A virtual press conference from Sound & Video Contractor

Archive by Sue Sillitoe

Visual Unity Appoints Gabriel Dusil as Vice President of Corporate Strategy

In a move that significantly strengthens it management structure, leading broadcast and multiscreen systems integrator Visual Unity has appointed Gabriel Dusil to the position of Vice President of Corporate Strategy.

Dusil brings a wealth of experience to Visual Unity, having held several regional management roles across EMEA with large multi-nationals such as Motorola and VeriSign. His background also includes VP level sales and marketing roles, with strengths in Cloud-based solution selling and partnership management.

Tomas Petru, President of Visual Unity, says: “Gabriel’s appointment comes at a time when Visual Unity is expanding its product portfolio with the launch of vuEasy™ – a next generation Cloud-based Online Video Platform that allows companies to manage and monetize their audio, video and image libraries. Gabriel’s experience in sales and marketing, combined with his knowledge of video standards, storage solutions and end-to-end IP video services, will considerably help Visual Unity expand its product strategy, global marketing initiatives and international sales and business development.”

Dusil’s role at Visual Unity includes identifying and developing opportunities for the company in international markets. To this end he has already led the team in negotiating and signing a strategic partnership agreement the UAE’s integrated telecom service provider du.

Visual Unity has over 20 years’ experience and expertise in the design and delivery of linear broadcast and multiscreen solutions. Its vuMedia™ integrated content management and delivery platform recently won the ConnectedWorld.tv 2012 Award for the Best Use of Online Video by a Non-Broadcaster, and was also shortlisted for a CSI Award in the Best Content On Demand category.

Developed to help broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment, vuMedia™ delivers a cutting-edge viewing experience on any screen or connected device. Among the many national and regional broadcasters and media companies that have adopted vuMedia™ are Al Aan in the Middle East, TV Nova, Czech TV and TopFun.

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About Visual Unity

Visual Unity is an international Systems Integrator 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 vehicles and major playout facilities to live internet streaming and Video on Demand services.
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 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, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai. For further information, please visit www.visualunity.com
Visual Unity: Na hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

Jünger Audio Helps Two US Broadcasters Comply With CALM

The implementation of the USA’s new CALM legislation on broadcast audio loudness has led many broadcasters to look for effective ways of processing, controlling and logging their audio output so that it meets the FCC’s Compliance rules.

With a number of solutions on the market, WBPH in Philadelphia and WMBC in New Jersey – two stations in two neighboring markets that share engineering ideas and resources – combined their technical expertise to search out the Loudness control system that worked best for them. As a result of this search, both stations have invested in T*AP Television Audio Processors from German manufacturer Jünger Audio.

WBPH-TV, an independent full power TV station that has studios and offices in Allentown PA, is carried by all local cable as well as DirecTV and Dish Network. WMBC-TV is an independent full-power commercial TV station based in Newton, NJ. Its programming is available over-the-air, on cable TV and satellite throughout the New Jersey and New York area.

Daniel P. Huber, Chief Engineer at WBPH-TV, and Victor Joo, manager of WMBC-TV, both felt that Jünger Audio’s award-winning T*AP Television Audio Processor was the right solution because it is able to process, control and log audio output in line with FFC requirements, all within a single box.

Primarily designed for TV playout facilities, this wide band 8 channel processor (8×1, 4×2, or 5.1+2) provides Loudness control, Upmix and surround sound processing for up to eight channels of audio. The unit, which is fully compliant to the ITU standard and fulfils the requests given by ATSC A/85 and EBU R128 loudness recommendations, focuses on automatic and adaptive loudness control using Jünger Audio’s renowned LEVEL MAGIC™ II algorithm. Optional Dolby Decoding and Encoding (AC-3, E-AC-3 or HE-AAC), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit. T*AP can handle digital inputs (AES) and, through interface slots, all other usual audio formats including all SDI versions (SD, HD, 3G). It is controllable through front panel and Web based GUI, plus remote control, and GPI.

WMBC has invested in three Jünger Audio T*AP units, all of which have been installed in its Master Control (Cut Studio) in West Caldwell, NJ. WBPH has installed one T*AP in its Master Control in Allentown, PA.

