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A virtual press conference from Sound & Video Contractor

Archive by Sue Sillitoe

DPA Microphones Brings New Levels of Speech Intelligibility to ISE 2015

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DPA Microphones, in partnership with its Netherlands distributor Amptec, will show its high quality microphones aimed at the installation market at this year’s ISE exhibition in Amsterdam (stand 7-V240).

One of the most important things for a speaker is that the message gets to the audience as clearly and comprehensively as possible. DPA Microphones is renowned for developing and manufacturing neutral and accurate microphones for measurement and studio use among others. The microphones reproduce sound to the smallest detail even in the most difficult surroundings and DPA now offers a range of products that give AV installers and conference organisers the high quality sound they demand.

Podium and Floor Stand Microphones

DPA’s Podium Microphone range consist of the d:screet™ Miniature Podium Microphone that provides the installation market with an elegant, directional microphone based on DPA’s renowned miniature microphones. This is a unique podium solution based on a special interference tube technology that ensures an exceptional directivity and off-axis rejection. It has already proven to be the best choice for speech applications in some of the worst acoustic environments.

“We were contacted by an organization that had simultaneous interpreters refusing to use their existing microphones because the audio quality was so bad,” says DPA’s CEO Christian Poulsen. “Simultaneous interpreting is a hard job and if the audio is poor, it gets even tougher. We knew we had the right capsule technology to take their existing solution to a new level – we just had to develop the microphone solution for the purpose. When testing against three or four times more expensive competitive podium microphones, our shotgun solution was clearly better. We are proud to set the new standard of podium microphones securing high speech intelligibility.”

The miniature capsule is mounted on a delicate gooseneck and comes in several lengths for table mounting. It can even be used in a wireless configuration by employing the company’s ingenious adapter range, which is already used for other miniature microphones.

DPA’s Podium range also includes the d:dicate™ Podium Microphones that incorporate modular capsules from DPA’s d:dicate Recording Microphones, which are acclaimed for their exceptional linear frequency responses, high SPL and superior gain before feedback. By combining state-of-the-art capsules with modular active booms and floor stands, DPA customers can access the precise high quality microphone for their needs.

The company is also showing its d:facto™ Vocal Microphone, an exceptional hand-held vocal mic that offers true studio sound in live surroundings. Due to the modularity of the two ranges, the d:dicate capsules can easily be mounted on the d:facto handle or dedicated adapters, that permit it to be used on various professional wireless systems.

Body Worn Microphones

DPA will complete the ISE line-up with its full range of body worn microphones consisting of the d:screet Miniature Microphones mainly used as lavalier and the d:fine™ Headset Microphones, both internationally acclaimed for their superior sound quality and durability.

The d:screet Miniature Microphones will include the recently launched d:screet Omnidirectional Miniature Necklace Microphone – a cleverly designed mic that houses the legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace that can be mounted by non-technical people repeatedly.

The d:fine Headset Microphones are unobtrusive microphones that are very popular with conference speakers and adjudicators who want to keep their hands free while they are presenting and talking. Offering impressive gain before feedback, these microphones are renowned for their audio accuracy and ability to deliver natural speech intelligibility and consistent audio performance at all SPLs. Available in both directional and omnidirectional options, in single or dual-ear designs, d:fine Headset Microphones are comfortable to wear and can be adjusted to accommodate any ear size and head shape.

For more information about DPA’s microphone range please visit www.dpamicrophones.com or come and see us at ISE on stand 7-V240.

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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.
www.dpamicrophones.com

Norway’s Critically-Acclaimed Susanna Switches To DPA

Susanna Wallumr¿d 2012
Norway’s Susanna, one of the most original artists currently working in the Nordic music scene, has been making the most of the DPA d:facto™ Vocal Microphone that she acquired last year from the company’s Norwegian distributor Lyd-Systemer AS.

