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Archive by Sue Sillitoe

Oxygen DCT Launches A Next Generation Premium Quality 7.67″ OLED Field Production Monitor

Following extensive market research and product development, Oxygen DCT has launched a new ‘next generation’, premium quality 7.67″ OLED (organic light emitting diode) field production monitor for studio, outside broadcast, satellite news, engineering and field production.

Picture quality derived from the propriety CM (colour management) technology engine gives outstanding rich colours, deep black detail and a colourimetry closely emulating legacy CRT monitors. As part of the company’s highly successful Evolution Pro P3 production monitor series, this latest introduction has the largest OLED screen (7.67″), the highest resolution display with 1280×800 pixels and widest colour gamut of 110% thus achieving premium level status. Whilst it has exceptional features and facilities it is priced highly competitively at £1721, which is 35% lower cost than other equivalent models available today.

The new monitor has been designed to fulfil a wide range of applications for sports broadcasting to studio based production and field shooting. It therefore incorporates the widest range of connectivity with two 3G/HD/SD-SDI and HDMI input for up to 1080 50p and 60p signals and both composite, YUV analogue inputs. There are also audio inputs and outputs, together with a headphone socket for on screen audio metering.

In today’s world with an ever increasing and diverse range of cameras, it has become important to be able to accommodate the individual needs of each cameras set up. This Evolution Pro P3 monitor addresses these with luminance exposure checking, video range check, peaking for focus assist, waveform and vector display in addition to histogram and multiple zoom functions with pixel to pixel native HD signal display for checking back focus. There are 6 recording and playback modes for Sony, Canon and Nikon DSLR cameras and a unique, integrated HDMI to SDI converter, allowing a DSLR to be viewed on larger picture monitors. The automatic luminance control adjust the brightness of the monitors display according to the location’s light levels and a proximity sensor aids shot framing.

Additional practical facilities include a V lock battery mount, a battery level indicator which warns when the battery is about to run out and horizontal and vertical flip modes mean that this monitor can be mounted in the most acute positions. Whilst robustly contracted for field use, the Evolution Pro P3 OLED is also one of the lightest at just 1.3kg.

There are 10 different models in the Evolution Pro P3 production series monitors, from 5″ to 17″ including models with on board recording to SD-HC cards. This latest model capitalises on Oxygen DCT’s experience and user feedback with premium picture quality, large screen and premium facilities yet is one of the most affordable 7″ models available today.

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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 Helps China Find Its Voice


DPA Microphones’ new hand held d:facto™ Vocal Microphone made its debut on Chinese television this summer when it was used extensively during the production of The Voice of China, a show produced and screened by Zhejiang Satellite TV that topped the nationwide ratings.

Based on the same concept as NBC’s The Voice, the Chinese show featured four judges/coaches who used blind auditions to identify teams of singers they wanted to work with during the series. The prize for the winning artist, Liang Bo, was a recording contract.

Heading up sound production for the show was Mr Jin Shao Gang, a famous sound designer and one of China’s most important sound engineers. During an extensive and illustrious career, Mr Jin has worked with many of the country’s top recording artists and was also heavily involved in the opening ceremony for the Beijing Olympics in 2008.
Mr Jin used two DPA d:facto Vocal Microphones for the singers and also specified them for the judges when they sang with their teams.

He says: “I knew that DPA microphones were among the best in the world so I was very keen to try the new d:facto microphone. We tested two d:facto capsules with our Wisycom wireless systems and I was so satisfied with the results that I decided to use them for this show. The sound quality was exceptional – clean, natural and with splendid high frequency response and awesome ambient noise restriction. I was very happy with their performance.”

The show judges included renowned musician Liu Huan, who sang the Beijing Olympics theme song You and Me with Sarah Brightman; pop diva Na Ying; top Chinese artist Yang Kun and Harlem Yu, a singer-songwriter from Taiwan. DPA’s d:facto was also used by Taiwanese singer A-Mei, who was the guest artist in the show’s finale.

