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Archive by Sue Sillitoe

DPA Helps LazyTown Make Entertainment That Inspires

LazyTown Entertainment in Iceland is using DPA miniature microphones to capture the audio for the multi-award winning LazyTown pre-school television show, which is now shooting its fourth series in Iceland.

LazyTown is a leading and highly respected children’s entertainment brand comprising an award-winning TV series, live stage shows, sports events, publishing, and more. The LazyTown concept is entertainment for children and the whole family, dedicated to promoting a healthy lifestyle in a fun and engaging way. The TV show has become an international success since it was first launched in 2004 and has been broadcast in over 170 countries, reaching over 500 million homes and dubbed in over 30 languages.

LazyTown’s sound supervisor, Gunnar Arnason, who also owns a recording and post production company called Upptekid, is responsible for selecting all of the audio equipment used by LazyTown Entertainment at its state of the art studio in Gardabaer, Iceland.

“My task is to create the entire audio workflow for each LazyTown series, from studio recording through to the final sound mixes,” he explains. “Over the past two years we have relied on DPA microphones for dialogue recording, using them on the live actors and also to record the puppeteers. We chose DPA microphones because they have an excellent signal to noise ratio and because they are extremely well-built, which means that they last a long time and are very durable.”

DPA’s Icelandic distributor Exton has supplied LazyTown Entertainment with 12 DPA 4061 miniature microphones.

“The puppeteers have the miniature microphones mounted in sweatbands on their foreheads, while the live actors have them hidden in their clothes,” Arnason explains. “This works well, especially for the puppeteers who have to work with their hands above their heads, so they need a microphone that will stay firmly in place and won’t get knocked when they move around. Also, when the microphone is tight on the forehead you get some resonance from the skull, which makes the sound even better.”

Currently shooting its fourth series, LazyTown is an Icelandic production with an international cast from Iceland, the UK, and the USA. The series was created by former aerobics champion Magnus Scheving, who also plays the lead character Sportacus in the show, to motivate children to get active and make healthy lifestyle choices. Cleverly mixing live characters, puppets and CGI, LazyTown creates engaging storylines that have a healthy message – delivering entertainment that inspires, and raising the bar for children’s television.

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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

About LazyTown
Acquired by Turner Broadcasting in 2011, LazyTown is a leading and highly respected children’s entertainment brand that promotes health and well-being to preschoolers in an energetic and fun way. Starring its creator, former athlete Magnus Scheving, the TV series is broadcast in more than 170 countries, to 500 million homes worldwide.

DPA Microphones Bring Exceptional Clarity To Suede’s Guitars

Indie-rock stalwarts Suede, which released its sixth album Bloodsports in March 2013, recently recorded a live acoustic session for Absolute Radio at the world-famous Abbey Road studios in London.

The equipment line-up for this important gig incorporated three DPA d:vote™ 4099 Instrument Microphones, which were chosen for their clarity and exceptional audio quality.

Suede’s Neil Codling, who plays keyboards and rhythm guitar, was instrumental in the choice of microphones, specifying them for his own Martin D28 guitar and also for Richard Oakes’ Gibson J200 lead guitar and Matt Osman’s Dean acoustic bass. DPA’s UK distributor Sound Network was happy to supply the microphones.

“In an ideal world, a microphone should almost disappear, allowing the sound source to reach the listener’s ear unimpeded, dissolving the artifice of a recording,” Neil Codling says. “Like the best condenser mics, the DPA d:vote 4099 Clip Microphones capture what is happening in the room with clarity and life, putting you there, in the path of the shifting air. The wonder is that, wherever you place them, d:vote 4099 microphones give you a sound you can build a mix around, or incorporate into a mix without fuss. It’s as if they have one enormous sweet spot.”

Codling was introduced to DPA Microphones by Front of House sound engineer Jamie Orchard-Lisle, who is closely involved with the chamber orchestra Penguin Café, of which Codling is also a member.