“CALM legislation, like any other FCC mandate, is always a top concern for TV stations, and there is typically a rush of stations to follow the trend to be “safe”, or perhaps, at least, in good company,” Daniel P. Huber says. “For WBPH, we often need to look outside the usual options to meet FCC requirements and Jünger Audio was such a case. With the anticipation of adding additional channels in the near future, WBPH had a present need but also a requirement to easily expand as well. Jünger Audio easily met this need with a single TAP offering four channels in one unit.”

Huber adds that he was particularly impressed with the T*AP unit’s A85 preset for US TV stations.

“All we had to do was drop in the preset and the FCC mandate was quickly met,” he says. “You can easily change presets and create custom settings for all audio situations if you desire, from music to talk etc, but for mandates that have deadlines, and typically equipment shows up last minute, the preset is very nice.”

For WMBC-TV, installing T*AP has also solved the issue of audio levels varying across different content streams.

“Prior to installing T*AP, many of our multicast broadcasts (seven video channels and two audio channels) had varying audio levels for all different feeds at any given time,” Victor Joo explains. “The T*AP processor has provided us with a solution to that problem by ensuring consistent audio levels across all of the different feeds. We have been using T*AP for over a month and we are pleased with the results as the quality of our audio signal has improved greatly. We are very happy that we chose T*AP for our audio control solutions.”

Both WPBH-TV and WMBC-TV say that T*AP’s cost per channel made the unit very attractive – as did its small footprint, its real-time display of audio levels via its front panel and its detailed display via a PC. However, one of the unit’s main selling points for both stations was its on-board logging facilities.

“We were looking at other solutions for loudness control, and yet another unit for logging, but what we liked about the Jünger Audio T*AP processor is that it does all the work in one box,” Huber adds. “The logging requirements mandated by the FCC are often open to interpretation so we were looking for a fulltime logging solution that could keep a log of all our audio channels on a 24/7 basis. Jünger Audio does this with the PC logging program. All components are IP addressed and overall it is a clever unit.”

Any television station that invests in such vital equipment needs to know that it will be properly supported throughout the installation process. Jünger Audio ensured this by providing technical back-up to both stations.

“If you are an engineer, you get used to things having a glitch or two, and although this install was meant to be a very simple one because we had pre patched all the needed audio, did have a glitch,” Huber explains. “We found out that the Harmonic Electra Encoder uses sync from video in a way that caused an anomaly with two audio-only non-video synced radio channels that was not heard when bypassed. This was not the fault of the Jünger Audio unit, but more a handshake issue between the Harmonic and the Jünger Audio unit that has not previously been paired in this way. Thanks to the help we received from Jünger Audio’s Anthony Wilkins and his technical support team, the situation was quickly resolved.”

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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

DPA Microphones Congratulates Les Miserables Sound Team On Its Oscar and BAFTA Awards Success

DPA Microphones would like to extend its congratulations to Andy Nelson, Mark Paterson and Simon Hayes for their recent success at both the Oscar and BAFTA Award Ceremonies where they carried off the top accolades in the Sound Mixing categories for their work on Les Miserables.

DPA’s 4071 Lavalier Microphones played an integral part in recording the audio for the film version of Les Miserables, which features an all-star cast including Hugh Jackman, Russell Crowe, Anne Hathaway, Samantha Barks and Sacha Baron Cohen.

The Les Miserables sound team used an innovative technique that involved recording vocals live on set with the cast singing to a live piano accompaniment played to them through earpieces. The orchestra was recorded later in post-production, with the musicians taking their lead from the performances of the cast. This break with tradition enabled director Tom Hooper to create a truly emotive experience for audiences watching the film.

Production Sound Mixer Simon Hayes, who was responsible for capturing the film’s entire audio content, says it was a truly unique way of working and one that would not have been possible without exceptional microphones, in particular DPA 4071 lavalier microphones.

Hayes had 50 DPA 4071 lavalier microphones at his disposal during the filming of Les Miserables, all of which were supplied by Richmond Film Services in conjunction with DPA’s UK distributor Sound Network.

