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Red TX Records The Audio For Jeff Wayne’s Musical Version of The War of The Worlds – The New Generation – Alive On Stage!

Broadcast audio specialist Red TX has recorded the audio for a new DVD of Jeff Wayne’s iconic musical version of The War of The Worlds.

Based on the book by HG Wells, Wayne’s classic 1978 musical work has sold over 3.6 million copies in the UK alone and over 15 million worldwide, and has been performed as a musical on some of the largest stages in the world.

For this version, Wayne incorporated new interpretations of the original tracks and a new cast starring internationally renowned Irish actor Liam Neeson as George Herbet, the journalist – a role originally performed by Richard Burton.

Other stars included Jason Donovan, Kaiser Chiefs’ Ricky Wilson, Marti Pellow, West End’s Kerri Ellis and Jettblack’s lead singer Will Stapleton. The show was performed by the Black Smoke Band and 36-piece ULLAdubULLA strings, conducted by Jeff Wayne.

Red TX was commissioned to handle the audio recording during a performance at London’s O2 Arena by Universal Visual Programming.

Producer Dione Orrom says: “We chose Red TX because we have worked with them many times in the past and they have always delivered great results. Also, Red TX understood the history of this project, having recorded Jeff Wayne’s Musical version of The War of The Worlds before in 2006, so Tim Summerhayes and his team were fully aware of the complexities of the show. There were a large number of tracks involved and complex time code issues that required the skills of an experienced audio team.”

Red TX Director Tim Summerhayes, who manned the controls on the company’s main Red II truck, says: “The secret to getting this project right was close collaboration between ourselves, Visions OBs, which was handling the video recording, and the artists’ sound crew, which was headed by Front of House sound engineer Simon Honywill and systems technician James Breward (Brew). We knew we didn’t have much time to rehearse or sound check in the O2 Arena as we had to be in and out in a day and could not interface with the show until about 1.30 pm, so a lot of preparation was done in advance.”

Some weeks prior to the O2 show, Summerhayes went to see rehearsals at LH2 Studios and the show at the NIA in Birmingham and held lengthy discussions with producer Dione Orrom, director Nick Morris, Visions unit manager Dave O’Carroll and Simon Honywill to devise a secure plan for the recording.

“We agreed to interface with Simon’s PA and took his gain structure via three MADI feeds, which we combined with analogue click tracks, time codes and the audio from the 14 ambient microphones that were covering the Arena,” Summerhayes explains. “We used three different Pryamix recording systems to distribute the tracks evenly and we also had back-up systems as a failsafe. As with any project of this scale, Red TX’s Ian Dyckhoff and Ollie Nesham were key to ensuring that all the right red lights were on.

“Timecode was the main issue we had to overcome. Normally we would lock to the video truck’s timecode, but because we were using Honywill’s MADI feeds we had to lock to his sync and show code as this was also being used to trigger the lights, live screen and special effects. There was always the possibility of a timecode drift between the two systems, which could have created serious problems in post-production, but we resolved this by very careful monitoring during the day and by recording both the show and time of day timecodes so that they could easily be tracked in post-production.”

Summerhayes adds that collaboration between the audio truck, the video truck and the Front of House sound crew is becoming increasingly common on large productions because of their complexity.
“Had we just ‘turned up’ on the day, I really don’t think that the job could have been done,” he says. “We’ve been doing this long enough and fortunately we know most of the main players, so it’s now easy for us to work alongside people like Simon Honywill and to liaise with confidence with the production company. It is with shows like this that experience really counts and we were delighted that Universal Visual Programming recognised our expertise and trusted us to do the job properly.”

The new version of Jeff Wayne’s Music Version of The War of The Worlds is an extraordinary stage production that unites conventional settings with modern technology. Highlights of the multimedia show include a three-legged, ten meter high Mars robot, a 95 minute animated movie shown on a 240 square meter screen and the use of 3D holography that allows the absent Liam Neeson to interact with the live actors on stage.

