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Archive by Sue Sillitoe

DPA Microphones Are Chosen For New Jazz Venue The Standard

Danish Jazz legend, producer and internationally acclaimed pianist Niels Lan Doky has teamed up with Claus Meyer, co-owner of the Michelin-starred noma restaurant, to launch The Standard, a new Jazz club in Copenhagen that includes two bars and three world-class restaurants.

Officially opened on October 3rd, 2013, The Standard’s audio equipment list highlights another famous Danish name – DPA Microphones.

“We have between 10 and 15 DPA microphones permanently in the venue and we will be hiring in more when larger ensembles are playing,” says Niels Lan Doky, who is musical director of the new venue. “When our stage was completed in September we conducted a series of rehearsals and tests on site with the DPA team to determine exactly which microphones we needed. The list, which is exclusively DPA, includes various d:vote™ 4099 Instrument Microphones and a selection of d:dicate™ 4011 and 4006 Recording Microphones.”

As The Standard features vocalists as well as instrumentalists, Doky and his team have also invested in a new DPA d:facto™ Vocal Microphone that will be made available to every singer performing at the club.

“We are very excited about this microphone, which is the perfect microphone for us,” Doky says. “Our highly experienced house sound engineer, Jonas Nakel, tried it and was very impressed because it has the trademark qualities of DPA, coupled with the specific needs of a vocal mic.”

The choice of DPA Microphones reflects Doky’s philosophy that, at The Standard, it is the quality of the performance, the music that emanates from the stage, the sound of the room and the overall experience shared by the musicians and audience that matters, not the reputation or image of the artist performing.

“We are aiming to capture the timeless values that define jazz and that the greatest artists in jazz have in common,” Doky explains. “What counts is the quality of the music performed, so we will be working with incoming artists to help them prepare and enhance their shows in order to go beyond themselves and reach new levels of artistry. We also have a great sounding room with top level equipment and this is a very important part of the equation because although we are creating a classic jazz atmosphere, we are also ensuring that the room’s equipment and acoustics reflect professional recording studio standards so that we can give our audiences an exceptional sonic experience.”

Doky adds that choosing DPA was an easy decision for him to make as he already owns a selection of DPA 4011 and 4021 microphones that he uses for all his concerts and recordings.

“I have never done a recording without a large selection of DPAs,” he says. “They are the most transparent and precise microphones I know because what you put in is exactly what you get out at the other end of the chain. In the old days people didn’t always appreciate this as they were used to hearing the transformed and sometimes aesthetically altered sound that many other microphones produced. However, in our increasingly technically sophisticated world, especially in the world of A/V production, it is very important to get as close as possible to a natural sound. I believe that was DPA’s vision from the start and I am glad that they have stubbornly stuck to it.”

Doky has an elegant touch when it comes to studio work and his recordings are renowned for their superior technical quality. His latest album, Scandinavian Standards, will be released on Parlophone to tie in with the opening of the new club, which will host an album launch party.

“Like all my albums, Scandinavian Standards was recorded using DPA microphones,” Doky says. “I play piano and, given how hard it is to record and amplify that instrument, I don’t think the quality of my recordings would have been possible without the clarity and precision of my loyal travel companions, my DPA microphones.”

The opening of The Standard brings the worlds of gastronomy and music into close orbit and focuses attention on Copenhagen’s unique jazz history, which dates back to the 1950’s when many American ex-patriot jazz legends settled there.

“We take deep pride in Copenhagen’s jazz legacy and we want to reflect it in The Standard’s creative choices and decisions whenever possible,” Niels Lan Doky says. “We will be looking to bring in dynamic, vibrant and engaged jazz artists who know how to be daring and courageous without compromising integrity and quality.”

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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

Prism Sound Helps Composer John Lunn Create His Unique Sound

Noted TV and film composer John Lunn has recently acquired a Prism Sound/Maselec MEA-2 analogue equaliser, which he has been using to create the score for the ITV/Carnival Films and Television period drama Downtown Abbey.

Lunn, who received Emmys in 2012 and 2013 for Downton Abbey, has a highly intelligent and sensitive approach to sound that allows his compositions to hit at the emotional heart of a piece. His award tally also includes an RTS Award in 2010, nominations for a BAFTA and Ivor Novello for Sky’s Going Postal and a BAFTA Award for the BBC Dickens adaptation, Little Dorrit. Classically-trained yet contemporary in attitude, he combines the highest production values with a continual desire to discover new colours and sounds, and is continuously in great demand.