“They are the only lavaliers that could cope with what we were trying to do,” he says. “In my opinion the DPA 4071 microphone is better, more open sounding, less chesty and sounds more like a boom mic than any other lavaliers I have heard.”

Hayes adds that he is honoured to have won both an Oscar and a BAFTA for his work on Les Miserables.

”These awards celebrate the collaborative effort of the cast and crew to bring live musical sound to cinema audiences,” he says. “Lots of people thought what we did wouldn’t be possible, but we pulled it off and I am very proud of what we achieved.”

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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 Introduces the V*AP Voice Processor at NAB 2013

Dynamics specialist Jünger Audio will use the NAB 2013 platform (Booth C2333) to give US broadcasters their first view of V*AP, a brand new two channel voice processor 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 but 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 performed, making it hassle free for any journalist or reporter to use. Jünger Audio has also provided a dedicated voice leveler combined with a voice over circuit to help integrate 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 boosts and attenuates frequency bands to preserve natural balance while achieving station sound. With Spectral Signature™, users can automatically analyze the ideal recording of their voice (direct or over telephone lines) and easily create pre-defined sound fingerprints that become the reference the algorithm matches to on all subsequent live recordings.

At NAB 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 1770/1/2/3, ATSC A85 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 NAB 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 NAB 2013 – Hall C, Booth 2333 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.junger-audio.com

DPA Microphones Capture An Operatic Sensation

Audio hire specialist RG Jones specified a wide selection of DPA microphones for a recent series of concerts by Katherine Jenkins, a multi-platinum selling mezzo soprano and one of Britain’s best loved singers.

For two weeks at the end of 2012 Katherine Jenkins sold out venues around the UK and Ireland, including London’s Royal Albert Hall. During the tour she was supported by the National Symphony Orchestra and London Philharmonic Choir, conducted by Anthony Inglis. She was also joined by guests such as The Boy Choristers of St George’s Chapel, Windsor Castle and The Band of the Welsh Guards.

RG Jones supplied all of the audio equipment for the tour and specified DPA microphones for the orchestra. A total of 14 DPA 4061 miniature microphones were used to capture the sound of the strings, while the low strings and the brass section were miked using 10 DPA d:vote™ 4099 Instrument Microphones.

Steve Carr, who was the front of house sound engineer, says: “We chose the DPA 4061 omni miniature microphones for the strings because these are a tried and tested method for achieving high quality close miking. The DPA d:vote 4099 Instrument Microphones give you all the benefits of the 4061, but with a super cardiod pattern. In the middle of a loud orchestra this is very useful for isolating the sources. Although we close mike the orchestra, we try to also get a rounded, open orchestral sound by blending reverb effects and ambient mics with the close mic sounds.”

RG Jones carries a large stock of DPA Microphones, all of which were supplied by DPA’s UK distributor Sound Network. Carr adds that he was delighted with the results the DPA microphones achieved during the Katherine Jenkins tour.

“I’ve been using DPA microphones for many years now and am always very happy with the sound they deliver,” he says.

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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

Unleashing New DK Meter Features

DK-Technologies has released new software for its award-winning DK Meter range, taking the optimal ‘One Box’ metering solution to even greater heights of functionality.

The new software includes the Horizontal Bargraph mode, which compliments the existing MSD View, FFT analyzer and Graphical Loudness that are already incorporated into the DK Meter package. With this new feature in place, DK Meters now offer the ultimate range of landscape views, allowing users to see and secure their audio from any angle.

“DK Meters have always offered a wide range of benefits including at a glance Loudness conformity, compliant with all major loudness standards (BS1770-2, A/85, R128, ARIB and more),” says Uffe Khems Hansen, DK-technologies’ Product Marketing Director. “With this new software update, users can now access Dual Loudness bargraph functionality, as well as Dual Scale Views, allowing independent ppm and loudness scales to be viewed alongside each other.”

DK-Technologies has also introduced a new Quick Setup menu, making it a breeze to enjoy these new features.

With their compact, one box design and easy and intuitive user interfaces, DK Meters remain the perfect and surprisingly affordable solution to ‘One Box’ Audio and Loudness Metering for all broadcast and post production facilities.