The audio recorded by Red TX is now being mixed by Jeff Wayne at his OllieWood Recording Studios. The DVD of the show will be available later this year and it will also be screened at digital cinemas around the world, starting in approximately 100 cinemas in the UK from April 11, 2013.

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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

Salam Media Cast Changes Name To Media Group International

The Middle East region’s leading broadcast and communications systems integrator has announced it is changing its name to Media Group International. Formerly known as Salam Media Cast, the Ghanim bin Saad & Sons Group Holdings-owned company will exhibit under its new name for the first time at Cabsat 2013, the largest Broadcast Digital Media and Satellite Expo in the Middle East, held in March in Dubai.

Media Group International will continue to bring clients the very latest in system integration (SI) technology under the existing direction of CEO Paul Hennessy, servicing its clients from its regional Doha base, where it has been operating for more than 35 years. The company also has offices in the UAE, Oman, Bahrain, Saudi Arabia and London, United Kingdom for its European operations.

Paul Hennessey, Media Group International CEO, said: “Our name change to Media Group International reflects the company’s ambition to stay relevant for our customers internationally, offering exciting IT, telecommunications and broadcast access more widely throughout Europe, Middle East and Africa. We have enjoyed successful growth in the past 35 years to become the leading company in the Middle East, and we plan to continue our geographical expansion to further build up our business capability.

“We are dealing more and more with Broadcast Media companies who are becoming international providers by utilising the IT and Telco Networks to deliver content. Recently we have signed a number of agreements that will help extend our capabilities to deliver full turnkey solutions to our customers.

“Broadcasters will benefit from this as they can easily manage one supplier dedicated to making their business successful.”

Media Group International will be exhibiting under its new name at leading industry event, Cabsat, which will be held from 12-14 March at the Dubai World Trade Centre. The company will be making a number of announcements during the show, which will include key partnerships that recognise its shift into an IT-centric environment.

Media Group International’s stand will showcase for the first time in the Middle East 3D immersive systems technology with a specially built theatre. The company signed a partnership deal with HoloVis International in October 2012 to bring customers advanced 2D and 3D immersive systems technology including virtual reality CAVE’s and Wall’s, large scale theatres and domes and next-gen motion base/platform technology and simulators. The deal with HoloVis allows Media Group International to deliver a suite of innovative technologies that create unrivalled transformational sensory experiences for its customers.

Under Media Group International the following worldwide manufacturers are represented: Anton Bauer, Avid Technology, Axon, Christie Digital, Canon, Cisco Systems, Clyde, DDN, Front Porch Digital, Grass Valley, Harris, HoloVis, IBM, Quantel, Sennheiser, Snell, Storagetek, Studer, Sonitex, Sony, Soundcraft, Strand Lighting, Sun, Vidigo, Vinten, Vizrt, Vistek, Visual Unity, Wohler, XOR Media . The company serves TV channels and networks, movie studios and network operators, and provides telecommunications, broadcasting, integrated systems and state-of-the-art security solutions right across the Gulf region.

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Paul Hennessey, CEO of Media Group International, is available for interview at Cabsat 2013. Media Group International will exhibit at Cabsat, 12-14 March at Dubai World Trade Centre (stand B5 20).
For further information or to schedule an interview please contact:
Katrin Mueller, Marketing Manager, katrin.mueller@gssg.com

Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings

Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.

GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.

The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.

In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
info@gssg.com
www.gssg.com

Media Group International

Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 40 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor

and multisensory environments. Media Group International provides solutions from safeguarding national security such as in government operations, creating the best venues for education such as museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

To support the workflow and innovation demands of our valued customers, the team has grown with new local and international talent. We use our expertise to help realise your goals and ambitions – we listen, advise, design and build great workflows that work for you. Our ambition is to be your trusted partner in the Gulf region.
Website: www.mgi.tv

Jünger Audio Appoints Anthony Wilkins To Its Sales Team

Dynamics processing specialist Jünger Audio has appointed Anthony Wilkins to the position of International Sales Manager, with particular responsibility for the US and UK markets.

