Bagnall and Neale were so impressed by its performance that they bought one.

We both felt it was the best microphone for Ellie,” James Neale says. “She is really happy with it and is now using it for all her live performances.”

Oz Bagnall adds: “During Ellie’s European tour we struggled with level and ambient spill on her vocal, so we used a mic that was discontinued several years ago and was only available as a hardwired version. From that point our search was on to find a modern microphone with similar rejection but hopefully with better quality sound. We tried out a lot of different microphones before demoing the DPA d:facto Vocal Microphone. Apart from sounding amazing, it was the only microphone that was able to deliver what we wanted in terms of rejection, plus it allowed us to go back to a wireless system which gives Ellie much more scope to move on stage.”

Goulding’s first proper try out with the DPA d:facto Vocal Microphone came at the Chime For Change concert, which also featured artists such as Beyoncé, Jennifer Lopez, Jessie J, Rita Ora and Florence and the Machine. The microphone was supplied via Adlib Audio by DPA’s UK distributor Sound Network.

“During the first sound check Ellie did find the change in tonality a little disconcerting because she wasn’t used to it, but we persuaded her to use it for the show and in the end she was very happy with the result,” Oz Bagnall says. “At FOH, the microphone was a huge success as I had all the level I needed and much improved audio quality and clarity. I especially like its flat response and virtually no low end proximity effect.”

Oz Bagnall demoed the DPA d:facto Vocal Microphone with a Shure wireless system, but he is now using it with his existing Sennheiser system.

He says: “At Chime for Change our slot in the concert program put us on the side stage so that the main stage could be reset for Beyoncé. This meant that Ellie was in front of and in between the SL main and side PA hangs, which from a sound quality perspective is not an ideal position. However, thanks to the DPA d:facto Vocal Microphone, the sound we got in the stadium was great. I was so pleased that we were able to take delivery of the wireless version of the d:facto before Chime for Change – and very grateful for the help Sound Network and Adlib Audio gave us.”

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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 on DPA Microphones, please visit www.dpamicrophones.com

Masterlabs Chooses a Prism Sound Lyra Audio Interface For Dedicated Analogue Conversion

Masterlabs, Ireland’s leading audio mastering facility, has invested in a Prism Sound Lyra audio interface, which it is using in conjunction with its SADiE 6 digital audio workstations.

The facility has attached Lyra to its analogue tape machines and Dolby units where it is performing dedicated high end stereo AD/DA conversion. This configuration allows Masterlabs to capture 192kHz files and feed them directly into its SADiE 6 workstations.

Masterlabs’ founder and managing director Aidan Foley says: “Prism Sound’s new Lyra audio interface is fantastic. Apart from being incredibly easy to use, it is providing us with very high quality audio conversion and an extremely stable clock. By keeping it separate from my mastering chain AD/DA converters, I can use it directly at the analogue source.”

Based in Dublin, Masterlabs operates from a purpose built facility that was designed from the ground up to meet exacting specifications. Since its formation in 1996, initially under the name of Digital Pigeon Mastering, the company has tackled mastering projects for some of the best Irish and International talent.

Prior to acquiring a Lyra, Foley put the unit through a shoot-out against other renowned converters to ensure that he was making the right choice.

“We already own a number of Prism Sound products, including a Maselec MEA-2 mastering equalizer and a Maselec MLA-2 mastering compressor limiter, so we knew from experience that the company’s products were well made and extremely reliable. This reputation for engineering excellence was one of the key reasons why we chose Lyra for our facility.”

Based on the award-winning and critically acclaimed Orpheus interface, Prism Sound’s Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.
Masterlabs is using a Lyra 1 interface, which has two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. Prism Sound also offers Lyra 2, which has two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both versions incorporate new ARM Cortex processor design offering class-compliant USB interfacing that allows for seamless integration with both Macs and PCs. Both versions also offer digital volume control, a low latency ‘console-quality’ digital mixer for foldback monitoring and optical SPDIF capability.
Masterlabs handles between eight and 10 projects a week, ranging from classical and Jazz to Dance and Rock.

“We are fortunate to handle all of the Irish output for Sony Music and Universal Music,” Foley says. “We also service the ever growing vinyl record pressing explosion that is occuring at the moment, and we have just purchased a second Neumann VMS70 lathe to keep up with that demand.”