Lunn’s audio setup embraces an eclectic mix of equipment, which has been assembled to suit his needs.

“Most of it analogue, as I’m not convinced by digital emulations,” he explains. “A couple of months back, I bought the Maselec MLA-2 tri-band compressor for a project I was working on, The White Queen, which used lots of low percussion and sound design, plus a real orchestra. However, the mastering EQ I had been using up to that point suddenly needed repair and I thought I would take the opportunity to try a few things out.”

As an existing Prism Sound user – he already owns a Prism Sound ADA-8XR multichannel converter and an Orpheus FireWire interface – Lunn needed little persuading to try the company’s Maselec MEA-2. Once he did, he says it was immediately obvious that this was the Equaliser he was looking for.

He explains: “It was particularly relevant for Downton Abbey where I needed a very clean and totally transparent treble boost for the piano and strings to cut through the dialogue. KMR gave me the unit to demo and it worked immediately with absolutely no problems.”

Lunn says that he now uses his MEA-2 unit as mastering EQ for all of his film and TV work. The latest series of Downton Abbey, mixed using Lunn’s MEA-2, has been a runaway ratings hit, peaking at 10.4m viewers, a 39.4% market share of the British TV market (source: The Hollywood Reporter).

Prism Sound’s MEA-2 is a stereo or two-channel, four-band precision analogue equaliser with stepped Q/shelf, frequency and cut/boost controls on each band. Designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required, it provides fully-stepped controls for precision and repeatability, across all parameters.

The MEA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MEA-2 features a fine 0.5dB gain adjustment at low cut/boost settings, and a maximum cut/boost per band of 8dB. The MEA-2 can provide precise equalisation with minimal side effects, as it is designed to provide a very transparent signal path where only the desired equalisation effect is obtained without adding any particular sonic signature.

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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

Prism Sound Adds Titan To Its Audio Interface Range


Internationally renowned manufacturer Prism Sound is expanding its family of audio interfaces with the launch of Titan, which will be on show for the first time at the 135th AES Convention in New York (Booth 3032).

Prism Sound’s new Titan multi-channel audio interface offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz via a simple USB interface.

“As with every product we release, Titan came about as a direct result of customer feedback,” says Graham Boswell, sales and marketing director of Prism Sound. “For some time now, customers using external hardware devices such as Pro Tools™ have wanted easy access to Prism Sound’s high quality audio interfaces, but at an affordable price. Titan is our answer. It offers all the award-winning features of the competitively priced Orpheus but with the USB functionality that users want.”

In addition to the USB host interface, Titan is the first Prism Sound device to feature the new MDIO interface expansion slot. This miniature expansion slot can be used to expand Titan’s connectivity, for example by adding a direct connection to Pro Tools|HDX systems.

Titan draws on Prism Sound’s conversion and clocking expertise developed over many years in products such as the AD-2 and DA-2 and the popular ADA-8XR modular converter family. It offers eight analogue inputs, eight analogue outputs plus S/PDIF and TOSLINK optical digital I/O ports. The optical ports can also be used for ADAT, giving Titan a maximum capability of 18 concurrent input and output channels plus dual stereo headphones.

Titan also features high quality digitally-controlled preamplifiers – four for microphones and two for instruments, which are automatically select when the respective sources are plugged in. An assignable rotary control is provided for monitoring or output level control, which can be applied to any desired set of output channels. In addition, dual stereo headphone outputs are provided, each with its own volume control.

Building on the versatile DSP features of the Prism Sound Orpheus interface, Titan has a powerful built-in DSP engine which provides high precision input and output conditioning functions, as well as a fully-featured mixer for every Titan output channel, including ADAT channels. Each output can be driven with its own zero-latency mix of input channels and DAW feeds, allowing flexible performers’ foldback feeds to be created, as well as stereo or 5.1/7.1 surround monitoring feeds, controlled by the front-panel rotary control if desired. Titan’s high quality analogue outputs are ideally suited for use with analogue summing boxes.

All of Titan’s functions, aside from the front panel monitor and headphone level controls, are controlled from the Titan Control Panel app, which opens on-screen as a separate panel alongside the user’s existing editing software.

Titan will be officially unveiled at AES New York, which runs from October 17th – 20th, 2013. For more information please visit www.prismsound.com or visit Prism Sound’s AES Booth 3032 for a demo.

