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PMC Launches New Large-scale, High resolution Active Reference Monitor at AES 2014

QB1-A Includes ATL™, DSP Crossover Management & Bespoke PMC Drivers & Amplification

2PMCQB1-APair2Los Angeles, October 6, 2014 – British reference loudspeaker manufacturer PMC (AES Booth 1628) has announced the launch of the QB1 Active (QB1-A), a large-scale, ultra-high-resolution main studio monitor with analogue and digital (up to 192kHz) inputs at The 137th AES Convention. Ideal for either soffit-mounted or free-standing use, each QB1-A incorporates the latest generation of PMC’s driver designs, Class-D amplification, Advanced Transmission Line (ATL™) bass-loading technology, DSP control, and a quartet of 10-inch carbon fibre/Nomex® piston bass drivers to create a single reference monitor that has the transparency, resolution, dynamic range, frequency response, forensic sense of detail, and wide, consistent imaging demanded by the international audio elite.

With a maximum SPL of 132dB at one meter, the QB1-A can certainly produce level — but not at the expense of accuracy or increased distortion. Each channel has an expansive 4825W of Class-D amplification at its disposal (275W on the HF driver, 550W on the mid-range, and a generous 4000W on the four bass drivers), and the latest iteration of PMC’s ATL technology ensures a faithful low-frequency response down to 20Hz. The cutting-edge onboard DSP provides driver unit optimization, EQ and sophisticated crossover networks, while the wired RJ45 desktop control provides user-friendly access to user EQ settings via its backlit display and jog wheel, with the ability to store up to four user setup presets. Even the physical dimensions have been carefully considered: at 1092 x 820 x 520 millimeters (WHD), the QB1-A will retrofit into almost all existing studio soffits. Alternatively, its ATL™ design means that free-standing use has no impact on its effortlessly smooth bass response.

1PMCQB1-AThe QB1-A has its roots in the observation by PMC’s design team that there were no large-scale active studio monitors on the market taking advantage of the latest developments in loudspeaker driver analysis and design and DSP-aided control. This starting point, coupled with PMC’s own extensive research into driver performance, using opto-acoustic laser inferometry at the UK’s National Physical Laboratory (NPL), aided and honed the design of the QB1-A. “We saw that there was a gap at the high end of the market,” explains Oliver Thomas, R&D Project Manager at PMC. “In the main, the current products on the market don’t offer the flexibility of analogue and digital inputs, and suffer from giving listeners an insufficient sense of resolution, compared to what can now be attained with good Class-D amp design and DSP-aided crossover management.”

The QB1-A makes up this ground, additionally employing recent advances in PMC’s transmission line design concept, as used in the company’s IB2 midfields and twotwo nearfields, and the aforementioned NPL analyses, to achieve even more efficient, high-performance designs. Extra bracing and damping inside the speaker cabinet prevents noise and reduces resonance to insignificant levels beyond the limits of human audibility, while the newly introduced vertical strakes in the transmission line add further bracing and simultaneously reduce turbulence in the throughput airflow, making it laminar and contributing to the QB1-A’s faster, more dynamic sound.

3PMCQB1-ASideEach speaker employs three carefully integrated proprietary driver types. PMC’s renowned soft-dome 34mm and 75mm drivers deal with the high frequencies and mid-range respectively, producing a natural, transparent sound with super-low distortion — and depending on client requirements regarding the height placement of the QB1-A, the HF driver may be placed above or below the MF driver as needed. No fewer than four handmade, individually matched low-frequency drivers handle the bass, employing PMC’s proprietary ‘honeycomb’ carbon-fibre/Nomex® design in an extensively vented, cast-aluminium chassis. The flat-faced 10-inch piston driver in each bass unit ensures a near-instantaneous, yet highly accurate transient response, while providing the sheer power required to drive the QB1-A’s heavily damped, high-compression transmission line; these power requirements exceed what an off-the-shelf cone driver can deploy without deformation. The result of this carefully judged design is reduced distortion and increased power handling and headroom, with continuous reliability.