The New DK Meter software update is available free-of-charge for download. To access this – and for a brochure and video demo of the DK Meter range – please visit DK-Technologies at www.dk-technologies.com

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Prism Sound Hosts Audio Design Workshop LIVE

Some of the most experienced engineers in the audio industry will be sharing their knowledge and practical expertise in active loudspeaker design at a unique workshop being hosted by Prism Sound and Oxford Digital, in partnership with the Audio Engineering Society, LOUDSOFT and TTid.

Audio Design Workshop LIVE will take place at Anglia Ruskin University, Cambridge, on March 25th 2013 and will be open to engineers, engineering managers, students and academics involved in audio engineering.

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

Audio Design Workshop LIVE will feature seminar sessions presented by Peter Eastty and John Richards of Oxford Digital; Peter Larsen of LOUDSOFT; Ian Dennis and Simon Woollard of Prism Sound; plus a guest presenter to be announced shortly. There will also be a panel discussion/Q&A where delegates will have the chance to ask the panellists for answers and advice, a hands-on session with evaluation units and demonstrations, and plenty of opportunities to network. All delegates will also receive an audio engineering gift pack.

“We are encouraging delegates to bring along their own loudspeakers for evaluation and enhancement using Oxford Digital’s DSP tools,” Simon Woollard adds. “And for those who can’t physically attend, there will be the opportunity to watch the proceedings live via a global webcast.”

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. This can be done online via the Prism Sound website: www.prismsound.com/ADWLCambridge2013, or by calling +44 (0)1353 648 888.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

DPA’s d:facto™ Vocal Mic Makes Its Rental Debut

After a live try-out of DPA’s d:facto™ Vocal Microphone at London’s Royal Festival Hall, sound production and rental company RNSS was so impressed with their performance that it has placed an order for six of the new d:facto II Vocal Microphones.

RNSS specified DPA d:facto Vocal Microphones as part of the audio equipment for the London Jazz Festival, an annual event produced in association with BBC Radio 3. Hailed as the capital’s biggest pan-city music festival, The London Jazz Festival featured artists such as Herbie Hancock and Lucinda Williams.

Richard Nowell, director of RNSS, says: “We have had a long association with DPA Microphones and already carry a large stock of the company’s products. I was intrigued by the new d:facto Vocal Microphone and was keen to try it out. The Jazz Festival gave us the perfect opportunity to put it through its paces. We borrowed two d:factos from DPA’s UK distributor Sound Network and used them as high end alternatives to our usual vocal mics. They performed flawlessly and delivered exceptional sound that was much appreciated by the artists and the sound crew.

“Their ability to filter out unwanted noise meant that we could safely use them for singers who were performing in front of an orchestra without the risk of their vocals being drowned out.”

One of the artists who used DPA’s d:facto Vocal Microphone was Kris Kristofferson who performed at the Royal Festival Hall shortly after the Jazz Festival.

“We had hung onto the microphones because we liked them so much and wanted to use them for Kris’s concert,” Nowell says. “Kris is interested in sound and is always open to trying something new. He really liked the structure and tonal quality of the d:facto and was very happy with the results it delivered.”

Equally at home in sound reinforcement and recording applications, DPA’s new d:facto II Vocal microphone offers an extraordinarily natural sound, high separation and extreme SPL handling, giving users unlimited possibilities for their performances. In addition to use with the new wired DPA handle, the d:facto provides singers and engineers with the added benefit of a state-of-the-art adapter system that allows for seamless integration with many professional wireless systems including Sony, Lectrosonics, Shure, Wisycom and Sennheiser. The d:facto provides improved audio performance as it is superbly linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly.

RNSS will be taking delivery of its new DPA d:facto Vocal Microphones in a few weeks time and is already anticipating plenty of interest.

“We have decided to buy six of the new d:facto II microphones so that we can use them with our existing wireless systems,” Richard Nowell adds. “We see huge potential for these microphones as rental items because they are so versatile. The adapter system will give our customers plenty of options as they can either use a wired DPA handle or the professional wireless system of their choosing, with no loss in the sound quality.”

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

DPA Tours With Legendary Guitarist Paco Peña

The ability to move from venue to venue and achieve the same sound regardless of the acoustics or the PA system is the main reason why sound engineer Raul Mendez chooses DPA Microphones.