Wilkins has more than 25 years of experience in the audio industry and has previously worked for Sony, DTS, Linear Acoustic and RTW. He is also a member of the AES, the IEEE and the EBU P/Loud group.

Peter Poers, Managing Director of Jünger Audio, says: “Anthony has a thorough understanding of the broadcast industry and Jünger Audio’s position within it. Our product range is ideally suited to broadcast customers in the US and UK, particularly in light of the recent introduction of Loudness legislation such as the CALM Act in the US. Anthony’s contacts and expertise will allow us to enhance brand awareness and market penetration so that we can bring our Loudness solutions to the widest possible audience.”

Wilkins adds: “I’m delighted to be joining one of the world’s most respected audio processing companies. It’s an exciting time in our industry and Jünger Audio has a compelling range of products to meet the needs of many of today’s broadcast audio requirements. I look forward to working with a great team and to building further on Jünger Audio’s already impressive success.”

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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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White Mark Designs A New Film Sound Facility In Moscow

After three years of intense work, UK studio design consultancy White Mark Ltd has completed a massive project in Moscow that involved designing and building a new, state of the art film sound facility for Russian company CineLab Ltd.

The new complex has 14 studios including three dubbing theatres built and accredited to Dolby Premier License criteria and a 5.1 mixing room for pre-mixes and TV/DVD work. It also features multiple edit and pre-production suites, sound design rooms and a large orchestral studio.

All three dubbing studios and the orchestral studio are equipped with Euphonix System 5 consoles. The 5.1 mixing room is equipped with an Avid Icon Pro Control console. Pro Tools technology is available throughout and every room in the facility is linked via a central audio and video storage server, which is backed up and configured to the highest security standards. This makes it possible for projects to be worked on in multiple studios concurrently.

CineLab is putting the finishing touches to an extensive and highly specified Foley suite and orchestral studio, which will be completed by summer 2013. Designed to accommodate traditional working methods where the sound engineer is located in a separate control room, as well as more current working methods where the engineer works alongside the artists in the recording/performance space, this studio will have a wide selection of indoor and outdoor props and surfaces. It will also have comprehensive facilities for working with water, all domestic environments, car interiors and controllable variable acoustics.

White Mark was commissioned to handle the entire project on the basis of its international reputation for designing and delivering world-class audio facilities.

Cinelab’s Managing Director Vadim Nerukov says: “We did a great deal of research before allocating this contract and in our view White Mark was the best acoustic design company on the market. Our faith in the company has been more than satisfied by the work they have done. We are delighted with the new facility and with the way in which White Mark helped us overcome numerous technical issues during the construction stage to achieve the results we wanted.”

David Bell, managing director of White Mark, adds: “This was a marathon project that involved the complete renovation of a former cold store building on the banks of the Moskva River in Moscow. The entire three-storey building was totally gutted so that every studio in the new complex could be built without compromise. We had some interesting structural issues to overcome as the existing roof needed to be raised and various floor pillars removed. The builders also had to contend with the extreme cold of Russian winters, which made pouring concrete into the foundations difficult – a problem they eventually overcame by using 400kW of heating to create the correct conditions for the materials to set.”

Bell adds that the floating isolation shells needed for the main dubbing studios and the music recording studio were so large that steel structural frames had to be erected to support them. These, in turn, were so big that they had to be lifted into place with a crane.

“The weight of the lifting equipment couldn’t be supported by the rubber isolation mounts if the floor was laid first,” he explains. “We got round this by erecting the frame before the roof above it was closed. The crane was taken out in pieces through an opening we had left in the building for this purpose. Once the building was closed to the elements, we were able to lift the steel frame using jacks and place the isolation mounts underneath so that they weren’t be affected by the extremely cold temperatures outside.”

As the project’s acoustic designers, White Mark worked closely with local architects and builders to achieve the results CineLab wanted.