Pike Xin, Product Manager at DPA’s Chinese distributor DMT Pro that supplied all of the DPA microphones used during the show, says: “As professional musicians, the judges are familiar with many different microphones but they all really liked working with the d:facto. Indeed, Na Ying was so impressed that she went on to use a d:facto for her own concert, Na 20 Years, while Yang Kun has expressed an interest in buying one.”

To comply with Zhejiang TV’s brief to deliver the best sound quality, Mr Jin also specified DPA cardioid headset microphones for the judges to wear while they were making their comments on the artists’ performances.

Pike Xin adds. “Mr Jin also specified a number of DPA d:vote™ 4099 Instrument Microphones which were used to mic piano concerts by two of the artists taking part, Lang Lang and Li Yun Di. He was very impressed with these and plans to use them again in the future.”

The Voice of China finals were broadcast live and in 5.1 surround sound. To ensure that the excitement of this spectacular finale was transmitted to the viewing public, Zhejiang TV audio engineers used a DPA 5100 Mobile Surround microphone, which was positioned in the middle of the audience so that it captured the entire ambience.
The Voice of China was so successful that it grabbed higher rating than any other Chinese music show this year, and even managed to beat foreign format shows like American Idol and You’ve Got Talent. Part of this success was down to Zhejiang TV, which upheld the principle of selecting really good voices and keeping a friendly and sober tone, which attracted viewers.

Chinese commentators are now hoping that The Voice of China will lead the way for more Chinese adaptations of popular western TV shows – and ultimately a successful home-grown reality/talent show format.

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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

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Oxygen DCT DCT Launches Oozie – A Powerful, Low Cost Quad Split Multiviewer That Packs A Punch!

Is it a quad split or a multiviewer? The answer is that Oxygen DCT’s clever new product is both, providing multiviewer functionality at quad split pricing. The Oozie – or OxQVP‐HSC – packs a punch well in excess of its modest size by powerfully combining 4-channel multiviewer functionality into a small, compact box.

Ideally suited to broadcast studios, video walls, flyaways, outside broadcast and other professional video applications, the Oozie is equipped with very latest video connectivity with 4channels of auto sensing 3G/HD/SD‐SDI and analogue inputs, as well as one HDMI input and both HDMI and HD-SDI outputs. Whilst its price suggests that it should be considered alongside budget priced competitors, the Oozie (OxQVP-HSC) has 10‐bit digital processing technology and 3D comb filtering with high quality de‐interlacing, thus benefiting analogue PAL or NTSC video as well as all HD-SDI formats up to 1080p/60.

Audio is not forgotten as the Oozie shoots with 8 analogue audio inputs and 4 analogue audio outputs, as well as having 4 audio de-embedders that enable 8 channels audio metering for each HD-SDI input.

The powerful multiviewer capability provides pre-set user screen layouts, audio de-embedding, audio metering, waveform/vector display, timecode, markers, signal status, text, UMD and much more. The integrated advanced alarm functions, which are addressable via SNMP, deliver unprecedented real time monitoring for video loss, freeze frame, black field, audio loss, and audio overloaded or over low.

This compact box is 1RU high and half rack width wide and has an optional rack kit allowing two to be combined in a 1RU, 19” rack. The front buttons give fingertip control whilst there is network connectivity for remote control and configuration.

Pricing for this powerful piece of kit is to be announced but is expected to be less than €2000. For more information please contact 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. www.oxygendct.com

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BeTV Invests In Jünger Audio’s Award-Winning T*AP TV Audio Processor

Premier TV station BeTV has become the first broadcaster in Belgium to invest in Jünger Audio’s Award-winning T*AP Television Audio Processors.

Based in Brussels, BeTV was established in 2004 when Walloon cable operators and investment funds Deficom and Socofe acquired local Canal+ assets from Vivendi Universal. The broadcaster prides itself on offering an extensive range of programming and delivering high quality services to its French-speaking audiences.