“When I have downtime from Suede, I play in Penguin Cafe, which has a different acoustic flavour: violins, viola, cello, double bass, ukuleles, Venezuelan cuatros,” Codling says. “Whatever you point the DPA d:vote 4099 at, they seem to capture the essence of the instrument, its subtle timbres and the full breadth of its dynamic range. You get warmth without boom, intimacy without overpowering mids, clarity without brittleness. You just point them at the sound source and they sound great.”

Getting the opportunity to use DPA d:vote 4099 Instrument Microphones for the Abbey Road session was something Neil Codling jumped at – and he also enjoyed being able to acquaint other members of Suede to DPA’s high-end audio quality.

“When you introduce someone to DPA microphones for the first time, there’s always an exchange of looks on first hearing that says ‘wow, this sounds special!’” he says. “Even when you first set them up, it’s as if you’ve reached that point where you say ‘don’t touch a thing: that’s perfect.’ It’s a happy knack, and you just have to hit ‘record’ and enjoy it.”
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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

ITV’s Drama Whitechapel returns To Hackenbacker

Award-winning facility Hackenbacker has completed the entire audio post production for the fourth series of ITV’s hit TV drama Whitechapel.

Created by Ben Court and Caroline Ip, Whitechapel follows a group of police detectives, led by Detective Inspector Joseph Chandler, as they investigate homicides which seem to be copycat killing based on historical crimes. The series is produced by NBC Universal’s Carnival Films and stars Rupert Penry Jones as Detective Inspector Joseph Chandler, Phil Davis as Detective Sergeant Ray Miles and Steve Pemberton as Edward Buchan.

Hackenbacker’s founder Nigel Heath, who is also the series re-recording mixer, says: “We worked on the first series of Whitechapel, which was originally broadcast in 2009, and it feels really good to welcome it back under our roof. This series of six episodes is full of unexpected twists, turns and shocks! We have all hugely enjoyed adding to the already supercharged atmosphere of this highly original and thrilling series.”

Over the past 25 years, Hackenbacker has tackled many high profile film and television projects including Downton Abbey, Spooks, Hustle, Whitechapel, Four Lions, In Bruges and Sean of the Dead.

Whitechapel Series 4 will be screened on ITV later this year.

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About Hackenbacker:
With more than 25 years experience in the audio post production business, Hackenbacker provides a first class service to the film and television industries. Its award-winning team of sound editors, designers and mixers combine a thorough knowledge of today’s technology with an understanding of the importance of deadlines in order to deliver an exceptional service to all Hackenbacker clients. The facility offers full time technical support and access to the very latest equipment as well as some more esoteric specialist devices. www.hackenbacker.com

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Red TX Helps Chime For Change Reach Out To The World

Broadcast audio specialists Red TX played a vital role in ensuring that last Saturday’s Sound of Change Live concert at London’s Twickenham Stadium was successfully broadcast to more than 150 countries around the world.

With both its Red I and Red II trucks on site, not to mention a crew of seven, Red TX was more than able to cope with the complexity of the live broadcast and the fast turnaround between acts performing on four different stages.

Billed as a feminist Live Aid, Sound of Change Live was a focal point for the Chime for Change campaign, which aims to improve education, health and justice for women around the world. The campaign was founded by Gucci’s designer Frida Giannini, Beyoncé and Salma Hayek and Saturday’s concert raised over £2.6 million to fund approximately 200 projects in 70 countries. It also provided a great day out for more than 50,000 people who flocked to Twickenham Stadium to watch Beyoncé, Rita Ora, Jessie J, Haim, Ellie Goulding, Jennifer Lopez and Florence and the Machine take to the stage to champion the cause. Even Jay-Z put in an appearance, performing Crazy in Love with his wife, Beyoncé.