“Having designed audio facilities all over the world, we have developed a working method and drawing system that allows multi-lingual work forces to build accurately from our documentation,” David Bell adds. “We successfully applied these methods to this project and the results speak for themselves. CineLab is one of the biggest projects we have ever undertaken and we are very proud of what has been achieved.”

The CineLab Group already owns a number of companies involved in the film industry, including Digital Intermediate facilities (digital colour grading, preview theatres, edit suites etc), a VFX studio, a front-end and bulk printing laboratory, a lighting/grip equipment rental house, a data delivery department (DCP mastering, KDM, content delivery via satellite to 430+ cinema sites in Russia and CIS with a reach of 1000+ screens, etc), a logistics company and a film production company.

Explaining the company’s decision to invest in this new facility, CineLab’s CEO Denis Glinsky says: “CineLab’s existing companies already attract national and international work, including Russian language dubbing of Western feature films. The new complex allows us to provide a comprehensive facility for the creation of original production sound tracks in all current coding formats including Dolby SR, Dolby Digital, Dolby Digital EX and Dolby Atmos (from Spring 2013).

“We can now offer facilities for the entire sound recording process – from recording on set to overdubbing, mixing and encryption of the final soundtrack. This significantly expands our remit and we believe that the combination of a unique location and state of the art facilities will appeal to Western film producers, encouraging them to move their projects to Moscow at a much earlier stage in the production process.”

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents. www.whitemark.com

Jünger Audio Deliver Consistent Audio Levels For PT Link Net

Jakarta-based cable television and Internet provider PT Link Net has chosen Jünger Audio’s internationally acclaimed Loudness control technology to manage the audio across 80 television channels.

Link Net is a major player in the Indonesian market, offering 110 Standard Definition and 30 High Definition channels, including one 3D channel. As well as providing cable television services, Link Net also offers Broadband Internet and OTT services to customers in Jakarta Surabaya and Bali. Its parent company, PT First Media, delivers 4G wireless and Media Production services and is currently in the process of implementing DVB-T2 and DVB-S2 services.

With numerous content streams to contend with, Link Net needed a reliable and consistent solution that would allow it to automatically adjust audio levels from incoming content sources.

Desmond Poon, Link Net’s Chief Technology Officer, says: “Different content providers have different incoming audio levels and the audio levels within some channels also vary significantly. As a result, our customers were experiencing varying audio levels when switching between channels and, quite understandably, they were finding this very annoying.”

To solve this problem, Link Net has installed five Jünger Audio C8000 Digital Audio Modular Processing systems, which comprise multiple DSP, I/O interface cards and frames that can easily be configured to provide broadcasters with a customised system to suit their specific requirements. Each C8000 system incorporates Jünger Audio’s renowned Level Magic™ II algorithm, which is compliant with all current broadcast audio loudness recommendations including ITU 1770 (versions 1 and 2), ATSC A/85, ARIB TR-B32 and EBU R128. Based on a simultaneous combination of an AGC, a Transient Processor for fast changes and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source, Level Magic™ II can easily and automatically adjust audio levels from any source at any time, with no pumping, breathing or distortion.

“The Jünger Audio C8000 systems have been installed at our new Cable TV Headend in Berita Satu Plaza, Jakarta, where they are now levelling audio across 80 of our channels,” Desmond Poon adds. “The new Headend was commissioned in January and so far the Jünger Audio units are performing as specified, with the result that audio levels between all 80 channels are now properly aligned. We are continuing to monitor their performance but to date are very happy with the results we are achieving.”

Peter Poers, managing Director of Jünger Audio, adds: “Maintaining loudness consistency has now become a major issue for the broadcast industry and one that particularly affects playout facilities. We are delighted that Link Net has successfully solved its audio leveling issues using our Loudness control technology.”

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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

Oxygen DCT Launches The AirWaves HD Wireless Monitoring System

Oxygen DCT has launched AirWaves HD™, a wireless HD monitoring system that gives directors and producers working on set or on location the freedom to monitor productions without being tethered to cables.