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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

Mandy Parnell Adds A Prism Sound Lyra 2 Audio Interface To Her Mastering Set Up

London-based mastering engineer and Black Saloon Studios founder Mandy Parnell has acquired a Lyra 2 audio interface from Prism Sound. The unit has already been used on remixes for Bjork, The xx, Hejira, Medieval Babes Christmas Album and Johann Johannsson’s soundtrack for the film Prisoners.

“I love being the facilitator for artists and helping them realise their dreams in audio,” says Parnell. “It is an immense feeling when I hear the tracks I have worked on and see how much pleasure it gives the listener.”

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.

The Lyra 1 interface 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. Lyra 2 includes 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.

Mandy Parnell says she evaluates new equipment constantly and is very particular when it comes to introducing new gear into the Black Saloon environment. However, in the case of Lyra 2, she was happy to include it because it contained features she liked.

“First and foremost, it has Prism Sound’s clear and neutral sound,” she says. “I also like the USB connection and its compact size.”

A long-time user of Prism Sound and SADiE equipment, Mandy Parnell says she is also constantly comparing AD/DA converters to ensure she has the best.

“Some AD/DA convertors, in my opinion, add a distortion into the sound that I do not find acceptable,” she explains. “Artists, producers and engineers often describe the sound I bring to their mixes as ‘dynamic’ and ‘wide’. Prism Sound products play an integral part in helping me to achieve what my customers want because they deliver a very neutral sound that is wide and has great separation. The company’s kit is also very reliable and I can have complete confidence in what I am hearing via my playback and record systems. That is invaluable for me. I have never doubted the sound of Prism Sound.”

Black Saloon has a client roster as long as it is diverse, featuring artists such as Bjork, Matthew Herbert, Feist, Max Richter Frightened Rabbit, The xx, Lianne La Havas, Jónsi, Mount Kimbi and Brian Eno.

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About Mandy Parnell
Mandy Parnell became interested in music aged five, listening to records on a portable Dansette player. She studied music and music technology, trained and worked in recording studios and landed an internship at a mastering studio where she became a world-renowned mastering engineer. After establishing her name in the music industry, Mandy launched her own Black Saloon Studios. Her 24 years of experience have allowed her to discover and develop her philosophies in analogue and digital audio, while working with an amazing array of artists. She is a Grammy Award winner, a Music Producers Guild Award winner and has been nominated or numerous other awards. She is also an active member of the AES, Grammys, APRS and MPG, frequently lecturing on mastering and the music industry.

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

Red TX Captures Stephen Lawrence’s Tribute Concert

Broadcast audio specialists Red TX was at London’s O2 Arena on September 29th, 2013, to capture the broadcast audio for Unity – A Concert For Stephen Lawrence.

Artists including Rita Ora, Beverley Knight and Jessie J were joined by Emeli Sande, Ellie Goulding and Ed Sheeran for the concert, which was held to mark the 20th anniversary of Stephen’s death in southeast London.

Red TX was commissioned to handle the broadcast audio by Paul Dugdale, who was directing the project on behalf of ACME TV. Dugdale previously worked with Red TX during the summer when the company recorded The Rolling Stones in Hyde Park.
For the Unity concert, which was broadcast on BBC 2, Red TX used its main Red 1 outside broadcast vehicle, with engineers Tim Summerhayes and Ollie Nesham at the controls.

“We knew the event was going to be challenging due to a tight schedule and the shear amount of artists and tracks involved,” Paul Dugdale says. “As a director, it’s such a blessing having someone like Tim involved, not only because I know he’s great in those high pressure situations, but that you know the finished product will come out sounding amazing, too.”

Tim Summerhayes adds: “We recorded the concert as live because we had enough time to create snap shots during the sound check. We also had some time the following day to tidy up the audio before delivering it to The Farm where it was dubbed and made ready for broadcast on the evening of Tuesday October 1st. Although there were a large number of artists involved, it was a relatively straightforward project and we were all really pleased with the results.”

The concert was part of the SL20 Campaign, which is celebrating Stephen’s life with a series of awareness-raising events through the year. Funds from the show will go to The Stephen Lawrence Charitable Trust, which aims to create brighter futures for young people from disadvantaged backgrounds.

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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

Funky Junk Helps Steve Honest Fulfil A Life Long Ambition

If you were a music professional who already owned a house, a car and even a two studio recording complex, what would be the next item topping your wish list?