“My d:facto Vocal Microphone gives the transparent sound I like, and gives me the best starting point for the work I am doing,” Susanna says. “Either I am singing with acoustic instruments like baroque harp and nyckelharpe [a traditional Swedish instrument], or I am processing my voice with electronics.”

The microphone came into its own during her recent tour, which visited USA, Canada, Norway, Sweden, Germany, Austria and the UK. Susanna also has a new album out – Meshes of Voice – a stunning collaboration with another shining light of the Nordic scene, Jenny Hval, on her own label, SusannaSonata.

As its title suggests, Susanna’s album is all about her vocals and how they blend with Jenny Hval’s voice. The project is based on an exchange of letters and then a live collaboration between the two artists, and stems back to 2009. It is, according to Susanna, a record inspired by Gaudi, bestiaries and Maya Deren’s short experimental film Meshes of the Afternoon, and the pair’s voices swoop and call over the evolving soundscapes that unfold below them.

“The d:facto is my new favorite microphone,” she adds. “For many years already I have been traveling with my own vocal microphones, because I deeply care about the sound of my voice and how it is mediated in the best possible way, from me to the audience.”

More tour dates are in the offing during which Susanna’s growing audiences can hear exactly why she rates DPA’s d:facto Vocal Microphone so highly – and why many critics rate her so highly as well. www.susannamagical.com

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

Level 42 Adds DPA Microphones to its Tour Roster

Level 42s Mark King with DPA dfacto

British pop/rock band Level 42 has recently introduced a selection of DPA microphones into its live sound arsenal, including DPA d:facto™ Vocal Microphones, d:vote™ 4099 Instrument Microphones for brass and toms, and a d:dicate™ 4011 Cardioid Recording Microphone for the ride cymbal.

One of the mainstays of the British music scene for over three decades, the band is currently undergoing an audio transition that has seen them switch to DPA microphones and introduce in-ear monitors so they can do away with a ‘whole stage full of wedges’. According to Mark ‘Joey’ Jowitt, who has been Level 42′s sound engineer since 1999, seeing the last of the wedges was a wonderful feeling.

“Thank technology that those days have gone,” he says. “It’s taken a while, but it’s all ears now. Musicians switching to in-ears find it quite disconcerting at first – as you move around the stage nothing changes in level, and that takes some getting used to. But the benefits are immense. In my experience bands become tighter, their pitching improves and obviously FOH engineers love it.”

Level 42 co-founder and one of the world’s leading funk bassists, Mark King, certainly appreciates the difference, especially when the stage set up is coupled with the renowned sensitivity of the d:facto Vocal Microphone.

“Most engineers will tell you that mic spillage is one of the hardest things to overcome during the performance, and I for one have spent far too much time trying to clean up vocal parts because of drums and monitors screaming down an open mic that is being driven too hard,” he says.

Jowitt adds: “With the d:facto, we were impressed by its overall rejection of unwanted residual noise. More often than not, condenser mics on vocals tend to become another drum overhead when you come off them, but there were no such issues with this mic.”

Mark King believes that the exceptional sensitivity of the d:facto Vocal Microphone is also allowing him to sing more freely during live performances.

“The definition in the lower registers has improved significantly for me since I started using d:facto,” he says. “It was such a difference that I bought two microphones to carry with us all the time in case the production team we were working with couldn’t supply them. Having the d:facto is like having a great studio mic onstage. I love it!”

The DPA microphones used during Level 42′s tour were supplied by Capital Sound Hire and DPA’s UK distributor, Sound Network. These included d:vote 4099 Instrument Microphones that earned the respect of the band and the sound crew for their ability to ensure all 18 channels of Pete Ray Biggin’s titanic drum kit could be heard.

“With the kit being so large and such an important part of Level 42’s sound, tight miking is imperative,” says Jowitt. “The size and clip fitting of the d:vote 4099 was quick and easy, which is good as miking a kit of that size can become quite tedious after the first 10 shows! It also has a very big sound for such a small diaphragm.”