Launched in direct response to huge demand from television and film companies, AirWaves HD comprises a camera mounted transmitter and monitor mounted receiver that stream HD-SDI and HDMI signals wirelessly over the air, up to distances of 500m away. Video is throughput at a maximised data rate to produce uninterrupted high quality HD video with low latency and impressive resolution. Embedded audio and timecode are also carried transparently across the air waves making Airwaves HD exceptionally versatile. AirWaves HD is equally suited to field and studio production and is supported by a host of options specifically tailored to indoor and outdoor use.

Steve Hathaway, Managing Director of Oxygen DCT, says: “AirWaves HD is designed to meet market need for a multi-format wireless monitoring system that can deliver the high quality high definition pictures that today’s directors’ demand. With an automatic encoding rate adjustment that enables a constant output of 50Mpbs, plus the ability to connect to multiple LCD or OLED monitors simultaneously, AirWaves HD is the perfect complement to any professional television and film shoot.”

Small, lightweight and highly portable, the AirWaves HD system eliminates the need for tethered cable connection between cameras and production monitors, allowing far greater mobility of equipment, as well as reducing on-location set-up time. A single push button initiates the pairing and automatic connection of the transmitter and receiver. The multi-format system handles full bandwidth 3G-SDI, HD-SDI, SD-SDI and HDMI video signals up to 1080p60 4:2:2.

The AirWaves HD transmitter works with all makes of HD cameras and has an optional V Lock adaptor plate that allows it to be clipped on to the back of a camera and powered via the V Lock plate from V Lock equipped batteries. Whilst accepting power as low as 7V DC, these state of the art devices have been designed to work with equally state of the art power systems including the very latest high power 26V DC battery systems used with Arri Alexa cameras.
The receiver can also be fitted with an optional V Lock adaptor plate, allowing it to be clipped onto any monitor equipped with the same facility, such as the Evolution P3 range of LCD and OLED monitors from Oxygen DCT. This enables producers and director to monitor their productions with great mobility and without having to worry about cables.

AirWaves HD offers a choice of two transmitters and two receivers, a HDMI only version and a HDMI and HD-SDI version, which may be mixed together in the most suitable combination for production requirements. AirWaves HD also employs the very latest MIMO antenna technology that gives improved communication performance by allowing extended link range without increasing bandwidth or power consumption and a latency of just 20ms. Whilst the standard AirWaves HD operates up to 150 metres, distances of up to 500 meters can easily be achieved using optional high gain antenna and AirWaves HD can also safely be used in any location as it doesn’t require special FCC licenses.

For more information please contact Oxygen DCT or visit www.oxygendct.com

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About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles.

DPA Shows The New d:facto™ II Vocal Mic at BVE 2013

DPA Microphones is introducing its new d:facto™ II Vocal Microphone to the broadcast industry at this year’s BVE Exhibition in London, where it will be on show on the DPA distribution partner Sound Network stand (B.55).

Ideally suited to live music broadcasting, this latest addition to the d:facto line 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 II provides singers and engineers with the added benefit of a state-of-the-art adapter system that allows for seamless integration with many professional wireless systems.

“We are extremely proud to have developed an ingenious adapter range that brings the true DPA sound out of a wireless system,” says Christian Poulsen, CEO of DPA Microphones. “The wireless systems currently available deliver very limited power to drive the capsule, so getting the sound quality we wanted was nearly impossible. We had to be creative and put a huge amount of work and thought into the electronic circuit of the adapter solution. We wanted to make the best vocal microphone on the market, and with the d:facto we have reached this goal.”

The new d:facto II guarantees users exceptional DPA sound with popular existing wireless systems such as Sony, Lectrosonics, Shure, Wisycom and Sennheiser. The d:facto II 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.

The flexibility of its inventive adapter system gives the user easy and very affordable possibilities of choosing either a wired DPA handle or the professional wireless system of their choosing, with no loss in the sound quality. Its simple plug-and-play features allow it to reproduce an extraordinary natural sound, which reaches the extreme sound level handling of 160 dB.