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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

DPA Microphones Help Bill Gates Address the Big IF Rally

DPA Microphones played a significant role at the recent Big IF rally in London’s Hyde Park by ensuring that celebrities and VIPs such as Microsoft billionaire Bill Gates and film director Danny Boyle were clearly heard by the 45,000-strong crowd.

Sound, lighting and power for the event was supplied by Ethix Management, which has many years’ experience in event production.

Ethix Management’s Managing Director Paul Jones, says: “We took 12 DPA d:fine™ Headset Microphones to the event and used them to mic various speakers, including Bill Gates. Apart from the fact that they sit so well on the user’s head and are incredibly comfortable, they were also chosen because they offer the best sound reproduction. When you are dealing with the spoken word there is absolutely no room for error as it is vital that the speakers are heard by everyone in the crowd. DPA d:fine Headset Microphones allow us to deliver loud and clear audio and, in our opinion, nothing beats them.”

The DPA d:fine Headset Microphones for this event were supplied by the company’s UK distributor Sound Network. Ideally suited to a wide range of applications, d:fine Headset Microphones offer impressive gain before feedback and are extremely rugged and reliable. These unobtrusive microphones are easy to fit and are renowned for their audio accuracy. The microphones are available in both directional and omnidirectional options and in single or dual-ear designs with a choice of three lengths of microphone booms.

“We use d:fine Headset Microphones at many of the events we handle because we know we can rely on them to deliver the results we want,” Paul Jones adds. “We are now planning to invest in a DPA d:facto™ Vocal Microphone so that we have an alternative available for speakers who don’t like to wear headset mics.”

The Big IF rally was organised by the ‘Enough Food For Everyone IF’ coalition with the aim of raising awareness about global hunger. Throughout the day speakers such as Bill Gate, Danny Boyle, the former Archbishop of Canterbury Rowan Willliams and Nelson Mandela’s wife Graça Machel pressed for Government action to end hunger and save the lives of millions. Their comments were particularly directed to G8 leaders who were about to meet for a summit in Northern Ireland.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Prism Sound’s Audio Design Workshop LIVE Travels To Helsinki

High profile guest speakers from Texas Instruments and Klippel are joining the next Prism Sound/Oxford Digital Audio Design Workshop LIVE, which takes place in Helsinki on August 21st, 2013. In an industry first, this groundbreaking event will be webcast live from the 51st AES Convention to audiences around the world.

The registration page for the live webcast can be found here:

http://audiodesignworkshoplivehelsinki-SS.eventbrite.com

The event, which is held in conjunction with the Audio Engineering Society (AES), is open to all engineers, engineering managers, students and academics involved in audio engineering. It will feature seminar sessions and workshops hosted by some of the most experienced engineers in the audio industry who will share their knowledge and practical expertise in active loudspeaker design, providing the audience with an opportunity to learn from their many decades of collective experience.

“The seminar sessions will cover aspects of analogue and digital audio system design and optimization, with a major emphasis on real-world, practical problem solving,” says Simon Woollard, Test & Measurement Product Specialist at Prism Sound. “Our audience will have plenty of opportunity for hands-on experimentation, and for networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries within the audio industry.”

Prism Sound and Oxford Digital, who have joined forces to organise the Audio Design Workshop LIVE series, have extensive experience in the field of audio engineering.

Prism Sound has been developing audio measurement solutions for over 25 years and has pioneered many major innovations in this field. The company offers high quality audio analyzers that are suited to a wide range of test and manufacturing environments.

Oxford Digital specialises in digital audio signal processing for mobile and consumer equipment. Its products include an extremely compact audio DSP core with a rapid programming and development environment and Sonic Tuning Tools that allow rapid optimisation of the sound reproduced by compact loudspeaker systems. The complete toolset is targeted at reducing time-to-market and lowering software maintenance costs.

Audio Design Workshop LIVE will feature seminar sessions and Q&A opportunities where delegates will have the chance to ask the panellists for answers and advice.

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. This can be done online via the dedicated registration page: http://audiodesignworkshoplivehelsinki-SS.eventbrite.com or by calling +44 (0)1353 648 888.