The QB1-A’s final form, how it works, and its feature-set, are the result of over a year of practical testing by and feedback from eminent producers and engineers on both sides of the Atlantic. Nor, in the drive to create a high-performance monitor for the digital age, has the sound of this loudspeaker been neglected. Pure reference tools can be fatiguing to listen to, and the working practices of audio pros often reflect this. “Many engineers record with one set of monitors to create a sense of excitement while tracking, but then use another set for the low-level, intensely detailed business of mixing and mastering,” continues Oliver Thomas. “The QB1-A is designed for both kinds of work, offering faithful, non-fatiguing reproduction for a beautiful general listening experience or for recording, but with microscopic detail when you need it.”

The QB1 Active is being officially launched during the 137th AES Convention in Los Angeles, USA, October 6-10 2014. For more information about the product and its launch, see www.pmc-speakers.com/products/professional/active/qb1a, or come to PMC’s booth at the show (1628).

“In this day and age, we felt the market could benefit from a modern, large-scale, high-resolution monitor with digital and analogue inputs,” concludes Oliver Thomas. “We couldn’t find one. That’s why we designed and built the QB1-A.”

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without colouration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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Compass Bible Church Praises DPA Microphones

Company’s d:vote™ 4099 Instrument and d:fine™ Headset Microphones minimize EQ efforts during worship and provide clear audio for online congregation

DPA Microphones_Compass BibleALISO VIEJO, CA, OCTOBER 2, 2014Compass Bible Church serves its active congregation of 3,000 people almost every day of the week with bible study groups, Sunday school and several mid-week and weekend services. In order to accommodate this busy schedule, the church’s audio staff needs reliable audio equipment, such as the DPA Microphones’ d:vote™ 4099 Instrument and d:fine™ Headset Microphones. With this arrangement, the team can ensure that each sermon is delivered clearly to both the congregation and the extended community, which includes a live online stream through Live Stream as well as listeners to one of the hundreds of Focal Point Radio stations.

Supplied by CCI Solution, a HOW integrator based in Washington, the d:vote 4099s provide the perfect mount to properly close-mic the violin and drum kit used during worship, while the d:fine is the ideal audio solution for the lead and associate pastors. Selected by Jon Lillie, Audio/Visual/Lighting Director at Compass Bible Church, on recommendation by fellow church engineers, the mics have become a staple at the church. The d:votes are especially favored as their unique, lightweight body and mounting options, which are available for almost all acoustic and woodwind instruments, continuously fit the needs of the Compass Bible worship band.

DPA Microphones_Compass Bible 2“With the mounting system, it’s so easy to use the d:vote 4099 for the violin as the mic always ends up right where I want it,” says Jon. “I also use the d:vote 4099 to mic the drum kit because it is very responsive. It works really well with the toms and doesn’t pick up too much of the overheads. What it does pick up really accents the sound nicely and the EQ response is perfect for the violin.”

Jon’s fondness for the d:vote 4099s led to the church’s purchase of a d:fine Headset Mic for Lead Pastor Mike Fabarez. The reputation of the quality and comfort of the d:fines soon spread and it wasn’t long before every pastor at Compass Bible was using the mics. This was also ideal for Jon who enjoys ease-of-setup and flat response of the mics compared to his previous solutions.

DPA Microphones_Compass Bible 3“The mics are high-quality and don’t require a lot of gain, so their feedback resistance is great,” adds Jon. “When I listen to the individual on the microphone, I find that the EQ response is a lot flatter, which makes it sound as though the pastors are speaking face-to-face to each member of the congregation. I also like that the d:fine is so light and comfortable; people forget they are wearing them.”

In the future, Jon hopes to continue to add to the church’s inventory of DPA products, with the company’s podium microphone next on his wish list.

Compass Bible Church, a non-denominational organization, was established in 2006 with a contemporary worship style led by Senior Pastor Mike Fabarez. The church offers a variety of programs from traditional missions and Sunday school offered to adolescents and adults, in addition to modern worship groups such as Navigating Motherhood and Compass Singles 40+ Ministries.

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 always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com.

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SSL Live Bids Farewell to Corey Hart

“The depth of field was amazing; I was really impressed by the spaciousness of it”

MONTREAL Corey Hart hung up his sunglasses for good at an emotional sold-out farewell concert for 13,500 hometown fans at Montreal’s Bell Centre, supported by an SSL Live console at front of house. A 1980s phenom, Hart has had nine consecutive Top 40 hits, with “Sunglasses at Night” being his most recognizable. Outfitted with sound services by Solotech in Canada, it was another local Montreal hero, Denis Savage, who mixed the show and the week-long rehearsal.