As with all DPA mics, the d:facto II provides superior gain before feedback, and a robust three-stage pop protection grid built into the microphone to remove unwanted noise. It also boasts exceptional isolation from handling noise as well as the ability to accommodate extreme sound levels.

The cabled version of the d:facto II, as well as the adapters for Shure, Sony, Lectrosonics and Wisycom, will be available in February 2013. The adapters for the Sennheiser systems will be available in March 2013.

Ralph Dunlop, Director of Sound Network, says: “We are all excited to be exhibiting at BVE once again, especially in light of the success we have had over the last year. The introduction of the new d:facto II Vocal Microphone is a milestone in the development of the DPA microphone range and we are proud to now have a microphone for every professional application.”

Sound Network will also be using the BVE platform to show DPA’s expanded d:fine™ series of headset microphones. Offering impressive gain before feedback and very stable construction, DPA’s unobtrusive d:fine headset microphones are easy to fit and provide presenters and guests with a discreet microphone solution that is nearly invisible on the face. The d:fine range is renowned for its audio accuracy and its ability to deliver natural voice intelligibility and consistent audio performance at all SPLs. d:fine capsules are so comfortable to wear that presenters can focus on their performance, safe in the knowledge that these hand-built microphones will deliver high-quality, distortion-free sound.

d:fine is available in both directional and omnidirectional options, in single or dual-ear designs and with several boom lengths. Designed to fit comfortably, they adjust to accommodate any ear size and head shape and can be mounted on either the left or right side of the head. Available in black, beige, brown, and lime green, each solution performs spectacularly in either cabled or wireless settings and can accommodate a range of accessories including windscreens, power supplies, and adapters or cables with fixed connectors (MicroDot, 3-pin Lemo, TA4F mini XLR, Mini-jack).

“DPA is internationally acclaimed for delivering the pristine sound quality that programme makers and viewers want,” Christian Poulsen adds. “Our range includes microphones for a wide variety of broadcast applications and we are confident that, both in terms of sound quality and design, they are the best broadcast microphones on the market today.”

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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 Makes An Impact At The GNC Awards In Beirut

A large selection of DPA microphones were deployed at the first Gibran National Committee Annual Awards Ceremony, which took place in Beirut to honour and promote distinguished Lebanese innovators.

More than 60 musicians, 40 choristers and two presenters took part in the event and every one of them was miked with a DPA microphone.

Sound engineer Roger Bou Farhat, head of Beirut-based rental company Loud N Clear, supplied all of the audio equipment for the Awards ceremony. He says: “I specified DPA microphones because they always deliver fantastic results. As this was a highly prestigious event, the audio had to be first class and I knew that DPA would be up to the challenge.”

DPA d:vote™ 4099 instrument microphones were used to mic the entire orchestra and also the Guy Manukian band, which performed at the ceremony. For the band’s piano, high hat and oriental percussion instruments Roger Bou Farhat used DPA 2011 Twin Diaphragm directional microphones, while for the choir he used 12 DPA 4011A cardioid microphones, which were chosen for their ability to deliver a natural, accurate sound with extremely low distortion. The microphone line-up was completed with two DPA 4098H supercardioid microphones located on the presenters’ podium. The presenters also wore DPA d:fine™ single ear headset microphones.

The Gibran National Committee Annual Awards aims to uphold the cultural values of the Lebanese philosopher, writer and poet Gibran Khalil Gibran. 12 recipients were honoured at the ceremony, which took place at the Casino du Liban in Beirut.

“The Awards ceremony was a huge success and the DPA microphones all performed flawlessly,” Roger Bou Farhat says. “As this is now an annual event I am confident that DPA microphones will be playing a big part in next year’s ceremony, too.”

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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 Delivers Sweet Sounding Jazz

Acclaimed Chicago vocalist and songwriter Dee Alexander has joined the growing band of international artists who have discovered the joy of singing with a DPA d:facto Vocal Microphone.

