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Archive by Sue Sillitoe

Red TX Partners With CTV To Capture The Broadcast Audio For Strictly Come Dancing’s Live Wembley Arena Show

Strictly Come Dancing’s one-off glitterball spectacular, which was broadcast live from Wembley Arena on Saturday November 17th in aid of Children In Need, involved an enormous effort backstage to ensure that the audio reflected the quality of the on-stage performances.

Behind the scenes two Outside Broadcast vehicles belonging to Red TX and CTV were working in tandem to provide BBC Studios and Post Production sound engineers Tony Revell, Andy Tapley and Richard Sillitoe with all the facilities they needed to capture and broadcast the audio in stereo and 5.1 surround sound.

Red TX, which has extensive experience of delivering live sound for broadcast, provided its RED II truck for this project, while CTV provided its main OB9 scanner.

Andy Tapley, who manned the Studer Vista 8 digital mixing system on board RED II, says: “It was a complex project that involved a lot of inputs to capture the sound from the audience, the presenters and judges, the dancers, the orchestra and the guest acts – Kylie Minogue and Girls Aloud. Usually Tony and I sit next to each other at the same console, but for this show we were in separate vehicles and had to coordinate our mixes using the technical infrastructure provides by Red TX and CTV.”

The two trucks were linked using a combination of MADI and MIDI interfaces. This allowed Andy, who was in charge of the audio from the orchestra and the dancers, to work in unison with Tony, who was handling the audio from the audience, presenters, judges and guest performers to create the main mix.

Red TX’s RED II truck is designed to cater for 3D and 7.1 surround sound productions and is ideally suited to complex live broadcast projects because it offers simultaneous mixes to a variety of different formats.

RED II also incorporates an additional production/overdub and video gallery room at the rear of the vehicle. For this project it was equipped with a Yamaha DM2000 console, which was also linked to the CTV truck and used by Richard Sillitoe to create the surround sound mix.

Red TX Director Ian Dyckhoff, who along with Red TX engineer Ollie Nesham was present on the night to support the BBC sound team, says: “This is the second year running that we have worked on the live Strictly show from Wembley Arena and we consider it an honour to be involved in such a prestigious project. Live shows are always nerve wracking and, although we weren’t manning the controls this time, we saw it as our responsibility to ensure that technically everything ran smoothly so that Andy, Tony and Richard could relax and get on with the job.”

Andy Tapley adds: “The RED II truck is a dream to work in and is, in my opinion, the best on the market for capturing broadcast audio, especially when it’s going out live. I particularly like the Studer Vista 8 console and we made good use of its snapshot function to fire cues through to Tony on the CTV truck. Ian and his team were incredibly hospitable and gave us masses of support. When you are doing a show like Strictly live from Wembley Arena you need the technical infrastructure and the reliability that Red TX and CTV can provide.”

More than 6,500 Strictly fans packed Wembley Arena to watch the live show – and millions more watched at home. Highlights of the show included live performances from Kylie Minogue and Girls Aloud, who performed their Children In Need fund raising single Something New.

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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

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DK-Technologies Expands the DK Audio and Loudness Meter Family

DK-Technologies has announced the availability of its DK3 meter AND added the brand new DK4 meter to its award-winning DK METER family.

Like DK3, DK4 offers de-embedding of SDI 3G input channels. Additionally, DK4 includes three AES as well as two Analogue inputs.

Building on the already impressive DK METER Loudness and Audio toolbox, DK4 adds FFT Spectrum analysis, Screen Grabber and the classic MSD Meter Landscape View as standard features. These features are all optionally available for the other meters in the DK METER range.

To coincide with the launch of the DK4, DK-Technologies has also introduced an integrated set-up Wizard that takes DK Meter user friendliness to a whole new dimension. With this quick set-up guide, engineers can get to grips with DK’s powerful metering technology in a matter of minutes, thus giving them a head start with any meter in the DK range.

Jacob Hänel Christensen, Sales and Marketing Director for DK-Technologies, says: “With the addition of DK4, the DK METER reach has once again been expanded. Broadcasters and Post Production engineers can now monitor everything from compliant Loudness Measurements and True Peak readouts, through to detailed Spectrum Analysis.”

In common with the other meters in DK-Technologies range, the DK4 is compliant with all known loudness recommendations including; EBU R128, BCAP, ATSC A/85, ARIB, ABC, AGCOM 219 & ITU BS1770-2. Alongside StarFish™, Vectorscope and Moving Coil Emulations, new software features also include ‘Eye Width’ Instant SDI signal quality read out.