With 2014’s Sirens tour now behind them, Level 42 is looking forward to a busy 2015 that will see them touring Japan before moving on to the European festival circuit and wrapping the year up in a one-off show at London’s indigo at the O2. Quite what the kit list will be for the dates is, as yet, undecided, but Jowitt is confident it will include DPA microphones because ‘they sound fantastic’.

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

FOH Engineer Greg Walsh Chooses DPA Microphones For Kate Bush’s Before The Dawn Shows

Kate Bush Before The Dawn Show

Greg Walsh, Sound Design and Front of House Mixing Engineer, chose a selection of DPA microphones to capture the sound of Kate Bush’s hugely successful Before the Dawn series of concerts at London’s Hammersmith Apollo.

After 35 years away from the live stage, these much anticipated concerts received high praise from reviewers and fans who frequently commented on the exceptional audio quality and the clarity of Kate’s vocals.

The decision to use DPA microphones was made following extensive testing by Greg Walsh and the production team, which included renowned audio engineer Stephen Taylor who was responsible for Kate’s vocal processing and monitor engineer Ian Newton, who sadly passed away earlier this month.

“I knew about DPA, having originally discovered Bruel and Kjaer [DPA's predecessor] in the mid-1980s,” Walsh says. “The larger capsule microphones such as the original B&K 4007 have been my first choice for acoustic guitar, drum overheads or ambient pairs for percussive and orchestral sources ever since.”

For the Hammersmith Apollo shows, Walsh specified DPA’s d:vote™ 4099 Instrument Microphones for a number of instruments, including percussionist Mino Cinelu’s rig where they worked well on the Bougarabou, Djembe and Floor Tom.

“Their small profile allowed us greater positioning flexibility and the supercardiod pattern gave us tight focus on the sound source and excellent rejection,” he says.

Walsh also specified a DPA d:dicate™ 4011 Recording Microphone as a central focus mic for shakers and other hand held percussion, wireless DPA d:screet™ 4060 Miniature Omnidirectional Microphones for the accordion and tambourine, and a wireless d:vote 4099 Instrument Microphone for the djembe in the ‘minstrel’ sections of the show.

“Despite their small size the d:vote 4099s proved to be very robust and reliable. They were quiet, had excellent transient response and gave me a very workable natural sound,” Walsh says.

The Before the Dawn shows also gave Greg Walsh an opportunity to try DPA’s hand held d:facto Vocal Microphone for the first time.

“Finding a vocal microphone with a dynamic range capable of capturing the broad range of vocal performance and styles was obviously paramount,” Walsh explains, “We tested most of the available handheld microphones before deciding that the d:facto was the right choice. We opted for the wireless version, which we used with a Shure UHF-R system, and it proved to be very reliable and stable.”

In total, seven d:facto microphones were used on stage – five for the Chorus and two for Kate Bush. DPA also created a custom headset mic with a d:facto 4018V capsule that allowed Kate to perform with her hands free.

“We also used two DPA d:screet 4060 Microphones for the filmed segments of the show which were shot in a water tank at Pinewood.” Walsh says. “They were small enough to be concealed in a life jacket and were also very resilient to water ingress.”

Since completing the Before the Dawn shows, Walsh has been working on other projects, including a recent concert in Russia that involved a rock band and a 64 piece orchestra.

“I had no hesitation in specifying DPA d:vote 4099s for the orchestra, all members of which were individually mic’d,” he says. “DPA are an excellent company and provided fantastic support. I have known many of the team, in particular Ralph Dunlop and Pete Wandless, for many years and would like to thank them for their support.”

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

DPA Microphones Help Cats On Trees Deliver A Great Live Sound

Cats On Trees 2

Live sound engineer Verlaine Levis used to think that DPA microphones were only suited to classical music and never imagined that they were also great for pop rock tours. But since using a selection of DPA mics on the current Cats On Trees tour, Levis is the first to admit that his initial perception was entirely wrong.