Denis Savage with SSL LiveFor Hart’s Farewell concert, the band consisted of two guitars, bass, drums, keyboards, percussion, saxophone and backing vocals, plus a few guests. Since Hart hadn’t performed live in almost a decade, the group spent a week in rehearsals to guarantee he gave audiences the show of a lifetime. “I recorded the rehearsals in multi-track, so I had two Pro Tools® rigs,” explains Savage, a long-time SSL user who has been Celine Dion’s FOH and studio engineer for the past 28 years. “One was a virtual playback machine and the other was recording straight from the preamps on stage.”

The extra practice also provided Savage with plenty of time to familiarise himself with the new SSL Live console. He found the integration of multi-track playback of live performances a great help in quickly programming the console. “For me, the way they set up the virtual sound check so that you can monitor through your recorder all the time and then just play back the sound while you’re programming is great,” he adds. “The way it’s set up is really amazing and effortless. I recorded the entire rehearsal through Pro Tools so I could stop, play back and program quickly while the band was on break, which was a big thing for me.”

Savage was initially drawn to SSL Live’s large, centre touch screen. “You’d think you need to use the centre screen all the time, but then you realize there’s a smaller one with colour-coded rotary knobs around it, and that’s where everything is happening,” he explains. “I was really able to increase my production speed once I understood that while I do want to see things on the big screen, I should use the smaller one to go through my menu, EQs, auxiliaries and so on. Once I got the hang of the process, my output was super fast.”
By the end of rehearsals, Savage had learned the full capabilities of SSL Live’s Focus Channel area located on the right-hand side of the console. “The screen was very visual for me to see where things were and how things were set up, but I was using the encoders way more,” he explains. “Initially, it looks kind of complicated. In fact, when I first saw it I was like, ‘Wow, this is going to be difficult just to set up.’ But, once I got my initial setup taken care of, I was able to better understand how things work. It flows nicely, and the depth of field was amazing. I couldn’t believe it. I was really impressed by the spaciousness of the console. It’s fun to work on and it sounds really good. I really like that console.”

Savage additionally notes that the classic SSL sonic signature combined with the modern control surface of the SSL Live console provide him with the perfect solution to get a great mix. “The sound of the SSL Live is very sweet; the lows are very deep and tight and I didn’t have to fight to blend and mix,” he says. “I also didn’t need to add too much EQ as the mix just falls into place quickly. When you mix on a good console, the little things add up to make a great sound. That’s exactly the feeling I got. Live is a fun console, too. Its compact size ensured that I wasn’t all over the place. It was like driving a sports car; I had access to everything quickly. I loved it.”

The Corey Hart Farewell Concert wasn’t the first time Savage got his hands on an SSL console. He also mixes on an SSL Duality at Studio Piccolo, his commercial studio in Montreal, and started using the SSL MT Plus console over a decade ago for Dion’s initial five-year residency at the Colosseum at Caesar’s Palace in Las Vegas. Today, Savage notes that SSL’s first true live sound console is an even better live solution for him as it incorporates features that improve his previous workflow.

“I did 737 shows at the Colosseum on the MT Plus and I never had a crash in five years, never had a single problem, it was flawless,” he says “Since SSL’s design team is so great, they are always listening to their customers and modifying their solutions to fit our needs. Now, the SSL Live gives me several options that I didn’t have with the MT Plus. I can use channels however I want. I can unfold them, offset them and then refold them. Basically, everything that was added to SSL’s other consoles over the years has now been incorporated into the Live console.”

www.solotech.com

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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Professional Wireless Systems Highlights Range of RF Solutions for House of Worship Events at WFX 2014

DALLAS, TX, SEPTEMBER 30, 2014 – Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, will showcase its range of RF solutions at WFX 2014 (Booth 1023), including its Helical Antennas and Domed Helical Antennas, Intermodulation Analysis Software System (IAS), GX Series of Combiners and DB Series of Multicouplers.PWS_Helical Antenna

“We are excited to bring our range of state-of-the-art RF and wireless equipment to the house of worship professionals in attendance at WFX 2014,” says Jim Van Winkle, general manager, PWS. “In addition to showcasing our RF solutions, PWS representatives will be on-hand to discuss our ability to provide on-site install services and support for wireless systems at HOW events of any size, especially with the influx of larger scale events for the upcoming holiday season.”