For recordist Steve Honest, the owner of Rock of London Studios in Shoreditch, the answer was easy: a vintage Fairchild 670 compressor dating from the late 1950s. Finding one, though, was more difficult – and for that Honest needed the help of specialist audio equipment supplier Funky Junk.

“I’ve always wanted to have my own Fairchild,” Honest says. “When I was younger I was fortunate enough to do sessions at Konk Studios and they had them. One of the engineers put a 670 across the output of the desk as he was making me a cassette to take home and the difference it made to the sound was amazing. It was so wide, open, full, dense and controlled that it seemed as though the Fairchild 670 was using sleight of hand with my ears. From that day on I was hooked.”

Honest is not alone in this sentiment. For studio gear aficionados, the Fairchild 670 is the ultimate compressor. The undisputed king of Tube limiting, it has 20 vacuum tubes and weighs in at 30 kilos, making it both the heaviest and the most expensive compressor in the world. It is also as rare as a hen’s tooth.

“Fairchilds had been on my mind since the late 1980s, but I had other things to buy at the time,” Steve explains. “Then about three years ago I started putting the feelers out in earnest, but although a couple of units came up I wasn’t happy about the source they were coming from. For such a costly purchase I wanted to be sure that I could get proper after sales support if I needed it – and that’s where Funky Junk came in.”

In 2012, Honest learned that Funky Junk Paris was about to take delivery of a Fairchild 660 compressor – a mono version of the much loved 670 – so he snapped it up and put it to work straight away.

“I used it on everything – bass, kick drum, guitars, vocals horns – the lot,” he says. “After a couple of weeks I couldn’t hear what was so special about it anymore, so I stopped using it. Suddenly everything seemed flat and boring, with no tone, density or power, so I plugged it straight back in again. That’s what I mean about Fairchild sleight of hand.”

Although he was delighted with his Fairchild 660, Honest still wanted a 670 and so the search continued. Earlier this year he lost out on a unit in Germany, so he was really delighted when Adam Crowe at Funky Junk London called to say they had one.

“I bought it on the spot,” he says, “and it’s now in Rock of London where it is performing beautifully. With both compressors, Funky Junk had done all the checks and servicing pre delivery, so they were in good working order when they arrived.”

Owning vintage gear does bring its own set of issues, not least the problem of finding spare parts when things need replacing. But Honest says that when he buys from Funky Junk he also gets peace of mind because everything comes with a warranty, and Funky’s technicians are there to help if anything does go wrong.

“I’ve been dealing with Funky Junk for years because they are great people to work with,” he adds. “It doesn’t matter which branch you are talking to – London, Paris or Milan – it’s always a two-way conversation because they listen to what you want, remember what gear you are looking for and alert you if anything of interest comes along. I’d say more than 60% of the gear I use has come via Funky Junk – and that list includes some really lovely vintage pieces such as a 1960 Telefunken U47, a pair of Neumann KM84s, a racked pair of Neve 33135 channel strips and a really punchy Neve 33609 compressor. And, of course, there are Rock of London’s two consoles – a Neve 66 desk, which Funky Junk installed, and an SSL 4000E, which was lovingly restored by Bob Stewart who Funky Junk introduced me to.”

Since starting as a session musician in the mid-1970s, Steve Honest has held many roles within the music recording industry, including that of studio owner. He opened his first studio in Hoxton in 1981 and continues to be involved in studios because he enjoys watching songs take shape and come to life.

“As I have spent the last decade supporting the idea of self-release, I tend to offer my studio and services to artists that want to make their own records and release them themselves,” he explains. “My prices facilitate people who don’t have huge budgets, but who do know you can’t make a big sounding record on your laptop. I do some label work, but supporting the emerging self-releasing artist is what I am about.”

Most recently Honest has been working on two projects with guitar virtuoso Colin Pollock and recording Maddy Carthy, one of a number of artists who are currently keeping Rock of London busy.

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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 Spain 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.funky-junk.com

DPA Microphones Help Tindersticks’ String Section Combat Spill

UK indie rock band Tindersticks is marking its 21st anniversary with a 12-date European tour that starts in France later this month. Among the key items of equipment at each show will be two DPA d:vote™ 4099 Instrument Microphones, which are being used on the band’s cello and double bass.