“When DPA’s French distributor Audio² gave me the opportunity to try the company’s microphones with Cats On Trees, I was happy to accept the challenge,” Levis says. “It didn’t take long to dicover that these great microphones have beefy pickups and are perfectly suited to rock and pop acts. We’re now using three d:facto™ Vocal Microphones, as well as a d:dicate™ ST2011C Stereo Pair with 2011C Compact Cardioids and a number of d:vote™ 4099 Instrument Microphones for drums and violins.”

Levis, who began his career with French sound company Audio-Lum, started working as a live sound engineer in 2001 and has toured with the likes of Sidilarsen, Claude Sicre, Bombs 2 Bal, Zebda, Magyd Cherfi and Mouss and Hakim. He is also building a strong reputation as a recording engineer, having been asked by a number of artists to assist with studio sessions.

Cats On Trees, a French musical duo consisting of Nina Goern and Yohan Hennequin, specialise in ambient indie pop and have released one self-titled album and a number of singles including Sirens Call, which reached No. 3 in the French charts in 2013. The band is now half way through a European tour that will see them play nearly 200 dates in various countries including France, Germany, England and Spain.
“The tour is awesome and they are playing to virtually full houses every time,” Levis says. “Since September they have been performing with a string quartet, but because we have such a busy touring schedule there hasn’t been much time for residency work or to prepare the mix. Therefore the show is being built as we go along.”

Levis runs the Front of House sound, the mix for the In Ear Monitors and the shipment of sequences since he mixes upstream.

“With the help of our lighting person, we have set up a network between sound, light and stage,” he explains. “Yohan controls the lights and video via a MIDI controller, but I am the master of the Mac, which manages the sequences and the network. Feeling comfortable is of ultimate importance to the artist so I try hard to achieve that, but with this duo it is very difficult to create a show that is the same every time because they are constantly changing things.”

The progressive evolution of the show was a key reason why Levis decided to switch to DPA microphones. He had previously used DPA omnidirectional microphones to record voice ensembles and orchestras in churches, therefore he knew of their ability to faithfully recreate the acoustics of a venue. After speaking to Audio², he was able to try out various combinations until he found the microphones that worked for him.

“I had a very clear idea of how each instrument should sound,” he explains. “I wanted to bring a lot of omnidirectional microphones on tour so that I could capture the natural colour of the instruments, but given the on-stage proximity of the drums and piano, this was not possible. As it stands, only the ambient microphones are omnidirectional.”

Levis eventually opted for DPA d:vote 4099 Instrument Microphones for the drum kit and was immediately impressed by the sound, which he describes as ‘very powerful and very natural’.
“These microphones really pick up extreme levels – they are great,” he says. “We now have DPA d:vote 4099s on the bass drum, snare, toms and violin. I even had them as under-cymbals this summer. I am most impressed with the way they capture the sound of the bass drum. I position the mic at the entrance of the drum and slightly inside it. Although the capsule is very small, it still delivers the most amazingly deep, accurate bass.”

Levis is also using DPA d:facto Vocal Microphones, which have solved the feedback issues he was having with other mics. The band has three on stage – one for Yohan on drums and two for Nina as she sings in two different locations.

“For Yohan, the issue was his drum kit,” Levis says. “I was afraid his vocal mic would pick up a lot of extraneous sounds but in fact what I achieved with d:facto was a clarity to his voice that no other mic would have given me. I just had to think carefully about the positioning of his microphone to avoid rear rejection. Furthermore, the d:faco has a very high gain and its gain before feedback is incomparable.”

“As for Nina, well to be honest it was Nina who chose d:facto – not me. We’d tried a number of different mics but it was d:facto that she really liked. I never impose a microphone on a singer and I even made her do a blind test because I wanted to be sure she was 100% comfortable with the way her voice sounded. She immediately noticed the difference and now doesn’t want to sing with any other microphone.”

