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Archive by Sue Sillitoe

Funky Junk Supplies Royer Mics For The Stereophonics Latest Tour

The Stereophonics, one of Britain’s most instantly recognisable bands, have just completed a major UK arena tour to promote their new album Graffiti On The Train.

The equipment list for the tour included three Royer R-121L ribbon microphones, which were supplied by Royer’s UK distributor Funky Junk.

Royer’s R-121 Ribbon Microphone is renowned for its ability to bring an extremely natural and realistic analogue sound to digital recording and live stages. The TEC Award winning R-121L, the ruggedized and more road-worthy ‘live’ version of the microphone, has been specifically designed to withstand the rigours of live touring. Royer won the prestigious 2013 Technical Grammy partly for their R-121, the first ribbon microphone suitable for close-miking electric guitar and other high SPL sound sources.

The microphones were chosen for the Stereophonics tour by FOH engineer Dave Roden who wanted to continue with their ongoing ethos of constant improvement of the overall sound quality at their live gigs.

“I haven’t used Royer R-121 microphones in a live situation before, but the band have used them in the studio and been very happy with the results they have achieved,” Roden says. “I have also heard them being used by other FOH engineers whom I greatly admire, (Jim Ebdon and Marc Carolan for example) and have always been really impressed with the results. I decided to use them, too, in order to up our game.”

Dave Roden was confident that incorporating Royer R-121 ribbon microphones into his live equipment arsenal would help him capture lead vocalist/guitarist Kelly Jones and lead backing vocalist/guitarist Adam Zindani’s individual guitar tones, as well as the raw energy for which the Stereophonics are famous.

“The band members have all moved on to IEM’s (in ear monitors) and they were hearing things completely differently to the way they’ve been used to with wedges,” Dave Roden explains. “In order to adapt, some of the on-stage sources required a more hi-fi approach. This was a challenge for everyone involved, but was a very positive and necessary step in respect to the future performance capabilities of the band, and gave our Monitor Engineer Dave Retson and myself the perfect opportunity to significantly upgrade our mic stock. Both the band on stage and the audience in the arenas were very happy with the guitar sounds they were hearing when we used the R-121L’s on the tour.”

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Vigo and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

Prism Sound Launches ‘Bitesize’ Webinars

The enormous success of Prism Sound’s Audio Design Workshop LIVE event at the 51st AES Conference in Helsinki has inspired the company to launch a new, free webinar series – Audio Design Workshop: Bitesize.

The Bitesize series delves deeper into the audio engineering and measurement topics already discussed in Prism Sound’s popular Wednesday Webinars series. These free seminars, which are available to download from the Prism Sound website, have already covered a range of technical issues surrounding audio test and measurement and are now widely regarded as a valuable educational resource for audio engineers working in a diverse range of industries.

The launch of Audio Design Workshop: Bitesize takes the concept a stage further by delivering a detailed insight into modern testing techniques and their underlying theory. Each webinar will last roughly 30 minutes, ensuring it remains concise and relevant.

The first Bitesize webinar will take place on December 18th 2013 at 14.00 and 18:00 (UTC/GMT). This inaugural seminar will cover FFT Fundamentals and will discuss the six essential steps in audio test and measurement:
• Why you need to understand Fourier Theory
• The significance of the Time-Frequency Relationship
• DFT/FFT and why they matter
• How to choose the right window function for your measurement
• Avoiding the ‘Picket-Fence’ effect and the errors it may bring
• Make the most of your FFT – special measurement techniques
Each webinar will include live demonstrations and a Q&A session.

Anyone wanting to attend should register at www.prismsound.com/webinars to receive their session login details. Please check the Prism Sound website for information about future Bitesize webinars.

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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 Microphones Win Popolski Family Approval

Members of the popular German cabaret act The Popolski Family are so delighted with their recently acquired DPA microphones that they have made a short video extolling their virtues for DPA’s German distributor, Mega Audio.

The comedy-music show is currently using three DPA d:vote™ 4099 Instrument Microphones to capture the sound of its accordion and brass section.