Two of PWS’ flagship product lines, Helical Antennas and Domed Helical Antennas, will be on display at the show. PWS Helical Antennas, perfect for long throws and high gain, have become the industry standard for multichannel wireless microphone, in-ear and intercom systems, due in part to their unique characteristics, which offer users extreme flexibility. The circularly polarized UHF antennas cover a frequency range of 450 MHz to 950 MHz and offer 14dbi gain and 8.5dbi for the Domed Helical. With an inherent boost in gain, greater bandwidth, and dropout-resistant polarization, PWS Helical Antennas outshine the performance of traditional antenna designs. Popular for use with IEM systems, users can employ these antennas with other UHF systems, including wireless microphones and intercom systems.

For venues and installations in which site-line appearance is a priority, PWS Domed Helical Antennas offer a wider angle of coverage perfect for smaller stages and medium gain. Offering the same circular polarization as the original PWS Helical Antenna, the Domed Helical features a more durable, sealable enclosure with a compact profile. Inconspicuous and robust, the PWS Domed Helical Antenna is a great choice when aesthetics and function cannot be compromised.

PWS will also be demonstrating its Intermodulation Analysis Software (IAS), which cuts down on setup time by combining a database of wireless performance equipment and access to local television frequencies in use. “PWS’ IAS software is the solution RF technicians have been waiting for,” adds Van Winkle. “This saves tremendous time over traditional trial-and-error methods. Once a clean frequency is found in IAS, a simple pre-show equipment test will verify the software’s ‘offline’ analysis. Our proprietary software helps to speed up a tedious and error-prone process.”

Additionally, PWS will highlight its GX Series of Combiners, the GX-4 and GX-8, which offer selectable high and low output settings, as well as above unity gain on output, as well as its DB Series of Multicouplers, including the DB8 (8 outputs), DB16 (16 outputs) and DB24 (24 outputs). These diversity systems are designed to distribute antenna signals to multiple receivers without loss and with high isolation between ports.

Interested show participants are invited to stop by PWS’ WFX Booth (1023) to speak with executives about the company’s latest product offerings. The team will also be offering site surveys at a discounted price to show attendees who are interested in learning more about how to optimize their frequency coordination during house of worship events.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “MAMMA MIA!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

DPA Microphones Brings d:screet™ Omnidirectional Miniature Necklace Microphone to WFX 2014

Company also features its line of d:vote™ 4099 Instrument Microphones

DALLAS, SEPTEMBER 30, 2014DPA Microphones showcases its new d:screet™ Omnidirectional Necklace Microphone at WFX 2014 (Booth 1016), which is not only perfect for religious holiday productions, but can also be used for a range of other house of worship microphone applications. The company’s d:vote™ 4099 Instrument Microphones, another ideal accompaniment for such performances and daily HOW needs, will also be on display throughout the show.

DPA Microphones_dscreet NecklaceThe new d:screet Omnidirectional Miniature Necklace Microphone addresses an industry need for a mic that can be mounted and removed quickly several times by untrained talent without a sound expert nearby, which is often the setting in a house of worship. Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for situations requiring quick costume changes, such as a Christmas play or concert at a house of worship. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

Representing years of research and development, the d:vote 4099 Instrument Microphones are condenser mics that feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the full dynamic range and subtle details of any instrument, these microphones are tiny, discreet, rugged and lightweight. The versatile gooseneck provides stable and repeatable positioning, while the variety of available clips and mounts enable the mics to be repositioned or moved to another instrument without worry of damaging the finish of an instrument of changing its sonic character. Through the use of DPA’s extensive adapter system, the d:vote can be used as a standard 48V phantom powered microphone via the included XLR connector and is compatible with virtually any wireless system. The mic comes standard with a 5.5-inch gooseneck, but an optional extension unit is available along with a detachable cable, which increases the convenience of instrument mounting. Further, the selection of cables makes it possible to tailor the mic to a specific task, such the heavy-duty cable for PA/Live gigs or a thinner option that’s easier to hide on a personal instrument.