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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

DPA Helps James Currie Capture the Sound of East Arnhem Land

Sound designer James Currie has been using a DPA 5100 Mobile Surround microphone to capture the audio for a new feature film entitled Charlie’s Country, which was shot on location in East Arnhem Land, in the Northern Territory of Australia.

Directed by Australian filmmaker Rolf de Heer and produced by Nils Erik Nielsen and Peter Djigirr, Charlie’s Country, starring iconic Aboriginal actor David Gulpilil, is a tragi-comic portrait of one man’s struggle to define himself as an Aboriginal in modern Australia.

For James Currie, who has more than 100 feature films to his credit, filming Charlie’s Country provided the perfect opportunity to try a DPA 5100 Mobile Surround microphone for the first time. The microphone was recommended by Julius Chan, sales engineer at DPA’s Australian Distributor Amber Technology Ltd, who has given Currie advice on audio equipment in the past.

“Julius praised the microphone and, now that I have used it, I agree with his opinion,” Currie says. “We decided, before embarking on this production, that our basic post position was going to be Dolby 7.1 with a possibility of going to final mix with Dolby Atmos. A 5.1 microphone for recording atmospheres was therefore an essential item in the structure and vision of the soundtrack. The DPA 5100 Mobile Surround microphone was the instrument that allowed us to work with confidence and to approach the post production of Charlie’s Country with a strong degree of certainty.”

Currie adds that the subject matter and nature of the film also dictated his approach to the audio. He wanted a discrete array of tracks, along with clarity and a faithful representation of the sonic world of East Arnhem Land, so that no sounds needed to be introduced from elsewhere.

“The indigenous population of East Arnhem Land understand the natural world and their lives are tuned to that world,” he explains. “They make changes to their living conditions and proceed to ceremonies and other celebrations by obeying the change of seasons and the movement of nature and its sounds. The introduction of sound from elsewhere would be an insult to their understanding of the world and we would lose face within the community, to say nothing of a loss of confidence with the tribal elders.”

Filming in East Arnhem Land, which is deep into Aboriginal tribal land, came with its own set of issues. Currie describes the area as ‘Australian frontier territory’ and says only madmen and obsessive filmmakers would consider staying there for any length of time.

“Conditions in East Arnhem Land are character building at the best of times and, as this was my fifth production in the area, I knew it would be physically and mentally exacting,” Currie says. “It is a rugged, tough, tropical place, full of crocodiles, spiders of indescribable ugliness and large winged insects whose sole blood sucking purpose in life is to make working and sleeping entirely miserable for everyone. Charlie’s Country includes scenes that had to be filmed in the rain so we knew from the start that our equipment needed to be versatile and rugged in order to withstand the most demanding of conditions and locations. The DPA 5100 microphone gave excellent results and coped with all conditions remarkable well. Humidity is always an issue but the DPA 5100 sailed through without a problem, although its rain cover didn’t fare as well because quite a few bugs enjoyed its texture and ate holes in the fabric.”

Charlie’s Country is now in post-production in Australia where the mixing team are dealing with the 300+ atmospheres recorded on the DPA 5100 Mobile Surround microphone. It is due to premier at the Adelaide International Film Festival later this year and may well be the first Australian production to be mixed in Dolby Atmos.

Currie adds that he has nothing but praise for the DPA 5100 Mobile Surround microphone, which delivered on every level.

“The results I achieved with this microphone exceed my expectations, which is not something one says very often in this business,” he explains. “To record the many and varied atmospherics of East Arnhem Land was a joy. The DPA 5100 provided an accurate and astonishing depth of recording that will allow us, in post, to extract the emotion and colour of the exotic Arnhem Land locations for a worldwide audience.”

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Red TX Records In Norway With St. Olaf Choir

The St. Olaf Choir, the premier choral ensemble from St. Olaf College in Northfield, Minnesota, USA, has marked its centenary by recording a classical concert at Nidaros Cathedral in Trondheim, Norway.

This two-day recording in June 2013 was captured for broadcast and subsequent DVD and Blu-ray release by UK audio for broadcast specialists Red TX in conjunction with Visions/NEP.