Since the launch of DK1 in 2011, the DK METER range has been rapidly adopted by broadcast and post production companies because it meets industry demand for cost-effective stereo and 5.1 metering, including loudness. No bigger than a smart phone, all of the meters in the range are easy to install and can be powered from a computer USB port, making them ideal for location recording. They are supplied with standard DK-Technologies meter scales plus the industry-standard StarFish™ and deliver conventional metering as well as loudness metering at the same time, on the same display and in a single box. Pricing for these products is highly competitive – starting at just $1499.00 in the US and €995.00 in Europe.

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

Salam Media Cast Announces New Partnership With VidiGo

Leading systems integration company Salam Media Cast (SMC) has announced an exciting partnership with VidiGo that will allow SMC’s customers to access VidiGo’s revolutionary range of broadcast software products.

The new deal, which comes hot on the heels of similar arrangements with HoloVis International Ltd and Visual Unity, will enable SMC to expand its world leading capabilities in the Broadcast Solutions market and offer an even greater range of technology, solutions and services to its burgeoning client base in the Middle East and Europe.

Launched in 2006, VidiGo has developed a range of high quality, intuitive software products running on standard IT-hardware that liberate the use of professional video and make the production of AV content accessible and affordable for everyone.

Among the many software solution in the VidiGo range are VidiGo Live, a multi-camera live production solution that incorporates audio and video effects; VidiGo Toolbox, a software solution that allows broadcasters to easily incorporate Skype, Google Maps and YouTube into their programming; VidiGo Graphics, that allows broadcasters to interact with social media; VidiGo Works, a software for creating, editing and distributing processional video content; VidiGo Playout, for incorporating Adobe Flash graphics into a playout schedule, and VidiGo Visual Radio, which gives radio broadcasters access to online, mobile and TV platforms.

Paul Hennessy, CEO of SMC, says the new partnership with VidiGo will allow SMC’s broadcaster customers to access some of the most sophisticated software solutions on the market.

“SMC has a proven track record in identifying the very latest broadcast technologies and we are constantly investigating new ways in which we can bring value-added solutions and services to our clients,” he says. “Our new partnership with VidiGo is very exciting as it expands our ability to deliver innovative workflows that truly benefit customer specific requirements.”

Hans Krouwels, CEO of VidiGo adds: “We are delighted that SMC is partnering with us and look forward to introducing many new customers to our product range. By replacing complex hardware driven workflows with easy-to-use VidiGo solutions, creative staff can regain control of their workflow while broadcasters can make substantial savings in investment and operational costs.”

Based in Doha, Qatar, SMC has over 35 years’ experience of systems integration in the Gulf region. The company represents many worldwide manufacturers such as Avid Technology, Quantel, SeaChange, Leitch, Vinten Broadcast Ltd., Telestream, Vizrt and EVS Broadcasting. It also serves TV channels and networks, movie studios and network operators in the region, providing telecommunications, broadcasting, integrated systems and state-of-the-art security.

In 2010, SMC joined GSSG Holdings as part of its Media Group, with offices in Qatar, UAE, Oman, and Saudi Arabia. More recently, the company has been expanding its team by acquiring local and international talent, opening an office in the UK and diversifying its activities to reflect the technological changes that are taking place within the broadcast and media industries. This shift in focus is enabling SMC to enter new markets and develop its business in the multiscreen environment. It is also introducing new services such as Salam Media Cast Support, a cost effective service that is designed to help customers deal with their day to day maintenance requirements and simplify the management of multi-vendor hardware and software to ensure that systems operate at peak performance.

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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 international. 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.
www.gssg.com

Salam Media Cast (SMC)
Salam Media Cast is a proven Media Broadcast and Communications Technologies solutions provider, serving the Media, Telecommunications, Security, Education, Hospitality and advertising industries in the Gulf region for nearly 40 years. In 2010, SMC joined GSSG Holdings as part of its Media Group, with offices in Qatar, UAE, Oman, and Saudi Arabia.
Salam Media Cast pioneers not only in equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, but also equips whole multivendor environments. SMC 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 revolutionizing health facilities and satellite telecommunications.
To support the workflow and innovation demands of our valued customers, we have recently expanded our team 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.
www.salammediacast.com

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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.

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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

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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.

-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 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.

-ends-

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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