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 always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com.

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SSL Live Is the Choice for Legendary Mexican Singer Juan Gabriel’s U.S. Tour


“It sounds exactly how the band is playing”

MEXICO CITY – Mexico’s beloved pop icon Juan Gabriel is touring the U.S. with an SSL Live, the first-ever dedicated live sound console from Solid State Logic. One of Mexico’s most successful vocalists, Gabriel is a Billboard Latin Music Hall of Fame inductee and six-time GRAMMY nominee who has sold over 30 million albums and performed throughout the world. When his Volver 2014 tour prepared for its U.S. leg, front-of-house engineer Rodrigo López was excited to mix on SSL’s latest innovation.

Rodrigo López with SSL Live copy“As soon as it was available, I wanted to use it,” López says of Live. “Just by reading ‘SSL,’ you know it’s a quality console. An engineer friend of mine who used Live for another U.S. tour provided the only training I needed. It’s very user-friendly. Sound check was my rehearsal with the console. It just sounded correct, it was really great. Everything was there, the way I wanted it to be.”

Live features the world-famous SSL SuperAnalogue™ preamplifiers that set the standard for sonic excellence and López says the benefits were instantly audible. “It just sounds perfect,” he says of mixing with Live. “It’s really clear and sounded exactly how the band was playing.”

SSL Live’s sonic quality was particularly noticeable on violins, López says. “We have seven violins for the mariachi. Sometimes it’s hard to hear because it’s loud on the stage. The first time I truly heard violins sound in the place I wanted them was when I mixed with SSL Live. What’s more, we’re running the mariachi musicians through a really small wireless microphone. It’s hard to have power on those instruments, but that just came naturally with the SSL.”

A 25-year veteran in the industry who also mixes FOH for Los Ángeles Azules and was previously with Marco Antonio Solís, López appreciates Live’s versatility, which allows engineers to work exactly the way they want. “The console accommodates to the way you’re mixing,” he says, “not the other way around.”

López added that musicians recognize SSL from thousands of recording studios around the world, and Gabriel’s band members were particularly amazed to see one on tour with them. “An SSL at front of house is really impressive,” he says. “Everyone wants to take a look at it.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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DPA Microphones d:fine™ 66 and 88 Miniature Headset Mics Make WFX Debut

Company’s d:fine Trade-Up Promotion Currently Underway

DALLAS, SEPTEMBER 29, 2014DPA Microphones presents its new d:fine™ 66 and d:fine 88 Miniature Headset Microphones for the first time at WFX 2014 (Booth 1016). Ideal for house of worship leaders needing to move freely about the pulpit without obstructions from a handheld mic or mic stand, the d:fine 66 and d:fine 88 have joined the company’s d:fine Headset Microphone family, which will also be on display throughout the show.

DPA Microphones_dfine on Male PerformerThe company’s d:fine Headset Microphones Trade-Up rebate program is still underway, as the promotion ends October 3, 2014. Participants will receive a $100 mail-in rebate for every purchase of select d:fine Headset Microphones, from an authorized U.S. dealer, provided they additionally trade-in a competitor headset mic. This special program is available to all U.S.-based microphone customers. In order to receive a rebate for each headset mic, customers must trade-in an equal number of competitor headset microphones.

DPA Microphones d:fine Headset Microphones were designed to meet a specific market demand, which in turn created a new niche of DPA headset users that did not affect the popularity of the original 4066 and 4088s. The new DPA d:fine 66 Omnidirectional and d:fine 88 Directional Headset Microphones come as a result of a growing need for durable body worn microphone solutions with excellent sound reproduction and sturdy casing for stringent use in live environments. With several options available in the line, the d:fine Headset Microphone Series now address every variety of sound handling and size options, depending on the intended application.

DPA Microphones_dfine Headset MicrophoneThe new DPA d:fine 66 and d:fine 88, which are recognized by their rounded capsules, are intended for users who require optimal sound and grid cleaning/changing options. With a contemporary look and classic sound, the d:fine 66 and d:fine 88 combines the 4066 Omni and 4088 Cardioid microphone capsules with features of the modern d:fine headsets, such as an advanced mount and flexible ear hooks.