Sound engineer Hans Wollrath, who is also CEO of The Popolski Family company, says: “The performance of these microphones has been outstanding and the hardware, cables and connectors appear to be virtually unbreakable. We have been really pleased with the sound they have delivered. They are very reliable in a touring environment because they are so tough, and they are equally good for video and television appearances because they are so small and unobtrusive.”

Founded in 2008 by Achim Hagemann under the pseudonym Pavel Popolski, The Popolski Family plays 70 live dates a year in Germany and is seen annually by more than 100,000 people. The show revolved around a pseudo-Polish family of musicians who weave popular rock classics into a comedy framework.

To see the Popolski DPA Microphones video, please follow this link:

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

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Related Topics: AES Newslink, Microphones |

DPA’s d:facto™ Vocal Mics Hit the Road on MKS Tour


DPA’s d:facto™ II Vocal Microphones have been proving their flexibility and giving great performances on tour with MKS, the original Sugababes line-up.

The mics have also been at work in the prestigious setting of the world-famous Ronnie Scott’s Jazz Club in London. Charlie Dale, in-house engineer at Ronnie Scott’s and Front of House engineer for the band MKS and US rapper Angel Haze, is using DPA d:facto II Vocal Microphones across all these very different setups.

It was at Ronnie Scott’s that Dale first came across the microphones. DPA’s UK distributor Sound Network lent the club a unit to try out and Dale was immediately impressed.

“They instantly became my mic of choice for lead vocals, surpassing two big brands I had been using previously,” he says. “‘The d:facto’s mostly flat frequency response until its soft boost at 10 kHz gave me the ability to sculpt a very true representation of the performer’s voice with clear highs so that I don’t have to fight against feedback to pull out, and with all the warm tone one would expect from many jazz vocals.”

Dale decided that for the same reasons he wanted to use it on his pop gigs, again allowing him to easily create vocal sounds on a par with the studio-quality vocals of the artists’ records. And it’s not just the engineers who delight in the sound of the d:facto II Vocal Microphones.

“With performers, the clarity of the mic is often commented on,” Dale adds. “It allows a vocalist to hear the nuances of their vocal and gives them more control, even through loud stage wedges.”


Dale has had the opportunity to work with many big-name microphone brands in his career but, after hearing the d:facto, he believes that none of them offer the clarity and tone he wants from a live vocal.

“With MKS, all three of the girls have very different and distinct-sounding voices, and the d:facto II Vocal Microphone handled all of them with ease,” he says.

Dale’s work with rapper Angel Haze could hardly be more different.

“She rarely sings on a gig,” Dale explains. “Instead, she spends most of the time rapping hard and fast into the capsule at close proximity, often cupping the mic as many rap artists do. But the d:facto II handles all this well, making it much easier for me to pick up every syllable she spits out without loss of tonal quality on her vocal.”

Dale’s criteria for an excellent microphone are, he says, clarity, tone, excellent feedback rejection and low off-axis noise. To date, artists who Dale has used DPA’s d:facto with have all been very positive about the microphone, as have other engineers.

“Having a great vocal sound is often the hardest part of the mix, especially on noisy stages, and the d:facto helps on that front by offering a very clear and clean initial signal,” he says. “Its linear off-axis response means that what little bleed there is from wedges and back line is very clear, un-distorted and, most importantly, low-level, allowing me to get a great vocal sound every time, no matter how big or small the room, what the musical style is and how loud the band are. Studio-quality vocal tone on every gig – how could I say no to that?”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

The Music Producers Guild Announces its 2014 Awards Shortlist

Ethan Johns, Paul Epworth, Tony Visconti and Rick Rubin are just some of the internationally acclaimed producers who have secured a coveted place on the Music Producers Guild 2014 Awards shortlist.

Albums by David Bowie, Adele, Laura Marling, The Foals and ZZ Top helped deliver nominations for an exceptionally diverse range of recording professionals whose work encompasses a wide variety of musical styles and genres. The list also includes notable new producers such as Disclosure and features James Blake’s debut album Overgrown, which won this year’s Mercury Music Prize.