The Red TX teams consisted of Tim Summerhayes, Ben Summerhayes and Matt Silverston on board Red I; Ian Dyckhoff, Huub Lelieveld and Rohan Igoe on board Red II and Christian Postna as back up between the two trucks.

Red TX was commissioned to handle the broadcast audio by Splinter Films. Splinter’s Emer Patten was Chime’s Broadcast Producer co-ordinating the mammoth production for global transmission.

She says: “As I’ve been working with Red TX for such a long time now, they really were the only choice for the job and I knew they wouldn’t let me down. We had our usual experience of a crazy busy schedule, coupled with a lot of fun and mutual respect. I love working with Tim and Ian, and it was great that we were able to bring in Huub for Red II, who took care of the C&D stages so fantastically for us.”

According to Red TX director Tim Summerhayes, Sound of Change Live was the biggest and most complex live broadcast event the company has handled for quite a while.

“It was a little nerve wracking knowing we were responsible for a live broadcast audio feed that was going out to over 150 countries, but we just got on with it and tried not to think about how many people were potentially listening to our output,” Summerhayes says. “We had three engineers on each truck, plus an additional sound man as a spare pair of hands. Mainly we were switching between trucks, from one performance area to another, but there were a couple of occasions where one team had to do back to back performances on the same stage and that meant we only had six minutes to turn everything around. It was complex, but thanks to a lot of careful preparation everything ran like clockwork and everyone was delighted with the end result.”

Red TX worked closely with Britannia Row, which was in charge of the live sound, and Visions, which has its own OB truck at the event. Sub mixes from each music mix truck were fed to Gary Moore on the Visions truck, who mixed in presentation audio. Gary also submixed the 24 audience mics and distributed this to himself and the two music mix trucks.

“Britannia Row and Visions are companies we know and trust as we have worked with them on many occasions in the past,” Summerhayes adds. “I was particularly impressed with Britannia Row and have no idea how they held it all together. Every detail was worked out in advance with military precision – even down to having all the vocal mics and radio packs individually labeled for each artist so that nothing was left to chance.”

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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

Max Gilkes Upgrades His Mastering Facility with SADiE 6 and Prism Sound

Producer Max Gilkes has upgraded his Brighton-based mastering and post production facility 1 Sonic by installing SADiE 6 software for Mastering and a Prism Sound Orpheus FireWire audio interface.

Gilkes, who founded 1 Sonic eight years ago, says the support offered by Prism Sound was a key factor in his decision to invest in the company’s products.

“I was previously using Peak as a playlist editor and doing most other things on Pro Tools,” he explains. “But as it was time for an upgrade I decided to go with a company that I knew I could have a good working relationship with, and one that was also based in the UK.”

With a client list that includes Ninja Tune, Big Dada, Sony (France), Smart Move Productions, Mr. Bongo, Keep Up, Silverland and Mission, Gilkes is rarely out of the studio. His recent credits have included Fink, Dobie, Roots Manuva, The Skints, Deco Child, Raffertie, Eliza Carthy and Prince Fatty.

The facility itself is mainly used for mastering and mixing, but it also boasts a live room with 8 tie-lines that is large enough to record drums.

“The outboard in the studio is primarily for tracking, so there are some nice pre’s and compressors,” Gilkes says. “I also have a master section by Audient, PMC and Yamaha monitors, Pro-Tools, various classic guitar and bass amps and a range of microphones – not to mention an over-used tea pot!”

Moving from one software platform to another can be intimidating, but Gilkes says he has found the transition to SADiE 6 far less painful than he anticipated.

“It’s always hard work making the transition from one system that you are particularly well versed with to a whole new environment, but SADiE 6 is very intuitive and easy to use,” he says. “I’m really enjoying the facilities it provides. The editing facilities, in particular, are great and I like the PQ and DDP tools. However, the sound quality is the most outstanding feature and I am really impressed by that.”

Sound quality also played a part in Gilkes’ decision to buy a Prism Sound Orpheus FireWire audio interface.