Featuring a total of four capsules – two omnis and two cardioids – as both single- and dual-ear mounts, the complete d:fine Headset Microphones Series raises the bar for head-worn microphone solutions. Offering industry-leading sound quality, the mics are ideal for singers, public speakers, actors, musicians, house of worship leaders and broadcast professionals who insist on superior voice reproduction, comfort, ease of setup and a discreet look. They are also available in black, brown and beige with a variety of boom lengths and adapters for every professional wireless system.

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 always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com.

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DPA Microphones, Lectrosonics and Sound Devices Host ‘The Sound Summit LA’

LOS ANGELES, SEPTEMBER 23, 2014 — On Wednesday, October 8 at The Sportsmen’s Lodge in Studio City, CA (http://www.thesoundsummit.org/la), just prior to the start of the 137th International AES Convention at the Los Angeles Convention Center, DPA Microphones, Lectrosonics and Sound Devices will host The Sound Summit LA event. The three manufacturers represent the pinnacle of the location audio capture side of professional audio, with products commonly used in the field, including DPA’s d:screet™ Miniature Microphones and d:dicate™ 4017B Shotgun Microphone, Lectrosonics’ new L Series and DSW wireless microphone systems and the Sound Devices 664 Field Mixer and rack-mounted 970 64-Track Dante and MADI Audio Recorder.

The event will take place from 3 to 9 p.m., with short technology presentations from the manufacturers at 4 and 7 p.m. Breakout sessions presented by location sound practitioners will take place at 5 and 8 p.m. Additionally, leaders from all three companies; Eric Mayer, president of DPA Microphones, Inc.; Karl Winkler, director of business development for Lectrosonics and Jon Tatooles, co-founder and chief business development officer for Sound Devices, LLC; will be available during the event to discuss the best practices for utilizing all three brands during a production.

Fernando Delgado and his team from Stickman Sound will be in attendance and will demonstrate their unique audio solutions for a variety of hit shows, including UFC’s The Ultimate Fighter (FX) and Top Chef (Bravo). In addition, Daniel McCoy, C.A.S. with ToneMesa, Inc. will be on hand to discuss his equipment and techniques on shows such as Shark Tank (CNBC), The Ellen DeGeneres Show (NBC), Tosh.O (Comedy Central) and Jim Henson’s Creature Shop Challenge (Syfy).

“I have known both Karl and Jon since the mid-90s and we all share the same sensibilities when it comes to meeting the needs of our common marketplace,” says Mayer. “By joining forces, we hope to bring together a large audience that wishes to meet and see our respective products, and to hear the latest and greatest from each of us. This event will be a great opportunity for attendees to meet each other and talk about their experiences in the field using many of the solutions that we manufacture. Think of the Sound Summit as sort of a ‘Meet Up’ for users of DPA Microphones, Lectrosonics and Sound Devices products. I’m confident it will be fun for all!”

“We’re excited about this event because it gives us a chance to get to know the community in a casual, sharing atmosphere,” states Winkler. “We anticipate this taking off rather well, leading, hopefully, to similar events in other large metropolitan areas such as New York, Chicago, Atlanta and other cities along the way.”

Tatooles is equally enthusiastic about the upcoming seminar, “Events such as the Sound Summit are an excellent opportunity for companies, like ours, to meet with our customers, listen to their feedback, share experiences, and learn from them. We are pleased to be an integral part of this program.”

To sign up for this event, please register at http://www.thesoundsummit.org/la/.

ABOUT DPA Microphones
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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, visit www.dpamicrophones.com/en.

About Lectrosonics
Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company’s dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com.

About Sound Devices
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

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California Baptist University’s Collinsworth School of Music Preaches to the Choir about DPA Microphones

Technical director for school’s music department relies on an assortment of company’s mics to solve live miking challenges

LOS ANGELES, SEPTEMBER 18, 2014 – Students at California Baptist University’s (CBU) Collinsworth School of Music are not only taught the art of making music, but the best possible way to enhance the performance aspect of their instrument or voice. That’s why their professors and mentors turn to DPA Microphones for on-stage amplification, which ensures that students gain first-hand experience with world-renowned professional equipment. With an audio locker that features a combination of the company’s d:vote 4099 Instrument Mics, d:fine™ Directional Headset Mics and a stereo pair of d:screet™ 4061 Omnidirectional Miniature Mics, the school is guaranteed an audio solution that covers the variety of music department needs for on-campus performances as well as on-the-road ensembles.