Now in its sixth year, the Music Producers Guild Awards recognises the enormous contribution made by recording professionals to the success of the UK’s music industry. The winner of the Producer of the Year Award also receives a BRIT Award for Best Producer, and both awards will be presented at the Music Producers Guild’s Awards ceremony, which takes place on Thursday February 13th 2014 at the Park Plaza Riverbank Hotel in London.

MPG Chairman Steve Levine says: “An MPG Award is highly sought-after by recording professionals because it represents an endorsement by your peers. Whilst anyone can nominate, only full members of the MPG are allowed to vote for the shortlist and therefore the results are relevant to the creative value of our industry. Those who win an MPG Award are known to be at the top of their game as a recording professional.”

The shortlists for each of the MPG 2014 Awards categories (in no particular order) are as follows:

• UK Producer of the Year, sponsored by The BRITS 2014:
Paul Epworth
Flood (Mark Ellis) & Alan Moulder
Ethan Johns

• International Producer of the Year, sponsored by Beats by Dr Dre:
Daft Punk (Thomas Bangalter, Guy-Manuel de Homem-Christo)
Rick Rubin
Tony Visconti

• Recording Engineer of the Year, sponsored by Rode:
Catherine Marks
Guy Massey
Mark Rankin

• Mix Engineer of the Year, sponsored by Solid State Logic:
Tom Elmhirst
Flood (Mark Ellis) & Alan Moulder
Mark ‘Spike’ Stent

• Mastering Engineer of the Year:
John Dent
Barry Grint
Mandy Parnell

• Breakthrough Producer of the Year, sponsored by Focusrite/Novation:
Dan Smith & Mark Crew
Disclosure (Guy Lawrence, Howard Lawrence)
Duncan Mills

• Breakthrough Engineer of the Year:
Dan Cox
Catherine Marks
Matt Wiggins

• Re-mixer of the Year:
Freemasons (Russell Smith & James Wiltshire)
Four Tet (Kieran Hebden)
MJ Cole (Matthew Coleman)

• UK Album of the Year, sponsored by Universal Audio:
James Blake – Overgrown
Foals – Holy Fire
Laura Marling – Once I was An Eagle

• UK Single Song Release of the Year, sponsored by Shure:
Adele – Skyfall
Everything Everything – Kemosabe
Foals – My Number

• Studio of the Year, sponsored by KMR Audio:
British Grove Studios
RAK Studios
Strongroom Studios

• The A&R Award:
Chris Briggs
Imran Ahmed
Jim Chancellor

The winners of the Outstanding Contribution to UK Music Award, sponsored by PPL, the MPG Innovation Award, sponsored by Genelec and the MPG Inspiration Award, sponsored by UK Music, will be announced at the Awards ceremony in February. All three of these Awards are in the gift of the MPG.

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About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk or www.mpgawards.com

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Jünger Audio Incorporates Audinate’s Dante IP Technology

Jünger Audio has announced a partnership with Audinate (www.audinate.com) that will allow the company to incorporate Audinate’s Dante digital media networking solution into its Award-winning range of audio processing solutions.

Built on existing networking protocols and standards, Audinate’s Dante technology is a plug-and-play networking solution which delivers ultra-low latency, tightly synchronized media, while simplifying installation and configuration of digital media networks. Dante is the leading digital media networking solution and has been adopted by more than 120 OEMs to date, with hundreds of partner’s products to choose from. Applications using Dante can be found across broadcast, pro AV, commercial installation and live sound entertainment markets.

Jünger Audio’s first device to feature Audinate’s Dante technology will be the V*AP two channel voice processor. With its high-end algorithms and simple to use interface, it is specifically designed to make life easier for engineers working in radio stations and TV production voice-over studios. Adding audio network capabilities to the V*AP complements its consequent network approach on control, measurement and administration. In combination with a Dante computer interface or the DVS Dante Virtual Soundcard software, the V*AP can act as a sophisticated frontend for any digital audio workstation (DAW) or video editing system. The Dante interface solution will be released for the V*AP in the first quarter of 2014 and subsequently become available for all other Jünger Audio boxed products.