The St. Olaf Choir is the pioneer a cappella choir in the USA and has long set the standard for choral excellence. Consisting of 75 mixed voices, the choir is made up of full-time undergraduate students who rehearse five days a week, in addition to completing a full schedule of academic studies.

Since 1990, the choir has been conducted by Anton Armstrong, and every year it undertakes an annual tour that enables it to bring its artistry and message to thousands of people around the world. To date the choir has completed 15 international tours and performed for capacity audiences in the major concert halls of Norway, France, South Korea, New Zealand, Australia, New York City, Washington, D.C., Chicago, Los Angeles, Dallas, and the Twin Cities.

The choir’s most recent visit to Norway allowed St. Olaf to continue a long standing relationship with the country, which dates back to 1874 when St. Olaf College was founded by a group of Norwegian-American immigrants, led by Pastor Bernt Julius Muus. The college and its choir are named after the king and patron saint of Norway, Olaf II Haraldsson.

The last time the choir visited Norway was in 2005, during the country’s Centennial celebrating 100 years of independence from Sweden. On that occasion the St. Olaf Choir joined the St. Olaf Orchestra and the St. Olaf Band for a three-week tour of Norway, during which the ensembles performed jointly in Oslo, Bergen, Molde, Stiklestad and Trondheim and presented additional concerts throughout the country. In December of that year a television special titled A St. Olaf Christmas in Norway was broadcast nationally on PBS in the USA and was released on DVD.

Based on the success of this PBS broadcast, it was decided that the choir’s centennial tour to Norway in 2013 would be an excellent catalyst for recording another special in Trondheim. This concert special was the finale of the St. Olaf Choir’s three-week performing tour of Norway, to honour the anniversary of the choir’s first tour to Norway 100 years ago under the direction of its very first conductor, F. Melius Cristiansen. It also gave St. Olaf a great opportunity to continue its relationship with the musicians at the cathedral, especially the Nidarosdomens Jentekor and their conductor, Anita Brevik.

To capture the audio for the recording, Red TX drove its large Red II music recording truck to Trondheim – a journey that took three days and involved travelling through France, Belgium, the Netherlands, Germany and Denmark before finally reaching Norway.

Jeffrey O’Donnell, St. Olaf’s Director of Broadcast/Media Services and audio producer for this project, says: “Red TX was recommended by Visions/NEP and although this is the first time we have worked with the company, we were very impressed by their professional approach to what was a complex project. We’ve been delivering audio in 5.1 since the previous Trondheim program in 2005 and Red TX was more than able to accommodate this requirement. I’m very grateful to Red TX for an amazing job well done – and to Visions for connecting us together in the first place!”

O’Donnell adds that with every recording project he undertakes with the choir, his goal is always to ensure a choral blend and balance between the voice parts (soprano, alto, tenor, bass) and clear diction. He also aims to capture a sense of the space and performing environment, achieve a warm yet uncolored sound and ensure that no individual voice dominates the choral texture.

“For this particular recording, we were dealing with two choirs – St. Olaf Choir and the jenktekor (Girls’ Choir) of Nidaros Cathedral – performing individually and as a combined ensemble,” O’Donnell adds. “We also had a string quartet, piano, Hardanger fiddle, and organ. We faced a particular challenge in providing enough microphone coverage to capture this sound while still doing our best to avoid having microphones and stands appear in the camera shots.”

In consultation with Jeffrey O’Donnell, Red TX’s director Tim Summerhayes suggested a selection of microphones. DPA Microphone’s UK distributor Sound Network was able to supply most of the microphones he needed, with the rest made up from Schoeps and AKG.

“We used Schoeps MK2 systems, suspended at a height of about four meters, to capture the two choirs and the congregation,” Tim Summerhayes explains. “We also suspended DPA mobile 5100 surround microphones at about six meters in the centre of the performance area to give the impression of the size of the choir and of the cathedral. For the brass quartet, we used two DPA 3521s compact mics on DPA’s ORTF mic mount. The clarity was very impressive and blended into the mix seamlessly. For the piano, we opted for a pair of AKG 414s.”