“It was a no brainer, really,” he says. “The studio needed to make a significant step up in convertor quality and Orpheus delivered the transparency and clarity I was looking for, both as an A/D and a D/A converter. It has great sounding pre’s and I like the interface features for multi-tracking in Pro Tools.”

Gilkes is now using SADiE 6 and Orpheus on a variety of projects, including mastering an album for French artist Mayra Andrade on Sony (France), recording tracks for Congo Natty, completing a debut album for Chevron, recording drums for the next Grasscut (Ninja Tune) album, finishing backline tracking for a band called Bentcousin, which is releasing a three-track single through Team-Love NY and completing an album for a local brighton band called the Meow Meows.

And if that work schedule isn’t intensive enough, Gilkes is also producing and co-writing with the legendary Russell Stone of R&J Stone fame.

“The Russell Stone project is very interesting as all tracks are vocal/non-verbal and based on free improvisations.” He says. “The album, which is called HUMU, is very nearly finished and should be out in September.”

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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 range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

DPA Microphones Appoints Niels Jørgen Øhrgaard

In a move that will significantly strengthen its market position, DPA Microphones has appointed Niels Jørgen Øhrgaard as its new Executive VP for Sales.

Øhrgaard joins DPA Microphones from Reson where he was Executive VP Global Sales and Marketing. He has also held similar positions at other high tech companies including Hasselblad A/S and ScanView A/S – Purup Eskofot A/S.

Christian Poulsen, CEO of DPA Microphones, says: “Niels Jørgen has spent the last 20 years developing and growing sales globally for a range of companies and we are delighted that DPA will now benefit from this extensive experience. His appointment comes at an exciting time for DPA. We have recently introduced the new d:facto™ Vocal Microphone, which has been well received by the audio industry, and we are also introducing other new product ranges that will appeal to a wide variety of industry sectors. Having Niels Jørgen on board will allow us to capitalize on existing business channels and extend into new business areas.”

After completing a Bachelor of Science degree in Engineering, Jørgen Øhrgaard moved into R&D and then sales where his negotiation skills and ability to motivate staff produced outstanding results for the companies he worked for. Now based in Copenhagen, he has travelled extensively and has lived in various countries including the Philippines, Chile and Kenya.

Commenting on his appointment, Øhrgaard says: “DPA’s microphone products have an international reputation for audio accuracy, reliability and superb engineering and this heritage offers enormous potential for the company to grow its global business. There are numerous applications for DPA’s technology and this gives us plenty of scope to develop new business channels. I hope that my experience in dealing with strategic sales will ensure the profitability of the company and extend that profitability to DPA’s partners around the world.”

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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

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DPA’s d:facto™ II Vocal Microphone Wins New Fans In Belgium

Belgian sound engineer Joris Verniest, from betterliVe.be, has been introducing DPA Microphones’ new d:facto II Vocal Microphone to some of the country’s top bands after being blown away by the natural sound quality it delivers on the live stage.

DPA’s Belgian distributor Amptec gave Verniest the first DPA d:facto II Vocal Microphone in the country to demo and since then he has been using it for a wide variety of gigs and with many different artists.

“It doesn’t matter what situation I put it in – whether it is a small club, a big outside stage such as the Pukkelpop festival, with wedges or in-ear – I have consistently got great results,” Verniest explains. “The vocals are incredibly clear through my mix and there is very little crosstalk from the drums or guitar amps. I even recorded some gigs in multitrack to compare the d:facto with other microphones and there was a huge difference in terms of crosstalk, with the d:facto coming out much better.”

Joris Verniest’s recently used the DPA d:facto II Vocal Microphone at a concert for Belgian Indie Rock band Het Zesde Metaal at the Ancienne Belgique in Brussels. The band was playing with a string quartet and acoustic piano, both of which were also miked with DPA – d:vote™ 4099 Instrument Microphones for the string quartet and a stereo pair of DPA 4021 Compact Cardioid microphones for the piano.