BeTV has installed Jünger Audio’s T*AP TV Audio Processors into its transmission chain so that it can control audio loudness levels across its entire output. 10 units were supplied by Jünger Audio’s Belgium dealer APEX NV.

Paulin Deiautte, Engineering and Maintenance Manager at BeTV, says: “We have been working with Dolby equipment for some years on one HD channel and are now increasing our number of HD channels, while also adding loudness control on each. We found Junger Audio’s T*AP units corresponded exactly to our needs as they offer compact material, clear management, one band audio for loudness treatment, integration with Dolby technonogy and engineering dialogue, all in a very easy to use format.”

While tackling audio loudness has long been a commercial issue, it has recently become even more important as a regulatory one as governments and standards organisations around the world insist on specific loudness control. All Jünger Audio loudness solutions support all known loudness standards including ITU, EBU and ATSC, therefore by installing a T*AP TV Audio Processor, BeTV can now have full confidence that its entire audio output will comply with mandated loudness controls.

Peter Pors, Managing director of Jünger Audio, says: “Our loudness control products such as T*AP have been installed in numerous broadcast facilities around the world because they offer a simple and highly effective solution to solving the problem of audio loudness. The key to their success is our LEVEL MAGIC™ adaptive control algorithm that can adjust the audio level from any source at any time, with no pumping, breathing or distortion. Broadcasters have recognised the benefit of using LEVEL MAGIC and are increasingly choosing it for line and real time processing.”

Jünger Audio’s LEVEL MAGIC™ algorithm is 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. Capable of using any kind of I/O (Analog and Digital) sources, as well as SDI, HD/SDI, Dolby 5.1 and all its related metadata, LEVEL MAGIC™ is available in a variety of configurations to suit different applications.

As well as being impressed with Jünger Audio’s base-band multi-loop loudness process, BeTV chose the T*AP TV Audio Processor because it offered excellent Dolby transcoding integration possibilities. Primarily designed for TV playout, the device provides Loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2). Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit, which has been upgraded to deliver greatly improved performance and a range of new settings.

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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

Aladdin The Musical Opens With DPA

Denmark’s Fredericia Theatre is using an extensive selection of DPA microphones to capture the audio for a very special musical production of the Disney classic Aladdin. All of the cast members are using DPA d:fine™ Headset Microphones, which were chosen for their discrete size, comfort and exceptional sound quality. DPA microphones also feature heavily in the orchestra pit, where a combination of DPA d:vote™ 4099 Instrument Microphones, 2011C twin diaphragm cardioid microphones and 4015C wide cardioid microphones are handling the audio requirements.

The Fredericia Theatre’s Aladdin production, which premiered on October 4th 2012, is a significant endorsement of the theatre’s ability to produce exceptional musicals. After hearing glowing reviews from a number of US directors who had worked at the Fredericia, the Disney Group chose the theatre as its only European partner for this brand new musical.

Søren Møller, Artistic and Executive Director of the Fredericia Theatre, says: “We are thrilled that our theatre is one of only five in the world that Disney has asked to partner with – and the only one in Europe. At the Fredericia, we are committed to the development of new musical theatre and the presentation of Danish and European premieres. Our focus is very much on nurturing talent to support our productions and for the last 12 years we have been working closely with the Danish Musical Academy, a school for musical performers that now delivers approximately 80% of our cast members. We also take technical innovation very seriously and like to partner with equipment manufacturers so that we can push the boundaries in terms of what can be achieved. DPA fits this brief perfectly because its products offer very high quality audio and its headset microphones are so discrete that they don’t deter from the casts’ performance.”

For the Aladdin production Lars Frederiksen, director of DPA’s Danish dealer Alfa Audio, supplied 40 dual-ear, omni directional d:fine Headset Microphones – 20 with long booms and 20 with mid-length booms.