“I have been using DPA microphones for a long time now and they are always my first choice of microphone because they give me the sound I want without any feedback problems,” Mendez says. “Whether I am miking an acoustic instrument, voices for an event or a musical, I know these microphones will work perfectly every time and in all of these different areas of performance.”

Raul Mendez is currently using a selection of DPA microphones to capture the sound of legendary guitarist, composer, dramatist and producer Paco Peña. Over a career spanning more than four decades, Peña has expanded the possibilities of flamenco and changed perceptions of the art form by fusing the richness of its traditions with contemporary culture.

Peña, who is now touring in the USA, recently gave a series of concerts at London’s Sadlers Well’s where he presented his 2010 work Quimeras, a marriage of traditional Spanish and African music and dance. Directed by Jude Kelly, artistic director of London’s Southbank Centre, Quimeras tells the story of sub-Saharan African immigrants who move to Spain in search of a better life. The shift from hope to disillusion as reality confronts them is summed up by the title of the piece, which means chimeras or illusions.

For these performances, DPA’s UK distributor Sound Network supplied Mendez with a selection of DPA microphones, including DPA d:vote™ 4099 Instrument Microphones, which Mendez used to bring the sound of the guitars to life. Paco Peña’s guitar was miked using a DPA 4061 omni miniature microphone, while for the show’s vocalists Mendez chose DPA d:fine™ headset microphones.

“I prefer all my microphones to be wireless and with DPA technology this is really easy,” Mendez says. “I particularly like DPA’s wireless miniature microphones for vocals as they provide the perfect solution for the performer, while still giving me the sound I need.”

For Paco Peña’s US tour Mendez has also specified DPA and has switched Peña from a DPA 4061 omni miniature microphone to a DPA d:vote 4099 Instrument Microphone because both preferred the sound.

Paco Peña says: “The two other guitarists in my company use DPA d:vote 4099 Instrument Microphones with an attachment that allows them to be suspended away from the instrument. At first I found the actual support used for attaching them to the guitar a little difficult to deal with. I play with the guitar quite close to my body, and I move while playing and tuning etc, so I tended to knock the support on occasions. For that reason I was initially using an equally excellent mike – the DPA 4061 omni miniature microphone – which was attached to the guitar instead of being suspended in the air. However, I have now experimented with the d:vote and have found a spot to attach it to the guitar where I can manage it pretty well. It is a really great microphone and I am very happy with the sound it is giving me.”

Both Mendez and Peña feel that, when it comes to the choice of microphone, the most important aspect is the sound.

“I am very happy with the sound we are achieving on this tour,” Peña says. “I have known for a long time that DPA microphones are held in very high regard in the industry, but using them on a regular basis really makes the run of the show a whole lot better; the quality is excellent, but also the actual physical design allows musicians to attach them to the guitar and to move the instrument without altering the amplification and the EQ, and move around the stage without hindrance. The vocals are also performing well with the DPA d:fine Headset Microphones.”

Mendez adds: “I have compared DPA microphones with others on the market and I definitely prefer them. I spend a lot of time in different venues with different PAs and consoles, but with DPA the one thing I know is that the sound won’t change. This is a good way to start the day, especially when you consider that during our current US tour we will be doing shows in 32 different venues.”

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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 Shows Its *AP Family of Audio Processors At BVE 2013


At BVE 2013, dynamics specialist Jünger Audio will be showing M*AP – the latest addition to its Award-winning *AP family of audio loudness processors.

In conjunction with its UK distributor Aspen Media (Stand B20), Jünger Audio will demonstrate this ground-breaking processor that 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 1770/1/2/3, ATSC A85 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 an option for up to eight speaker outputs that allow for monitoring of the audio mix and 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 de-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).

Optional Dolby Metadata emulation will be introduced in the second quarter of 2013, giving producers a unit capable of simulating the results of different types of Dolby encoding, and a successor capable of performing many of the tasks previously undertaken by Dolby’s DP570 unit.

Jünger Audio will also be showing 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 Junger Audio’s distributor Aspen Media at Stand B20 for a demo.

-ends-

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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