“In general I use the d:facto II Vocal Microphone with DPA’s wired handle, but I do like the concept of the adapter system that makes it compatible with most commonly used wireless systems,” Verniest says. “I’ve always been a big fan of DPA’s sound quality and have quite a collection of DPA mics. That’s why I was so interested to try the new d:facto Vocal Microphone.”

Among the bands that Verniest has introduced to the DPA d:facto Vocal Microphone are Customs, The Bony King of Nowhere, Renée and Sherman.

“All of these artists have really noticed a difference and have been very happy with the clarity d:facto delivers to their vocals,” he adds. “Sherman, for example, wanted his vocals to be very loud and clear and the d:facto helped me achieve that without sounding hollow or being on the edge of feedback.”

Verniest adds that although some singers take a little while to get used to the d:facto Vocal Microphone, they soon realise that what they are hearing through the wedges or in-ear is far superior in terms of sound quality.

“I’ve even had house technicians and monitor engineers commenting on the great sound,” he says. “And when you even get members of the audience telling you they appreciated the quality of the vocals, you know you are on to a good thing!”

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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

Jünger Audio Unveils the V*AP Voice Processor To Asian Broadcasters

Dynamics specialist Jünger Audio will be showing its new V*AP two channel voice processor at Broadcast Asia 2013 (Booth 5E6-01). This will give broadcasters in the region their first opportunity to view a product that is specifically designed to make life easier for engineers working in radio stations and TV production voice-over studios.

V*AP, the latest addition to Jünger Audio’s award-winning *AP family of products, draws on the company’s extensive experience with previous Voice Processing devices such as its v-series, but adds new tools and algorithms to create a new, easier and more efficient approach to voice processing with no compromise in sound quality.

V*AP’s main task is to offer perfect control of microphone recordings. Jünger Audio has also included processing such as HP/LP filtering, dynamic section, full parametric EQ and de-essing. All of the V*AP functions can be easily set up by the audio engineer, making it hassle free for any journalist or reporter to use it. Jünger Audio has also provided a dedicated leveler combined with a voice over circuit to help auto-mix voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for embedded audio becomes an attractive feature of the V*AP.

Available as either an insert into a mixing desk or as a stand-alone unit, V*AP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

Another key feature of V*AP is the inclusion of Spectral Signature™, Jünger Audio’s automatic spectral sound management algorithm that dynamically controls spectral balance to create consistent voice recordings meeting a dedicated station sound. Spectral Signature™ can automatically analyze the recording of the voice to create a sound fingerprints that become the reference the algorithm matches to on all subsequent live recordings.

At Broadcast Asia 2013, Jünger Audio will also show its ground-breaking M*AP audio loudness processor, which combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons of the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says: “By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means that you can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to M*AP’s AES outputs to feed a third party instrument for analyzing and/or display.”

For no extra cost, the M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms. M*AP also features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

Jünger Audio will complete its Broadcast Asia line-up with the Award-winning T*AP TV Audio Processor and Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. This innovation is critical as all broadcasters now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness.

If you would like more information about these products please visit Jünger Audio at Broadcast Asia 2013 – Booth 5E6-01 – for a demo.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

Prism Sound Ships Lyra – A New Audio Interface For The Studio Producer, Musician and DJ Market

The good things in life are always worth waiting for and after months of anticipation internationally renowned British manufacturer Prism Sound has finally shipped the first Lyra audio interfaces to its worldwide dealer network.

“We were hoping to ship Lyra earlier in the year but due to some manufacturing issues this was delayed until now,” says Prism Sound’s Sales and Marketing director Graham Boswell. “Testing Lyra on all of the software and hardware platforms took longer than anticipated, but now we have commenced deliveries I am confident that this new family of audio interfaces will delight all audio content producers including musicians, composers, project studio owners, DJs and re-mixers.”