Tim Andreasen, the theatre’s sound director, says: “I wanted to get as close to the sound source as possible, which is why we didn’t go for the really short boom. By having a selection of long and mid-length booms we could pick exactly the right length for each cast member so that the microphones were on the side of their faces where they didn’t show, but were still very close to their mouths. From an audio perspective they sound great and are so discrete that they blend in perfectly. I also love being able to change a microphone without having to detach its cable. This is a really useful feature when you are doing a live performance and don’t want to disturb the actor too much.”

At the request of the theatre, DPA also supplied one of the d:fine microphones in a special blue colour so that it blends in with the genie’s theatrical make-up.

“I was really delighted that DPA went the extra mile to create a blue microphone for our genie,” Andreasen adds. “It blends in perfectly with his colour and is hardly visible to the audience, which was the effect we wanted to achieve. All of our other d:fines are brown and when I first saw them I thought they might be too dark, but when the cast have their make up on and have their hair done, the mics suddenly disappear. Brown is actually a great colour for this production.”

The production also uses four DPA 4061 omnidirectional miniature microphones to capture the sound of Aladdin and the genie’s feet when they are tap dancing.

“During their tap dancing scenes we place one microphone in each leg of their trousers and fix them with tape so the microphones are just sticking out below the hem,” Andreasen explains. “We have tried this before and find it works much better than placing mics on the floor.”

For the orchestra, Andreasen selected a package of DPA microphones that includes 16 d:vote 4099 instrument microphones, 2011C twin diaphragm cardioid microphones and 4015C wide cardioid microphones.

“The 2011C microphones are used for the horns and reed instruments, as well as for overhead micing,” he says. “I chose this model because it delivers exceptional sound quality and because I particularly like it’s off axis response. These groups of instruments are placed close together and the ‘bleed’ from the different microphones sounds really good – you feel that you are very close to the sound source even if you are actually a bit further away. For percussion I am using three DPA 4015C microphones that are carefully spaced around the instruments so that the overall sound feels very intimate.”

Andreasen adds that he is also using DPA d:vote 4099 instrument microphones for specific instruments that really benefit from close micing, most notably the drums, strings, bass and woodwinds.

“It is hard to balance a bunch of different instruments without close micing everything but the DPA microphones we have chosen and the positions in which we have placed them has resulted in a fantastic overall sound,” he says. “DPA have always been my favourite microphones for theatre work and for this production they are perfect. We carry out some EQ-ing, although nothing at the low end. Our approach to EQ is to only use it where we want to make a particular part of the sound stand out in the mix.”

The Fredericia Theatre’s production of Aladdin has been so well received by audiences and reviewers that the run has been extended until November 25th. DPA is delighted to have played a part in this unique European musical success.

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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

Prism Sound Launches Lyra – A New Audio Interface For The Studio Producer, Musician and DJ Market

Internationally renowned manufacturer Prism Sound is bringing its high performance audio technology to an even wider audience with the launch of Lyra, a brand new family of interfaces aimed at musicians, composers, project studio owners, DJs, re-mixers and other audio content producers such as radio and podcasting. It is also anticipated that high-end home audio enthusiasts will find the USB interface and stereo configuration with digital volume control an attractive package.

Lyra, which will make its debut at the 2012 AES Convention in San Francisco, is based on the award-winning and critically acclaimed Orpheus interface. With Lyra, music recording professionals can access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.

“Lyra connects seamlessly with both Macs and PCs via a simple USB interface,” says Graham Boswell, Sales and Marketing Director for Prism Sound. “For recording professionals who don’t need eight channels of analogue I/O, Lyra is the perfect interface because it allows them to access Prism Sound quality in a convenient package and at an affordable price.”

Prism Sound, which plans to launch a number of different variants of Lyra, has started the ball rolling with Lyra 1 and Lyra 2. Both incorporate new ARM Cortex-based ‘Xcore’ processor design offering class-compliant USB interfacing, plus DSP and a low latency ‘console-quality’ digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT.