Peter Poers, CEO of Jünger Audio says: “We looked at all the audio over IP network solutions and found that the efficiency, ease of use, seamless integration and growing range of manufacturers supporting Dante made it the ideal choice for Jünger Audio. As customers continue to demand and expect interoperability between devices, we believe that the adoption of Dante will allow us to provide all the functionality and flexibility that the Pro Audio community needs now, and positions us well for developing and introducing next generation audio products.”

“Jünger Audio is known for their unique range of digital processors which are designed to meet the precise needs of the professional audio broadcast market,” Lee Ellison, CEO of Audinate adds. “Dante is already the leading interoperable network solution for the professional audio and broadcast markets. Jünger Audio’s V*AP voice processor with Dante networking simplifies how audio can be distributed for TV broadcasters, IPTV providers, music recording studios and audio post production facilities.”

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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.junger-audio.com

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DPA Microphones Grace the Head of a Prime Minister

DPA microphones played a vital role at Dublin’s fourth Web Summit at the RDS by ensuring that key speakers could be clearly heard, despite high levels of background noise.

10,000 delegates from over 90 countries attended the two-day tech convention, which was officially opened when Ireland’s Taoiseach (Prime Minister) Enda Kenny rang the NASDAQ bell. New York’s NASDAQ stock exchange is synonymous with techie start-ups and this was the first time ever that the bell marking the start of trading was rung from Ireland.

Given the importance of this event – and the fact that the opening ceremony was broadcast live on television and streamed live online – it was imperative that the technical facilities were of the highest quality.

Tony Lanigan, Technical Director and Production Manager at Dublin-based rental/staging company Avtek, was responsible for specifying the audiovisual equipment for the entire event. He chose the cardioid DPA d:fine™ 4088 Headset Microphones for the speakers and presenters because they were the best alternative to lapel mics for sound reinforcement in the Summit’s high ambient noise environment.

“We often use DPA headset microphones, especially in venues such as old buildings and echo-y, cavernous churches where there are lots of reflections,” Lanigan explains. “For this event, at which there were over 200 exhibitors, they were absolutely the right choice because they really hit the mark.”

In total, Avtek used 50 DPA microphones – a mixture of d:fine 4088 Cardioid Headset Microphones and DPA d:screet™ 4066 Omnidirectional Miniature Microphones. DPA’s Irish distributor Big Bear Sound provided some new d:fine units to add to Avtek’s existing rental stock.

“Wherever possible, we tried to use DPA d:fine 4088 Headset Microphones with Sennheiser belt packs because their cardioid construction was able to give us as much SPL as possible to overcome the ambient noise,” Lanigan says. “Some of the ‘pitching’ stages were in the middle of the exhibition areas with up to 10,000 people roaming through the space chatting and selling their apps etc. In that environment, a speaker with a lapel mic would have struggled to be heard.”

Lanigan adds that he was especially pleased with the d:fine 4088 Headset Microphones which performed as well as a cardioid handheld mic.

“They certainly helped reduce or eliminate feedback, which was critical at the opening ceremony because the event was streamed on New Livestream.com from four of the conference rooms and transmitted live by CNBC, Bloomberg TV, Fox Business News and many other broadcasters, reaching millions of viewers worldwide,” he says. “The DPA d:fine Headset mics also went down well with the speakers who found them very comfortable to wear. It was certainly the first time anyone has seen our Taoiseach wear one, so he must have found it ok!”

Seen as an innovator and market leader in Ireland, Avtek specialize in high-end conferences, launches and events, the majority of which are in the corporate sector. It also provides in-house audiovisual solutions and services to venues and hotels around the world.

“DPA Headset Microphones often find their way onto our equipment riders, especially for conferences and award shows, because with these mics we can ensure that our MC is never just a moving mouth in a room full of people in high spirits,” Lanigan adds.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

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DPA Microphones Bring Quality Sound to Studio and Small Screen

Audio engineer Richard Gough is the latest in a roster of high profile Front-of-House engineers who are investing in DPA d:facto™ II Vocal Microphones for use with big name recording clients.