Matthew McConnell, technical director for the School of Music at California Baptist University, was familiar with DPA’s reputation of excellent quality products, but it was his test seven years ago of a stereo pair of d:screet 4061s as a live miking solution that turned him into a loyal user. Since then, DPA mics have been integrated into Collinsworth’s equipment supply, creating a new generation of enthusiasts.

“Before discovering DPA Microphones, I’d tried everything to make the piano sound good live, but I wasn’t happy with any of the results,” McConnell recalls. “Since I wasn’t having much luck with anything else, I bought a stereo set of the DPA d:screet 4061 mics and thought they were fantastic, and then I just went from there. Now, I don’t have many students who haven’t used a DPA mic. I’m a firm believer in the observation factor, so if they’re seeing the mics in use and hearing them on live recordings, they can better understand the benefit of using DPA mics.”

During touring season, students discover, through firsthand experience, the advantages that come along with DPA. This includes ease of use and exceptional clarity, the same factors that McConnell initially found to be valuable.

“I bought my first d:vote 4099s because I was trying to solve a problem,” shares McConnell. “For years, I didn’t like the sounds I was getting from the string bass, so I looked around for clip-on mics and pickups, I didn’t really like any of those or how they worked. When I found the d:votes, I bought two because of the rubberized bass clip. I loved how easy it was to get the clips off the instrument as well as having some flexibility to be used with other instruments. I tried them out and thought they were great. I also loved how they sounded and how the performers could move around because it’s attached to the instrument. As a FOH guy, the sound the mics produce isn’t changing when the students move around. I get very consistent sound and levels, which makes mixing so much easier. Once I discovered how well the d:votes worked, I bought more for the cello players and then woodwinds and percussion. I thought, ‘These are great! I’m going to use them wherever I can!’ ”

When McConnell introduced the d:vote 4099s to students, they were wary that the clips would damage their personal instruments. But, once they saw how the rubber clips can easily be unclipped and repositioned on the instrument without any damage to the body, they were eager to use them. The d:vote 4099 creates an effortless solution for students who are in charge of setting up and tearing down their own equipment. Students have also learned of the mics’ accurate natural sound, balanced EQs and functionality.

“These mics really come in handy for our performances, which are largely led by students,” continues McConnell. “During the school year, students perform in large ensemble groups at churches and schools throughout Southern California. Upon graduation, we send four elite groups on a two-week tour of America’s western hemisphere, where they are tasked with setting up their own equipment. The clipping and repositioning of the d:vote is so simple that two violinists often share one mic connected to a wireless transmitter by swapping it onto their instruments between solos.”

In addition to the d:vote series, the music department has integrated the d:fine directional headsets into its mic rotation for vocal clarity. Used primarily on the conductors who often MC their own shows and stand in front of loudspeakers, a potentially problematic spot due to feedback, the school is using the mics in a unique manner.

“The d:fine headsets sound great and make it possible for the conductors to wander around and interact with people without feedback issues,” adds McConnell. “But, the truly remarkable thing about the d:fines is the way we use them for our piccolo and flute players. Since the instruments are so tiny, we had a hard time miking them. We were using overhead mics, but there was a ton of bleed from other instruments. So, we decided to outfit the musicians with d:fine headsets, and it’s been great. Since the end of it is so close to the ear where the d:fine sits, the mic ends up producing a sound that’s just like the performer hears. We also get great rejection of unwanted noise with the cardioids pattern and we’re able to really amplify the flute sound.

“Everyone’s got it in their head that you need to have a solo flute with full brass choir accompaniment behind it, but on an acoustic stage, you’re never going to hear that,” he continues. “In a studio you will, but not on a live stage without amplification. This has been the best way that I’ve found to accomplish that. The d:fine tames down the piccolo to make it musical. It’s the same thing with the flutes. I’m able to get a great sound with the d:fine on the flute, with very minimal amounts of processing on the console. The feel of the mics is great, too. With other mics, the flute players hated wearing headset mics, they didn’t like how they felt. I gave them the d:fine mics and they loved them and said they’d never want to use anything else ever again.”