Lyra 1, which retails at £1,349 plus VAT, will be of particular interest to the musician and project studio market. This unit offers two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. With Lyra 1, musicians can connect a guitar and a microphone through the input channels, plug into their software mixer via a simple USB connection and start laying down basic tracks in a matter of minutes.

Lyra 2, which retails at £1,849 plus VAT, takes the concept a little further by offering two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices.

Both products are ergonomically designed to look as good as they sound. The front panel has a master volume control assignable to selected output channels, while the unit’s small size – just 11 inches wide – makes it very easy to transport for musicians, producers and DJs on the road. For studio use, Prism Sound can supply dedicated rack mounts as an extra.

“We know there is a market for Lyra because our customers have been demanding this product ever since we launched Orpheus,” Graham Boswell adds. “However, we are very protective of our reputation for delivering the highest possible audio quality so we were not going to bring any product to market until we were 100% convinced that it could live up to our exacting specifications. Lyra does just that, and we are very proud to introduce it.”

Lyra will start shipping in November 2012 and will be fully supported by Prism Sound’s acclaimed technical and after-sales service staff.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

THE HÅLOGALAND THEATRE UPGRADES WITH DPA

The Hålogaland Theatre in Tromsø, Norway, is putting its new DPA d:fine™ Headset Microphones through their paces on a production of Les Misérables, which opened on September 6th 2012.

The theatre has replaced its old stock of DPA 4060 omnidirectional miniature microphones with 40 directional d:fine Headset Microphones and 40 d:fine omni microphone booms, which are being used with a new 32 channel Shure Axient wireless system. The microphones were supplied by sound company Lydproduksjon Tromsø AS, in conjunction with DPA’s Norwegian distributor Lydsystemer.

Jim Oddvar Hansen, Head of Sound at the theatre, says: “The new d:fine Headset Microphones replace a selection of DPA 4060 miniature microphones that we had had for some time. As our previous experience with DPA technology had always been good, it made sense to upgrade using the same manufacturer’s products.”

Jim Oddvar Hansen adds that the d:fine headset microphones were chosen because they offer the latest technology and are also very comfortable for performers to wear.

“The microphones stay in place even with theatre productions like Les Misérables that include dancing and running about the stage while singing. This was a major consideration when it came down to our choice of headworn microphones – we needed something that not only offered exceptional sound quality but was also durable and practical. The DPA d:fine fits all these criteria.”

The Hålogaland Theatre, the regional theatre for Troms and Finnmark, has also invested in 40 DPA omni microphone booms, which are less sensitive to handling noise and to wind, blows and pops.

“We felt that omni microphones would give us the best sound quality for musical productions,” Jim Oddvar Hansen adds. “Also, having both long and short booms provide maximum flexibility and makes it possible to use the microphones on children, or to hide them underneath costumes.”

The Hålogaland Theatre’s production of Les Misérables stars some of Norway’s most talented artists and will run until 28th of November 2012.

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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

WE’RE HEARING YOU LOUD AND CLEAR WITH DPA MICROPHONES

As the Torch Relays made their way around the UK this summer, DPA microphones were at the heart of the festivities, providing loud and clear audio at a total of 70 evening celebrations and the daily lighting of the cauldron ceremonies.

Among the items on the extensive sound, lighting and power equipment list for the Torch Relays were DPA d:fine™ Headset Microphones, supplied by DPA’s UK distributor Sound Network. These were used at every one of the 70 locations to mic a wide range of dancers, actors, presenters and TV presenters.

“We chose DPA d:fine Headset Microphones for their discreet profile and sensitive capsules,” says sound engineer Doug Maddison, who was responsible for the on-stage sound at the evening gigs. “We specified the cardioid version to try and reduce spill and feedback from the monitors and the PA. This was important as the presenters were often standing in front of the PA to address the audience.”