Despite the complexities of this project, both O’Donnell and Summerhayes were delighted with the recording, which went very smoothly. The audio is now being mixed and post produced in the USA by Twin Cities Public Television (TPT), which co-produced the project.

Catherine Allan, Executive Producer from TPT, says: “Editing will take place in August and September and we aim to air the program, which currently has a working title of A St. Olaf Christmas in Norway, on PBS stations nationwide during December 2013. The program will be a one hour Christmas special and there will also be an extended DVD and Blu-ray release, made by St. Olaf. We hope that NRK will purchase the special for broadcast and we will be seeking additional distribution.”

The St. Olaf Choir’s ever-expanding discography now features 27 discs following the 2011 release of Great Hymns of Faith Vol. III. Other recordings released in recent years include the first two volumes of Great Hymns of Faith, Charles Ives: The Celestial Country, My Soul’s Been Anchored in the Lord, The Spirituals of William L. Dawson, and Advance Australia Fair. All recordings are available through St. Olaf Records at www.stolafrecords.com.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com

DPA’s d:facto™ Vocal Microphone is a Hit With Live Music Venues

DPA Microphones new d:facto™ Vocal Microphone is proving popular with London’s live music venues, a number of which have made the microphone an integral part of their equipment stock.

Since its launch in 2012, this eagerly awaited addition to the DPA condenser microphone range has been a big hit with a wide range of vocalists who appreciate its ability to bring true studio sound quality to the live stage. d:facto Vocal Microphones offer an extraordinarily natural sound, superior gain before feedback and extreme SPL handling. In addition to use with the new wired DPA handle, the d:facto II provides singers and engineers with the added benefit of a state-of-the-art adapter system that allows for seamless integration with many professional wireless systems.

Two prestigious London venues that were quick to adopt the d:facto Vocal Microphone are The Union Chapel in Islington and the Pizza Express Jazz Club in Dean Street, Soho.

Sound engineer and producer Les Mommsen, of 4AM Productions, is head technician at Union Chapel, an award-winning 900 capacity venue housed within a 136 year old Victorian Gothic Revival Church.

He says: ”The type of concerts we have vary and have included the likes of Bono, The Edge, Elton John and Bryan May through folk legends like Fairport Convention, Martin Carthy and Billy Bragg to Jazz and contemporary classical music most notably being a performance by the Phillip Glass ensemble in December last year. We tend to cover all genres of music, though we do operate as an acoustic venue so most artists either already perform acoustic music or play a special acoustic show for the venue.”

A large proportion of the equipment that artists need to play at the Union Chapel is provided by the venue, which has invested heavily in high quality gear.

”The addition of the DPA d:facto Vocal Microphone to our microphone stock has massively improved our ability to deliver natural and detailed acoustic music to our audiences,” Mommsen says. “For some time now we have been looking to provide a high quality vocal condenser microphone because the venue is a very special place for musicians to perform and is especially rewarding for vocalists as the room’s acoustics support and enhance the voice in a very pleasing way. We want the audience to feel a direct and personal connection with the music and the musicians on stage, so it makes sense to carry this philosophy through to the sound. When we heard that DPA were launching the d:facto Vocal Microphone, it was high on our list of microphones to try as we were sure that, being a DPA product, it would be clean, detailed and transparent.”

DPA’s UK distributor Sound Network supplied The Union Chapel with a wired version of the d:facto Vocal Microphone and it is now in regular use by visiting artists.

“We have had the best results using the d:facto microphone on traditional folk and jazz music,” Mommsen adds. “All DPA products excel in delivering a natural, uncoloured representation of acoustic instruments and these are the precise qualities that discerning folk and jazz musicians and technicians look for in their tools. I personally love the d:facto, especially on male vocals. It has pleasing low midrange warmth, an open top end that delivers precision and detail and good sensitivity to proximity effect. With the correct mic technique it can provide artists with greater control over how they want to shape the tonal quality of their vocal.”

Across London at Pizza Express Jazz Club, the d:facto Vocal Microphone is generating similar positive reaction. Pizza Express Jazz Club is a small venue but its size promotes a feeling of intimacy as the audience is very close to the performance. Over the years many stars have appeared at the venue, including Diana Krall, Jamie Cullum, Norah Jones, Danilo Perez and Amy Winehouse.