Gough has been using d:facto Vocal Microphones supplied by DPA’s UK distributor Sound Network with a number of artists. One of these is Conor Maynard who has tried the microphone in the studio for small live recordings, and in a broadcast setting for live TV performances including one for SBTV and another for ITV2′s Xtra Factor.

“Maynard is still quite fresh and new to the music industry,” Gough explains, “so I didn’t really expect him to notice using different mics on his own vocal. But after using the d:facto for about ten shows in a row, there were a couple of TV performances where we had to use another brand of wireless mic and he instantly noticed the difference. He wasn’t happy with the amount of ‘pop’ or the ‘booming’ in the low end that these other microphones were giving. It was a noticeable difference for him.”

Also impressive for Gough has been the way DPA’s d:facto Vocal Microphone performs, even d when used in an unconventional way.

“Conor ‘cups’ the mic, like a rapper,” he explains, “and this distorts the polar pattern of the mic. But noticeably with the d:facto, this doesn’t seem to matter too much. I still get plenty of gain before feedback in my side fills, so his vocal is there if his ears fail. This is one of the most impressive things about the mic. It has such a smooth response and gives lovely warm lows without ‘popping’ and ‘booming’.”

Gough’s criteria for an ideal mic are build quality, sound quality, gain before feedback, and adaptability. DPA’s d:facto vocal Microphone possesses all of these attributes, he says, and is adaptable too, with the ability to change the capsule with just a few turns.

“The d:facto Vocal Microphone makes my job so easy: previously I was always using the parametric EQ to get rid of little things I didn’t like the sound of, which I now realize were down to the old mic. Now I’m leaving it completely flat, just high-passing to about 125Hz. It couldn’t be simpler: I add a compressor to the channel, with a nice reverb and I’m done.”

Gough has been using DPA d:facto Vocal Microphones in several tiny venues recently and says its performance “was amazing”. Artists he has used it with include Conor Maynard, Sivu and the band Kowalski – with Lauryn Hill possibly next in line.

“She is such a stickler for her IEMs and wedges sounding great but also being very loud,” he explains, “so that’s going to be my next d:facto challenge.”

Equally at home in sound reinforcement and recording applications, DPA’s high quality d:facto II Vocal Microphone is designed to offer extraordinary natural sound, high separation from nearby sound sources and extreme sound level handling. Its supercardioid pattern and superb definition gives high separation and true sound colour on stage. A three-stage pop protection grid built into the microphone removes unwanted noise.

The d:facto Vocal Microphone provides improved audio performance as it is linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly. The flexibility of its adapter system gives the user simple and affordable possibilities of choosing either a wired DPA handle or the professional wireless system of their choosing, with no loss in sound quality.

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About Richard Gough
Originally from Northern Ireland, Gough has toured with the likes of Muse, Radiohead, Van Morrison and Sigur Ros. He runs his own company, Noiseboi, and has recently worked with Lauryn Hill as Production Manager and Monitor Engineer and Conor Maynard as Monitor Engineer.

For more information, please visit www.noiseboi.com

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

DPA Microphones At The Top Of The Class

Children are lovely, but they do have a habit of breaking things, which is why any piece of equipment used in a school environment needs to be very tough.

According to Matthew Talks, founder of educational equipment specialists Podboffin, DPA’s versatile d:fine™ Headset Microphones certainly fit the bill because they are virtually unbreakable, even in the hands of kids.

“Usually, radio mics in schools have a short lifespan due to cables breaking,” Talks says. “However, I have yet to use the spare DPA mics that I bought recently because the first set I acquired are still going strong. Even if the cable were to break, the modular construction of DPA’s d:fine Headset Microphones means I can replace just the cable at a fraction of the cost of the initial outlay.”

Established in 2010, Podboffin provides recording, sound installation and live production services to schools and also offers advice on choosing the right audio equipment, setting it up and operating it. The company recently invested in a dozen omnidirectional single-ear DPA d:fine Headset Microphones, supplied by DPA’s UK distributor Sound Network, which are now being hired out to UK schools.