Among the artists who took part in the evening celebrations were Dizzee Rascal, Labrinth, Eliza Doolittle, Friendly Fires, The Wanted, You Me At Six, Mark Ronson, Katy B, Emeli Sandé, Wretch 32 and dance troupe Twist And Pulse. A number of presenters were also involved in each leg of the relay, including former ‘Blue Peter’ presenter Andy Akinwolere.

“When I heard I was doing 70 gigs in a row on monitors with multiple headset microphones, I did wonder if I was going to go mad, but thanks to DPA I was very pleasantly surprised,” Maddison adds. “The d:fine’s performed really well and required very little EQ-ing. Normally, if I am using headset microphones, I would anticipate having to do some very careful EQ-ing to achieve either a quiet but full sound or a loud but very modified sound with lots of missing frequencies. However, on the first day of using the d:fines, I found that it was possible to use the same output wedge EQ that I used for a band with dynamic microphones, without having to do much EQ-ing on the d:fine input. The result was impressively loud and clear.”

Doug Maddison says his experience of fitting the d:fine Headset Microphones to artists, performers and presenters was also very positive.

“They were very comfortable for the performers and incredibly easy to fit – to the extent that some artists could actually mic themselves up. Even the dancers doing breakdancing and acrobatics had no trouble keeping the d:fine’s in place.”

Over 1.5 million people saw the Torch Relay evening celebrations, some of which took place in seriously adverse weather conditions.

“We were outside for 70 days and for about 36 of those it rained non-stop,” Maddison adds. “The d:fines were used every day and regularly got soaked. As one would expect this occasionally had an impact on high frequencies, but once we’d dried the microphones out in a box of silica gel their performance quickly returned to normal.”

One thing Maddison did discover is that, compared to previous microphones he has used, the cardioid version of the DPA d:fine proved very effective in high winds.

“Overall we were really delighted with their performance,” he says. “They looked great, they sounded great and all I can say is thank you, DPA, for making it all so easy.”

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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 CHOSEN FOR INTIMATE BALLET EXPERIENCE

To mark her Majesty Queen Elizabeth II’s Diamond Jubilee, the English National Ballet recently completed a series of 14 sell-out performances at the new 500-seat Theatre at The Concourse Performing Arts Centre in Sydney, Australia.

To achieve a natural effect where the music did not sound over amplified, the venue’s sound designer and production engineer, Owen Ironside, chose a selection of DPA microphones to capture the Willoughby Symphony Orchestra’s performance.

“The Theatre is a very intimate space and my goal was to make the mix as transparent as possible and merely bring the orchestra image out of the pit, sonically speaking, without it sounding like the PA was even on,” Ironside explains. “In total there were 29 musicians situated in the open pit, beneath the stage. To achieve the results I wanted I opted to mic each section with DPA microphones, with the addition of a solo DPA mic on 1st violin, as opposed to a traditional Decca Tree approach.”

On Ironside’s recommendation, the Concourse Arts Centre invested in 12 DPA 2011C Twin Diaphragm directional microphones, which were supplied by DPA’s Australian distributor Amber Technologies.

“I used directional microphones because the orchestra was situated directly under the PA,” Ironside says. “To mic the venue’s Steinway piano I used the directional DPA d:vote™ 4099P instrument microphone set mounted inside the piano with magnet holders, making it almost invisible. This was a last minute addition chosen for aesthetic reasons when the director decided to move the piano on and off stage during the performance. I also used DPA Reference Standard 4015A wide cardioid microphones for harp and timpani in order to minimise proximity effect. The harp sounded quite boomy before amplification so I certainly didn’t want to accentuate this. The wide cardioids’ wide pickup pattern also suited the harp and timpani’s wide radiation, while for the single double bass I used a d:vote 4099B instrument microphone. This allowed me to close mic and gave me maximum control within the mix.”