Established in 2002, CBU’s Collinsworth School of Music holds students to high standards that encourage them to be the very best persons, students and musicians that they can be. In exchange for the hard work they commit, CBU musicians find a challenging program of study, an outstanding community environment and limitless performance opportunities in the United States and abroad. McConnell credits the support from Dr. Judd Bonner, Dean of the Collinsworth School of Music, for being the primary advocate in the students’ access to the DPA mics.

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 always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com.

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Masque Sound Takes Off with First National Tour of the High-Flying Hit Musical Comedy, Pippin

Custom Audio Equipment Package Delivers Broadway Experience to Audiences around the Country

DENVER, CO, SEPTEMBER 15, 2014 – When the Broadway smash hit Pippin embarked on its first national tour on September 6 at The Buell Theatre in Denver, Colorado, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was along for the ride to support Sound Designers Jonathan Deans and Garth Helm’s vision for the high-flying, death-defying musical comedy.

Pippin tells the story of a young prince as he sets out on a thrilling journey to find meaning in his existence. He notes two potential paths: he can choose a happy, but simple life or risk everything in favor of a momentary flash of glory. A magical show, Pippin has become a well-known staple in the theatre community for its many classic Broadway numbers, including “Magic to Do,” “Corner of the Sky,” “Glory,” “No Time at All,” “Morning Glow” and “Love Song.”

Deans and Helm have been with Pippin since its Broadway opening in April 2013 and are both intimately familiar with the show’s audio requirements. “The creative concept behind Pippin was designed in New York, so we are now trying to bring that Broadway experience to the different theatres on the tour,” says Deans. “The show itself essentially stays the same as the one that appears on Broadway in every aspect, except for the sound design. Because we are putting on performances in different theatres of various sizes and capacities, as well as some with balconies and some without, we needed a very flexible sound system that could provide full coverage, with no matter to the room and its dimensions.”

In order to deliver as close to the Pippin Broadway experience as possible, Masque Sound provided the designers with a DiGiCo SD7 Live Digital Console complete with Stealth Digital Processing™. “The SD7 is very versatile, sounds great and does everything we want it to do,” says Helm. “It is extremely helpful in ensuring that we can expect exceptional sound coverage in all of the theatres in which the production will be playing.”

As part of the custom-designed audio system, Masque Sound also supplied an array of d&b audiotechnik speakers, which the designers chose for their excellent sonic soundscape, as the speakers help to keep the continuity between the Broadway show and the tour productions. In addition, a selection of microphones from Shure, Neumann and DPA, as well as a 40-channel wireless package featuring Sennheiser mics with DPA booms, were also included in the audio equipment package.

“The crew at Masque Sound is always wonderful to collaborate with,” adds Deans. “Masque Sound worked closely with us to build the ideal speaker package to fit our sound requirements. The crew really looks after the best interests of the show. They care about the production, they care about us, and that always makes working with them such a rewarding experience.”

In addition to providing the custom audio package for the show, Masque Sound also supplied frequency coordination for the show’s 40-plus channels of wireless microphones. Masque Sound’s expert team provided the touring crew with the information and RF equipment that they needed to ensure that all of the show’s wireless transmission would remain interference free.

Deans and Helm also acknowledge the importance of their own crew’s hard work in ensuring the show’s success. “Our Associate Sound Designer Drew Levy, Production Sound Supervisor Alex Ritter and two fantastic sound mixers, A1 FOH Mixer Maxine Gutierrez and A2 RF/Backstage Support Nathan Meredith, look after the show, tour with it and do an amazing job on all accounts.”

Pippin is directed by Diane Paulus and features choreography by Tony® nominee Chet Walker in the style of Bob Fosse and circus creation by Gypsy Snider of the Montreal-based circus company Les 7 Doigts de la Main, also known as 7 Fingers. The show opened on Broadway on April 25, 2013 and went on to win four 2013 Tony Awards, including Best Revival of a Musical and Best Director of a Musical for Paulus. The Pippin tour is currently slated to run through August 2015 with 33 stops, including Denver, Los Angeles, San Francisco, St. Louis, Washington DC, Atlanta, Dallas, Chicago and Seattle.

For ticket information, please visit www.pippinthemusical.com/tour.php.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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