Jamie Hickey, Tindersticks monitor engineer since 2008, says he used DPA d:vote 4099 Instrument Microphones over the summer when the band performed seven shows as a taster for the 21st anniversary tour. One of these performances involved a special set at the Blue Balls Festival in Lucern, Switzerland, where the six-piece band was joined by a 17-piece string section.

“The venue had a stock of DPA 4061 Miniature Microphones that it was happy for us to use on the string section, but due to their omni polar pattern I didn’t think they were the best option for a string section that was playing alongside a rock band,” he says. “The supercardioid d:vote 4099 Instrument Microphones were a much better way to go because they could combat the amount of spill from other instruments on stage.

Hickey hired 17 d:vote 4099 Instrument Microphones from Tech-Serv Audio in the UK. These were used to mic five 1st violins, five 2nd violins, four violas and three cellos.

“They performed absolutely brilliantly and I was so impressed that I am now using them to mic Tindersticks’ regular cello and double bass players,” Hickey says. “As far as I am concerned there is no better option for close miking strings. I love their ease of use – if time is limited, which it inevitably is, you can essentially point the mic at the F hole and voilà, it sounds great.”

Hickey adds that DPA’s instrument clips, which he describes as ‘a work of genius’, were also a bonus because they were so easy to attach to the instruments.

“String players are very wary of anyone going within six feet of their instrument – let alone attaching anything to it,” he says. “On this occasion I showed the players the mics we were using and invited them to inspect the clip. The quality and feel of the material used reassured them that there would be no damage to their instrument.”

Tindersticks’ 21st anniversary tour will feature five additional string players who will join the band when they play the London Barbican. For that concert Jamie Hickey will once again be hiring additional mics from Tech-Serv Audio.

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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

DPA Convinces Metallica’s Big Mick That Its Mics Can Rock

Big Mick, Front of House sound engineer for the US heavy metal band Metallica, is using DPA’s d:vote™ 4099 Instrument Microphones to capture the sound of drummer Lars Ulrich’s cymbals and toms.

“After 30 years with Metallica – and 15 years miking Lars’ drums with another brand of microphone – I was finally persuaded to test DPA microphones by Morten Uldbæk, who is the Danish distributor for Midas consoles,” Big Mick says. “I have to admit I had never considered DPA as the right kind of microphone for live rock music, but after giving them a try I was really impressed with their brightness and crispness.”

The final impetus to switch to DPA came from the studio engineers who were working on the soundtrack for Metallica’s 3D film Through the Never, which will have its first public screening at the Christopher B. Smith Rafael Film Center in San Rafael, California on Tuesday, September 17th.

“The recording guys were not happy with our old mics because they didn’t deliver the audio they wanted across the full frequency range,” Big Mick says. “Obviously for a surround sound, 3D movie it was important that the audio was perfect so I suggested the DPA d:vote 4099 Instrument Microphones and, after carrying out A/B testing, they were very happy for us to switch to them.”

Big Mick adds that as well as delivering brighter, crisper audio, the DPA d:vote 4099 microphones were much clearer in the higher frequency ranges. As a result he no longer needs to use an exciter across the cymbal and toms sub group on his Midas live sound console.

“Technology does move on and I’m always looking for better solutions,” Big Mick says. “Now that I have discovered DPA I am looking forward to trying out a few other models and already have my eye on the d:dicate™ 2011 recording microphones as I’m told they are great for drums as well.”

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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

Visual Unity Adds Another Prestigious Award To Its Burgeoning Trophy Cabinet

Leading OTT solutions provider Visual Unity has another trophy to add to its growing collection after achieving Bronze status at the ConnectedWorld.TV 2013 Awards, which took place at IBC 2013 in Amsterdam on September 16th.

Tomas Petru, CEO of Visual Unity, says: “Winning last year’s ConnectedWorld.TV Award for the Best Use of Online Video by a Non-Broadcaster was a highlight for Visual Unity and we are equally delighted to be represented among this year’s winners. This is the third time Visual Unity has been recognised by the ConnectedWorld.TV judges as we were also shortlisted in 2011 for our deployment of vuMedia™ at Czech TV’s online service, iVysliani.”

This year’s award in the Best Online Content Service category recognised Visual Unity’s platform delivery, enabling leading betting company Tipsport to deliver live Ice Hockey streaming throughout the hugely popular Ice Hockey Extra League in the Czech Republic.