Sound engineer Luc Saint-Martin, of Oneland Productions, says: “In terms of genre, Pizza Express Jazz Club is quite varied. Even though it is called a jazz club, it covers lots of music styles from straight ahead to contemporary, via Latin, smooth jazz, acoustic and electric.”

Saint-Martin’s decision to invest in a wired version of the d;facto Vocal Microphone was made soon after the unit was launched.

“I’ve had a good relationship with Sound Network and use many DPA products,” he explains. “When Sound Network told me DPA was launching d:facto, it was a logical step to try it out as I didn’t have a great handheld vocal microphone and it definitely ticked that box. I especially like its versatile, modular design. Depending on what you need, you can use a variety of different capsules so it can either be used as a handheld, or mounted on a stand for any other application.”

Vocalists are notoriously fussy about the vocal microphone they use and many have favourites from which they will not be parted. Yet at both The Union Chapel and Pizza Express Jazz Club, singers who have tried d:facto have been very pleased with the results they have achieved.

“The response has been really encouraging,” Saint-Martin says, while Les Mommsen adds: “It can be difficult to convince engineers and artists to try a new microphone, especially when it comes to a vocal microphone, but those who have tried it have been very positive and love the sound quality it delivers.”

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

DPA Microphones Play A Key Role At Three Rick Wakeman Gigs

Progressive Rock icon Rick Wakeman recently completed three concerts in the UK to help raise money for the Cathedral of Gloucester. The first event took place in the intimate surrounding of Blackfriars Abbey, a medieval building in the heart of the City of Gloucester, while the remaining concerts took place on consecutive nights at Cheltenham Racecourse.

On all three occasions DPA microphones featured heavily in the equipment inventory, with more than 50 units used to amplify the audio, including two new DPA d:facto™ Vocal Microphones.

Front of House sound engineer Ian Barfoot, who was also system designer for the shows, says: “DPA microphones always deliver an honest, super clean, uncoloured sound and I get predictable results every time I use them. They are also incredibly reliable, which is a major point in their favour.”

Barfoot specified DPA microphones for all three concerts, with the bulk of the inventory being used for the larger Cheltenham gigs. In total, 30 DPA 4060 miniature microphones were used on all the high strings and harp, 12 DPA d:vote™ 4099 Instrument Microphones were used on all the low strings, 4 d:vote 4099 Instrument Microphones were employed on snare drum and toms, a DPA d:dicate™ 2011C compact microphone was used for the kick drum, along with three DPA d:dicate 2011C microphones for overheads and ride cymbal. The DPA d:facto Vocal Microphones were used for main and backing vocals.

“DPA’s UK distributor Sound Network suggested I tried DPA microphones for the drums, in particular the d:dicate 2011C microphone inside the kick drum,” Barfoot explains. “It took a little while to work out how we were going to do it, but when we had it set up the results were very pleasing. The sound was fast and dynamic, which suited the Symphonic rock style of the music, and once our drummer Tony Fernandez relaxed, the sound became very tight indeed.”

The concert formats created by Rick Wakeman for these shows were unique. The first concert at Blackfriars Abbey was very intimate as the venue could only hold 250 people. On this occasion Wakeman performed an acoustically-styled set with his two sons Adam and Oliver and his daughter Jemma.

The concerts at Cheltenham Racecourse were much grander affairs and featured the Cheltenham Symphony Orchestra conducted by Guy Protheroe, Wakeman’s band the English Rock Ensemble and the Choir of Gloucester Cathedral. The music performed included a selection of pieces from Wakeman’s three most famous albums – The Myths and Legends of King Arthur, Journey to the Centre of the Earth and The Six Wives of Henry VIII.

“We didn’t do things by halves,” Barfoot says. “There were 107 musicians on stage at Cheltenham, which gave me about 117 inputs to deal with on my desk.”

Barfoot adds that all of the vocalists were on In Ear monitoring and commented positively on the clarity of the DPA d:facto Vocal Microphones.

“I first used these in South America just before Christmas 2012 and they have now become firm favourites,” he says. “They are definitely a ‘must have’ in my microphone trunk, especially now the d:facto head is available for use on various radio microphone transmitters.”

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

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