The fact that DPA microphones deliver a very precise sound has given Levis’ mixes more accuracy and finesse. They have also made everyone more demanding when it comes to sound quality, especially when it comes to tuning drum kits.

“For me, the DPA microphones can be summarized in two words: natural and punchy,” Levis says. “What’s more they are very rugged. I’ve broken three microphones so far on this tour, but not a single one of them has been a DPA.”

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

DPA Microphones Go On The Road With Bombay Bicycle Club

bombay-bicycle-jack-steadman-dfacto-2_w

Earlier this month indie rock luminaries Bombay Bicycle Club became the very last band to play London’s legendary Earl’s Court venue, which is soon to be demolished. The band took to the stage as part of an epic world tour, which not only highlighted the success of their So Long, See You Tomorrow album but also allowed them to use DPA microphones extensively on the road for the first time.

And if delivering the last ever gig at Earl’s Court wasn’t enough, Bombay Bicycle Club also happily accepted a special guest when Pink Floyd’s Dave Gilmour joined them on stage. Gilmour first played steel lap guitar on the band’s song Rinse Me Down, before giving an emotional rendition of Wish You Were Here, backed by Bombay Bicycle Club. As with all of the performances that night – and during the entire tour – DPA microphones were on hand to ensure exception audio quality.
Dave Gilmour

Tour Manager Steven Down has been working with the band for five years. He says: “Jon Burton, the previous FoH engineer, brought the DPA d:facto™ Vocal Microphone to our attention while he was reviewing equipment for one of the pro audio magazines. Jack Steadman (lead vocals) gave it a go during the warm up tour we did at the start of this campaign and he was very impressed with the clarity compared to the dynamic mics we had been using previously. Shortly afterwards we obtained a capsule to use on our Sennhesier wireless system for Liz Lawrence who does a lot of backing vocals in the show. More recently we have started using d:dicate™ 2011C Twin Diaphragm Cardioid units on the kick and snare and some d:vote™ 4099 Instrument Microphones on the toms with great results.”

Downs adds that the Bombay Bicycle Club show moves from songs with loud distorted guitars and heavy drums to quiet and intimate piano and vocal solos. “I think the dynamic range and the frequency response of the d:facto really allows Jack to perform with confidence in all situations,” he says.

Steadman himself is certainly a fan of the d:facto Vocal Microphone.

“The wonderfully clear, bright sound of the mic means I don’t have to mess around endlessly with EQ to get the results I want,” he says.

Also happily not messing around with EQ too much is Simon Lutkin, freelance sound engineer and production manager who first took over monitors for the band during their Different Kind Of Fix tour in 2012.

“We have drums, bass, guitars, keys, percussion, backing vocals and a brass section onstage during the show — it can get pretty busy!” he says of the current set-up. “Currently the show is around 40 channels but both Tom Wiggans (FoH) and myself try to keep the channel count down as much as we can. A lot of the shows we do are festivals and rolling in with too much can be a problem for broadcast and patch.”

Everyone has in-ear mics, but Lutkin also uses wedges on the downstage edge and side-fills to add feeling. Add to that up to nine people at any one time and the stage can get pretty full.

“With that many on stage, any help I can get through technology is great,” Lutkin says. “I use scenes for each song to make small changes automatically through the show so I can keep my eye on the band. The d:facto Vocal Microphone really helps control the ambience for the main singers. Compared to other mics, as well as having a pretty tight pickup pattern, the overall tone of the spill is much nicer to listen to. In a live scenario you are always up against bleed from other sources, but with this set of mics the spill is much more pleasant sounding and therefore can be a help rather than a hindrance.”

All of the band’s DPA mics were supplied by the company’s UK distributor Sound Network. Alongside the d:facto, the tour configuration sees Lutkin use d:dicate 2011C mics on both kick and snare because they are small enough to be deployed exactly where he wants them and light enough to stay in place without putting any pressure on the stand or clamp. d:vote 4099 Instrument Microphones are also in use for rack, floor, crash, ride and the brass section.