Ms Alexander was encouraged to try DPA’s d:facto hand-held vocal microphone at the Umbria Winter Jazz festival, which took place in Orvieto, Italy in December 2012.

“I’m always willing to try something new. I was introduced to the d:facto during sound checks for the festival and wasn’t at all nervous about giving it a go,” she says. “I was impressed with its sleek look, the way it felt in my hand and the natural pure sound quality that allowed me to vocalize with ease and comfort. It was like tasting something sweet for the first time!”

Salvatore Zocco, product manager at DPA’s Italian distributor Casale Bauer, says: “Gianni Grassilli, whose PA rental company provided equipment and FOH sound engineers for the festival, has long been a fan of DPA microphones and was keen to try the new d:facto vocal microphone on a major project. We provided him with a couple of microphones and he encouraged the artists to use them and give feedback. Dee, who was one of the festival’s headline acts, really embraced the microphone and found it perfectly suited to her technique. On some occasions she was almost three feet away from the microphone, yet it still captured the dynamics of her performance and the amazing precision of her vocals.”

Although Dee Alexander’s talents span every music genre, from Gospel and R&B through to Blues to Neo-Soul, her real love is Jazz, which she delivers with a style and passion that is truly her own. Besides being a phenomenal headliner in her own right, Ms Alexander has performed as the opening act for many of her musical peers, including David Sanborn, Earl Klugh, Gerald Albright, Roy Ayers, Joshua Redman, and the O’Jays.

Dee Alexander’s Evolution Ensemble completed a CD entitled Sketches of Light, which was recorded and produced by Umbria Jazz. She is now working on a project focusing on classic songs by artists such as Gloria Lynn, Sarah Vaughan, and Nancy Wilson.

“I used the DPA d:facto for all of my performances in Orvieto and loved it,” she adds. “I can’t thank Gianni enough for introducing me to the d:facto. It captured the essence, quality and natural sound of my voice and I did not have to work hard at all. It truly is a microphone of excellence.”

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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 Increases its Presence at TVE In Spain

Spain’s national broadcaster TVE has made a significant investment in Jünger Audio’s loudness control technology, which it is using to normalize the audio across a number of its television channels.

TVE has been using Jünger Audio technology since 2003, but during 2012 it actively embraced High Definition broadcasting and as a result upgraded its Jünger Audio B40 and B46 processors to incorporate SDI boards, thus making them more compatible with its existing Dolby products.

TVE has also invested in an additional nine Jünger Audio frame-based C8000 systems, bringing the total number of C8000 systems in use at its broadcast facilities to 35.

The new equipment is primarily being used for play-out and for the editors’ rooms at TVE’s Torrespaña broadcast tower in Barcelona. A number of systems have also been installed in TVE’s production centre in San Cugat del Vallés, Barcelona.

Alberto Palazón, commercial manager at Jünger Audio’s Spanish distributor ASPA, which supplied and installed the new equipment, says: “TVE initially chose Jünger Audio equipment because it was looking for a transparent processor that could normalize audio across various channels without compressing the signal or distorting the sound. Jünger Audio’s LEVEL MAGIC™-based C8000 system proved to be the ideal solution as it didn’t alter the original sound of the audio in any way.

Palazón adds that, with audio coming in from many different sources, TVE also wanted a system that would make it easy to decode and encode Dolby signals and reposition their audio content into their SDI signal path.

“The Jünger Audio equipment has achieved the results they were looking for and they can now reorder audio, regardless of whether the original source was mono, stereo or 5.1 surround sound,” he says.

Paloma Sampedro, head of TVE’s audiovisual production unit, adds: “We are very happy with the Jünger Audio C8000 systems and with the upgrades we have made to our B40 and B46 units. With Jünger Audio, we now have a complete solution that allows us to decode SDI signals, process audio and sum and code again. This is a great solution and one that is incredibly easy to use. Jünger Audio’s Loudness control technology is very stable and delivers high quality audio. These factors, combined with the support we have received from ASPA, made our decision to invest in more processors an easy one to make.”

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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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