Lyra, which made its debut at the 2012 AES Convention in San Francisco, brings to an even wider audience Prism Sound’s high performance audio converter technology. This technology is used in the world’s leading recording facilities by recording artists and for blockbuster movie soundtracks such as Harry Potter, Lord of the Rings and the Hobbit. Based on the award-winning and critically acclaimed Orpheus interface, 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 more affordable price point.

Lyra connects seamlessly with both Macs and PCs via a simple USB interface, making it ideal for recording professionals who don’t need eight channels of analogue I/O.

Prism Sound plans to launch a number of different variants of Lyra and has started the ball rolling with Lyra 1 and Lyra 2. Both incorporate new ARM Cortex processor design offering class-compliant USB interfacing, plus DSP and a low latency ‘console-quality’ digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT.

Lyra 1, which retails in the UK at £1,349 plus VAT, will be of particular interest to the musician and project studio market. This unit offers two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. With Lyra 1, musicians can connect a guitar and a microphone through the input channels, plug into their software mixer via a simple USB connection and start laying down basic tracks in a matter of minutes.

Lyra 2, which retails in the UK at £1,849 plus VAT, takes the concept a little further by offering two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices.

Both products are ergonomically designed to look as good as they sound. The front panel has a master volume control assignable to selected output channels, while the unit’s small size – just 11 inches wide – makes it very easy to transport for musicians, producers and DJs on the road. For studio use, Prism Sound can supply dedicated rack mounts as an extra.

“We know there is a market for Lyra because our customers have been demanding this product ever since we launched Orpheus,” Graham Boswell adds. “However, we are very protective of our reputation for delivering the highest possible audio quality so we were not going to bring any product to market until we were sure that it could live up to our exacting specifications. Lyra does just that, and we are very proud to introduce it.”

Lyra is fully supported by Prism Sound’s acclaimed technical and after-sales service staff.

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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 Goes On Tour With Priscilla

An Italian touring production of The Adventures of Priscilla, Queen of the Desert – The Musical has arrived at the Politeama Rossetti theatre in Trieste, where audiences are enjoying great sound thanks to the extensive use of DPA Microphone’s 4066 Omnidirectional Headset Microphones and 4060 Omnidirectional Miniature Microphones.

DPA’s Italian distributor M. Casale Bauer has supplied the production with a total of 34 DPA Headset Microphones, which are being used for every member of the cast (plus a few spares). The show’s sound engineer Cristiano Grassini says the microphones are performing flawlessly every night and are proving very popular with cast members because they are so light and comfortable.

“The original Australian production of the musical specified DPA Headset Microphones and, having previously experienced the quality of these microphones on other productions, I was more than happy to use them for the Italian tour,” Grassini says. “Their quality is absolutely phenomenal. They sound great, they are very resistant to high sound pressure levels and obviously, because they are so small and discrete on the actor’s faces, they are good for the audience because they don’t detract from the performance.”

The Adventures of Priscilla, Queen of the Desert – The Musical tells the story of two drag queens and a transsexual woman who travel through Australia on a tour bus called Priscilla. Along the way they encounter many different people and have a variety of hilarious adventures. The musical first opened in 2006 in Sydney, Australia, before travelling to New Zealand, the United Kingdom, Canada and New York’s Broadway. Since beginning its run in Italy last December it has been to Milan and Rome and has notched up more than 250 performances.

“It is an amazing musical – full of colour and drama, and very funny,” Grassini adds. “However, it does involve a lot of costume changes and this is another reason why the DPA Headset Microphones are so useful. More than 500 costumes are used in this production and having a microphone that is comfortable for the actors to wear and very quick to remove does make it much easier to deal with the quick costume changes.”

Grassini has been a fan of DPA Headset Microphones for many years and has used them in numerous theatre productions in the past. “They always sound good and are just so easy to use,” he says. “In many situations they are simply ideal and, for me, the only microphone choice.”

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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

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