To maintain consistency the group carries all the mics and IEMs with them internationally, simply hiring in consoles locally (a DiGico SD7 for FoH and Midas Pro2c for monitors), thus ensuring that the signal path from source to output is the same each day.
bombay-bicycle-saxophone-VO4099S_w
“In a live scenario you can’t always place mics exactly where you want for a variety of reasons, so having a set of mics that work well wherever you put them is a real positive,” concludes Lutkin. “All the DPA mics we use on Bombay, like all the ones I have used in the past, never fail to impress day after day. Since populating the stage with DPA microphones it has really made a difference to the quality of the overall sound of the show.”
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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

DPA Microphones Get a ‘Royal’ Seal of Approval

Royal Blood 3

Mercury Prize nominees Royal Blood, one of the breakthrough bands of the year, have been using a range of DPA microphones on their recent UK tour.

“We use DPA’s d:facto™ Vocal Microphone on vocals and d:vote™ 4099 Instrument Microphones on snare bottoms and toms,” says Front of House engineer Phil Jones from Output Audio. “I was never a fan of snare bottom and now literally can’t imagine not using one.”

Jones adds that he is now a confirmed fan of the quality that DPA microphones deliver.

“They just sound great. The d:facto Vocal Microphone is genius. Even in a small club I can get it as loud as most dynamic mics without hideous feedback, but the sound quality and ‘intelligibility’ is still there. Both the d:facto and the d:vote 4099s sound very natural without having to use any obvious big cuts and boosts. It makes for a far better starting point EQ and processing-wise, as long as your source is good.”

Brighton-based Royal Blood consist of bassist & vocalist Mike Kerr and drummer Ben Thatcher. Jones started off playing the drums himself and so has a fine appreciation of the amount of spirited abuse Thatcher gives his kit.

“Honestly, I didn’t think the d:vote 4099s would survive with the way Ben plays drums,” Jones says. “A couple of times in the summer he pushed the whole drum kit over and I was mildly terrified what I would find when the risers got pushed round. But, fingers crossed, no problems so far. The d:vote 4099s are so small and discreet they just stay out of the way, which is extremely important. They sound very natural; they sound like the drums! I do very minimal EQ work and that’s what we like — natural sound.”

Working with a duo, even one as energetic and sonically bombastic as Royal Blood, brings a certain degree of precision to Jones’ work. “With only 17 channels to work with, it has to be perfect,” he says. “You’re not going to get away with losing the third keyboard or second backing vocal in a mix. If something is slightly off, you’re in big trouble; there’s nowhere for anything to hide. I’m constantly on my toes, but it does leave quite a bit of room for interesting FX and creativity.”

As part of that creative experimentation Jones has been using a DPA d:discreet™ 4091 Omni-Directional Miniature Microphone on Thatcher’s kick for a couple of months now and says that it has been an eye-opening experience.
“I come from more of a jazz background and for that, it would be amazing,” he says. “Outdoors, with lots of sub, and control of the sub especially, it’s brilliant. I get some extra bottom end that I can’t put my finger on and I love it.”

Royal Blood’s autumn tour and subsequent clutch of European dates were thrown into disarray when Kerr went down with tonsillitis. However, dates are being rescheduled, and it’s almost easier to find places where they aren’t playing in 2015 than where they are, with a support slot on a North American tour with the Foo Fighters being one of the highlights.

And where Royal Blood goes, from Europe to North America, Australia and beyond, Jones and his DPA mics go too.

“All of our DPA microphones were supplied by the company’s UK distributor Sound Network,” Jones says. “We now fly the mics round the world and use them for everything. We have some very expensive mics, but the results are fantastic and consistency is key. That’s especially true for broadcast when we can’t have total control, but we just turn up, turn it all up, and basically it sounds great.”