As major sponsors of the League, Tipsport holds a solid position in the market with a 45% market share of betting transactions, in addition to their activities as a sports broadcaster. Serving over 1,000 affiliates across the country, 70% of which are sports bars equipped with high definition (HD) screens, Tipsport offers fans the possibility to watch, socialize, and bet at the same time.

Since 2011, Visual Unity has worked with Tipsport to help the company maximize its strong ice hockey fan base and up-sell live betting. Visual Unity has delivered a custom solution that combines live streaming and betting across multiple screens. With this platform, Tipsport can now stream in excess of 450 matches per season to any device (television, computer, mobile, tablet etc). Visual Unity has also designed and installed an IPTV solution for Tipsport’s betting affiliates so that sports bars across the Czech Republic can integrate seamlessly with Tipsport’s betting system while accessing live streaming of all Ice Hockey Extra League matches.

“Ice Hockey is the number one sport in the Czech Republic and fans meticulously follow their favourite teams,” adds Gabriel Dusil, Visual Unity’s Senior VP of Marketing and Corporate Strategy. “By using live streaming, Tipsport give fans the opportunity to watch their favourite matches that are not been broadcast on national television and to bet online while watching on their multiscreen device of choice. Offering complete coverage of the League has helped Tipsport reach new audiences and increase their revenue.”

Jan Cumpelik, Marketing Director at Tipsport, adds: “This project has fulfilled and exceeded the expectations of Tipsport’s business goals. Betting registrations are growing by the thousands each year, while live betting is exhibiting a similar trend. These results show that the future of betting is integral to the real-time viewing of live sports. We are happy that Visual Unity is such a reliable partner to provide us with this complete solution.”

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About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Munchen, Las Vegas, Nairobi and Dubai. For further information, please visit www.visualunity.com

DPA Offers PLASA Visitors A Live Sound Microphone For Every Application

DPA Microphones’ award-winning d:facto II Vocal Microphone is just one of a number of high quality microphones dedicated to the live stage that will be on show at PLASA 2013 (Stand E71).
In conjunction with its UK distributor Sound Network, DPA will highlight the breadth and depth of its live sound microphone range, which now caters for every eventuality and offers something for everyone.

“Regardless of whether you are recording or amplifying, we now has a microphone for every live miking situation,” says DPA’s CEO Christian Poulsen. “The launch of the d:facto II Vocal Microphone was a major step forward for DPA as it meant we could finally offer vocalists DPA’s renowned audio quality in a beautifully designed, hand-held wired or wireless unit. In addition, we also have our innovative d:vote™ 4099 Instrument Microphones and our lightweight, easy to wear d:fine™ Headset Microphones that are so popular with theatre and musical productions and are increasingly in demand for live concerts where singers want superior sound as they dance and perform.”

DPA live sound solutions also include the recently rebranded d:dicate™ range of Recording Microphones that have long delivered superb audio quality to musicians who want to use a microphone on a stand. Among these is the d:dicate 2011C Twin Diaphragm cardioid microphone, an all-round workhorse that is optimized for on-stage use and gives superb clarity, richness and dynamics.

Visitors attending PLASA 2013 will also have the opportunity to see DPA’s new MMC4018 modular supercardioid condenser capsule that is now an integral part of the d:dicate™ Recording Microphone range. The MMC4018 offers a highly directional pattern and an extremely controlled off-axis response, thus ensuring exceptionally smooth sound. Unlike the DPA d:dicate 4017 Shotgun, which includes an interference tube and is therefore more directional, this new variant offers more consistent rear rejection (almost no back lobe), making it ideally suited to spot miking in orchestras.

The modular nature of DPA’s d:dicate Recording Microphone range has enabled the company to expand its remit by entering the installation market. To this end it has introduced new desktop and podium microphones that give AV installers and conference organisers the clear, transparent and precise sound they demand.

DPA’s new MMC4018 capsule is the standard recommendation for the d:dicate podium microphone. By combining the capsule with different active booms and cables, installers can specify the exact microphone for their needs. For example, an MMC4018 capsule combined with an MMP-C compact pre-amp makes an ideal desktop microphone, while the same capsule combined with an MMP-E modular active cable is perfect for applications where the microphone needs to be hung from the ceiling as the preamp only adds 12mm to the capsule – and thanks to its integrated cable it is very inconspicuous.

For more information about DPA’s microphone range, please visit Stand E71. Visitors to the booth will also have the opportunity to win a DPA microphone by having their badge scanned and entering a free draw, which will be drawn each day at five pm throughout the show.

-ends-

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

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