“I was familiar with DPA microphones having previously sub-hired d:fine units, so I decided to purchase my own,” Talks says. “In schools, the number one requirement is always for radio mics because the biggest sound problem school productions have is hearing students singing over a live band. The d:fine Headset Microphones completely solve this because I can get the capsule in really close to the singer with no plosive issues and with crystal clear sound.”

Talks admits that, in the educational market, cost is inevitably an issue.

“However, once schools hear the difference that pro mics make when compared to budget mics – and see how little effort is required to get superb results – they never go back,” he says. “I have yet to hire out d:fines and not get repeat business.”

DPA’s popular d:fine Headset Microphones are specifically designed for actors, public speakers, broadcast hosts, musicians and singers who want a lightweight, easy to wear headset microphone that leave them free to move around without compromising vocal quality. With their impressive gain before feedback and very stable construction, these unobtrusive microphones provide a discreet solution that can hardly be seen on the face. The range, which is renowned for its audio accuracy, is available in both directional and omnidirectional options and in single- or dual-ear designs with a choice of three lengths of microphone booms. They are also compatible with just about any wireless system.

Talks envisages his DPA d:fine Headset Microphones will be hired by “any school with a good business model for school productions”. Schools, he believes, can justify an increase in ticket prices and advertising when the production is good and is not let down by bad sound.

To date schools that have used DPA d:fine Headset Microphones for their concerts and drama performances include Dr. Challoner’s Grammar School, The Beacon School and Gerrards Cross Junior School.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Red TX Help Capture This Year’s Barclaycard Mercury Prize

Broadcast audio specialist Red TX provided the technical facilities to capture the audio at this year’s Barclaycard Mercury Prize, which took place at London’s Roundhouse on October 30th.

Hosted by Lauren Laverne, this year’s Awards Show featured live performances by many of the 2013 shortlisted artists including Arctic Monkeys, Laura Mvula, Jake Bugg, Rudimental and overall winner James Blake.

Red TX worked closely with PA company Plus4Audio and Outside Broadcast company CTV to deliver television coverage of this prestigious event, which was broadcast on both More4 and Channel 4.

Barclaycard Mercury Prize Executive Producer Dan Ford says: “Red TX was commissioned to handle the broadcast audio because the company has a strong reputation for delivering great live sound. We worked with them last year and were very happy with the results they achieved. It therefore it made sense to invite them back as part of our tried and tested production team.”

For this event, Red TX supplied its Red II music recording truck which is designed to cater for 3D and 7.1 surround sound productions. Sound Supervisor Simon Wall, now based at London’s The Hospital Club, has been mixing the audio for the Barclaycard Mercury Prize for a number of years and once again he was the man behind the controls of red II’s Studer Vista 8 mixing console. Red TX’s engineer Ollie Nesham was also on board acting as his technical assistant.

Nesham says: “A great deal of preparation went into this show. We arrived at the venue on Monday 28th and spent the next three days setting up, rehearsing and carrying out extensive sound checks to make sure everything was perfect. There were two stages, each with 48 lines of splits that we plugged up to so that all the inputs were available on the desk at the same time. This enabled us to create a set-up for each part of the show, in which typically three bands were performing, so that Simon only had to recall one set-up for each part and one snapshot for each band. Working this way also allows Simon to line check all the bands in each break, which gave us confidence as we could check that we had all the inputs for each band before we started that part of the show.”

Sam Dunlop, Studio Manager of the Hospital Club Studio, adds: “The Hospital Club treasures its longstanding relationship with Dan Ford and the Barclaycard Mercury Prize, which we have collaborated on since 2007. Throughout that time, Simon has mixed all the Sessions filmed at the Club, as well as the Prize gigs and all the live mixes on the awards night itself. We’re extremely lucky to have him, and it’s a privilege to be able to work together to produce such fantastic new music content throughout the year with Dan and his team.”

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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.redtx.com

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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