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

DPA Appoints New Distributors In South East Asia and Taiwan

AV-United, Ken Kimura & Chin Foo Heng

DPA Microphones has reorganised its distribution channels in South East Asia by appointing new distributors in Malaysia, Thailand, Vietnam, Indonesia and Taiwan.

Ken Kimura, DPA’s general manager for the APAC region, says the appointments reflect the company’s ongoing commitment to develop new business channels and support DPA’s influential customer base.

“Sales in virtually every APAC country are showing growth as the market recognises the quality and breadth of DPA’s product range,” he says.

Francis Lai, DPA’s Regional Sales Manager, continues: “With our new distribution channels in place, we are now better able to promote DPA microphones and increase brand awareness in many industry areas including broadcast, film, theatre, installation, conferencing and security.”

The new appointments include AV United in Malaysia (www.av-united.com); Vision One Co. Ltd in Thailand (www.visionone.co.th); Pro AVL in Vietnam (www.proavl-group.com); Promedia in Indonesia (www.promediasolution.com) and Shin Lee Sheng Music Corp. (SLS) in Taiwan.

Chin Foo Heng, Managing Director of AV United says: “We are very proud to be appointed as DPA distributor in Malaysia as this not only enhances our company status but also enables AV-United to deliver unique high quality microphones and thereby lead the industry to a higher standard. DPA Microphones is a reference, a standard, a MUST-HAVE item in the audio solution.”

Tanapat Mongkolkosol, Managing Director of Vison One, Thailand, adds: “We guide our customers by identifying which equipment is the best solution for them. DPA is one of these solutions because it offers high quality microphones that are easy to use, with great sonic results fit for recording and live sound productions.”

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

Prism Sound Makes Its Audio Interfaces Even More Affordable

Prism Sound Atlas

As part of its commitment to offering customers the best possible value, Prism Sound has introduced a new pricing structure for three of its critically acclaimed audio interfaces.

The new pricing structure, which significantly reduces the cost of purchasing a Prism Sound Lyra 1, Lyra 2, Titan and Atlas audio interface, has been applied globally and is being backed by a special Christmas offer of a further 5% discount.

“We are adjusting our pricing to reflect the continuing evolution of the pro audio market,” says Prism Sound’s Sales and Marketing Director Graham Boswell. “This area of the pro audio business has exploded in recent years with vast numbers of musicians, producers, DJ’s and others entering the market with project or home studio and mobile applications for audio interfaces. These changes mean that we can offer lower prices and enable many more people to enjoy the premium sound quality that we strive for in our products.”

The new prices see the cost of a Lyra 1 audio interface dropping to just £995 plus VAT $1,745). Equally large reductions have been applied to the other interfaces, especially the Atlas which is reduced by more than £1,000 ($1,700).

“All of our audio interface products have been carefully designed to meet customer needs, and every one of them incorporates the same no-compromise design and acclaimed converter performance that users have long come to expect from Prism Sound’s high quality audio products,” Graham Boswell adds. “By making these units even more affordable, we aim to help spread the word about improving the quality of digital audio for today’s consumers. This is a cause that has been championed by leading figures in the global music business such as Sir Paul McCartney, Neil Young and many others.”

Prism Sound’s Lyra 1, Lyra 2, Titan and Atlas USB interfaces incorporate Prism Sound’s latest and award-winning CleverClox clocking technology and the company’s popular mic pre’s as standard. Each one offers recording professionals the ultimate in audio quality and ease of use.

Prism Sound will be showing its entire product range, including its flagship ADA-8XR modular converter, at CES Suites #29-217 and 219, at Venetian Towers, Las Vegas from January 6th – 9th 2015, and at NAMM 2015 in Los Angeles, from January 22nd – 25th (Booth 7120).

For more information about Prism Sound products and the new pricing structure, please visit www.prismsound.com or contact your nearest Prism Sound dealer.

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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 dScope Series III audio analyser system.