The combination of Owen Ironside’s attention to detail and the superb audio quality of the DPA microphones won much praise from the audience, performers, musicians and venue staff.

Gavin Sutherland, Music Director and Conductor for English National Ballet, says: “I was extremely impressed with the sound engineering for the Willoughby Symphony pit orchestra in the Theatre at The Concourse. The sound emanating from this moderately sized pit of 29 players, out front (in the auditorium) has a fulsomeness, richness and clarity worthy of some of the larger pit orchestras in Europe. A great natural sounding result was achieved.”

Following the success of the English National Ballet performance, the Concourse Arts Centre has increased its stock of DPA microphones by investing in 10 d:fine headset microphones, which it is using for musical theatre productions, and is also considering investing in different capsules for its Reference Series microphones to use during recording in its Concert Hall.

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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

Hackenbacker Tackles The Audio Post For Hunted – A Major New Series For BBC One and HBO Cinemax

After completing the audio post production for all 10 series of the drama Spooks, Soho-based post production facility Hackenbacker has returned to the world of espionage – this time tackling the audio post for Hunted, a new eight-part suspense thriller produced by Kudos Film & Television in association with Big Light Productions, for BBC One and HBO’s Cinemax channel.

Written and created by the award-winning American television writer and producer Frank Spotnitz (The X-Files, Strike Back), Hunted stars Melissa George (The Slap, In Treatment) as Sam, a highly skilled operative for an elite private intelligence firm who survives an attempt on her life that may have been orchestrated by members of her own team. Once she returns to the firm, she performs her secretive duties without knowing who to trust and who wants her dead.

Adam Rayner (Hawthorne, Mistresses) plays Sam’s colleague at the firm and love interest. The dedicated and complex members of the firm operate in the shadows and must often confront life and death situations on secret missions where sometimes they are unaware of who or what they are fighting for.

Filmed on location in Scotland, London and Morocco, Hunted is scheduled to be screened by the BBC from October 4th at 9 pm. Additional cast includes Stephen Dillane (Game Of Thrones), Morven Christie (The Sinking Of The Laconia) Adewale Akinnuoye-Agbaje (Lost, Strike Back), Lex Shrapnel (Captain America: The First Avenger), Uriel Emil (Criminal Justice), Patrick Malahide (Five Days, Billy Elliot), Stephen Campbell Moore (The Bank Job, History Boys) and Oscar Kennedy (Toast).

Hackenbacker was chosen to handle the audio post production for Hunted on the basis of its Award-winning reputation for creating superb broadcast audio.

Frank Spotnitz says: “It was a joy collaborating with Nigel and his team at Hackenbacker. The work they did on Hunted was nothing short of spectacular. Their passion, attention to detail and artistry shine through in every moment of the series. They are true storytellers.”

Nigel Heath, founder of Hackenbacker, adds: “It was such a thrill to be approached by Kudos and HBO to provide sound services on this great production. For me, there was the added bonus of being able to work again with returning director SJ Clarkson for who’s work I have huge respect – and, of course, Frank Spotnitz, who has created so much incredible entertainment over the years. The producers have encouraged bold and original use of sound in this show, and the mix review sessions have had that wonderful feeling of everyone in the room (and there are sometimes quite a lot of us!) really wanting to achieve the same end result. For what is actually a large and technically demanding show there’s been a lot of fun in the studio, too. The composer Ruth Barrett has done a superb job and all of us on the sound crew are really quite chuffed with the final result. It’s been a real pleasure to work on and a fantastic experience for all of us.”

-ends-

About Hackenbacker:
With more than 25 years experience in the audio post production business, Hackenbacker provides a first class service to the film and television industries. Its award-winning team of sound editors, designers and mixers combine a thorough knowledge of today’s technology with an understanding of the importance of deadlines in order to deliver an exceptional service to all Hackenbacker customers. The facility offers full time technical support and access to the very latest equipment as well as some more esoteric specialist devices. www.hackenbacker.com

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