Prism Sound’s Lyra 2 Makes its Las Vegas Debut

Luca Pretolesi

Studio DMI, a private facility that focuses on mixing and mastering electronic music, has incorporated a range of Prism Sound equipment, including a Lyra 2 audio interface that is being used to record mixes and A/B two different sound sources.

Based in Las Vegas, Studio DMI is owned by European Music Market Inc, which also owns two publishing companies and an entry level entertainment service company called Weebang. EUMM also operates The Studio at The Wynn, a high-end recording facility in The Wynn Casino Hotel that is made available to very high end producers and artists performing at The Wynn’s venues.

Ronnie F Lee, CEO of EUMM, says: “Studio DMI is more than a studio – it is a concept based on the engineer lifestyle and creative process. Literally speaking, we have combined the word ‘studio, which means study in Italian, with DMI, which stands for digital music innovation. The basic philosophy comes from the heart, soul and mind of Luca Pretolesi, who is the creative side of our business and handles all the engineering and training of our engineering associates. Luca has 25 years’ experience of producing, performing, mixing, mastering and pioneering electronic music. This has given him a very unique grasp on the EDM industry.”

The choice of Prism Sound equipment was taken by Pretolesi after he visited the Winter Music Conference in 2013. He opted for a Prism Sound MEA-2 Equaliser, an MLA-2 Compressor and a Lyra 2 audio interface, which he installed in Studio DMI along with a new Maselec MTC-1X stereo mastering console.

“The MTC1 serves as the brain for the entire studio. It is like the hub between the mixing and mastering process,” Luca Pretolesi says. “Even before mastering, it acts as a great way to monitor multiple sources with no latency or added colour, check mono compatibility and side information – and it is all done with one finger. During mastering, it is also great to have the ability to flip between inputs, mid/side information and add parallel processing with just your hands. It allows you to make changes very quickly using only your ears rather than a mouse and your eyes.”

Pretolesi adds that, based on his 20-plus years of experience, the Prism Sound MLA-2 is by far the most transparent and musical compressor he has ever heard.

“You can really get it pumping but it doesn’t colour the sound,” he says. “I usually use a low ratio with a slow attack but it is very versatile and you can do a lot of very versatile compression.”

Pretolesi is equally impressed with his Prism Sound MEA-2 Equaliser that, like the MLA-2, is mostly used during the final stage of the mastering process.

“I usually spilt this into two parts,” he explains, “the top end, which I use for more surgical EQ-ing and the low end, between 40-300hz, which gives the sounds a great attitude and weight. The MEA-2 is capable of some very heavy lifting on the low end without losing the transients or the overall sound.”

Studio DMI’s Lyra 2 audio interface plays a bigger role in the recording and mixing process than in mastering.

“We included the Lyra 2 because we were looking for a fantastic converter to capture our mixes with the great high end sound that Prism Sound is known for,” Pretolesi says. “However, we also wanted the ability to A/B two sources, which we can do with Lyra 2 because it is a two in/four out interface.”

Studio DMI is now using its Lyra 2 to record a mix while also comparing it to reference tracks.

“Non-traditionally, I also use it musically by clipping the input to achieve a certain sound on a lot of my mixes,” Luca Pretolesi adds.

Studio DMI is primarily Luca Pretolesi’s facility, while the Wynn Studio operated by Studio DMI attracts high profile producers and artists such as Diplo, Lil Jon, Gareth Emery, MakJ and Morgan Page.

“We are currently in the process of creating an educational division to spread Luca’s passion and knowledge about mixing and mastering electronic music,” Ronnie F Lee adds. “This will be a unique learning opportunity that targets post graduates from more traditional schools and focuses on application more than theory.

The first three day workshop under the Studio DMI.edu brand will run in the first quarter of 2015, in either Las Vegas or Los Angeles. Courses will be offered in English, with other languages made available later in the year.

-ends-

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 dScope Series III audio analyser system.

For more information: www.prismsound.com

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