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Archive by Vanessa Sanchez

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.

Mistresses Has a Love Affair with DPA Microphones

Company’s d:dicate™ 4017 Shotgun and d:screet™ 4071 Miniatures prove to be the ultimate dialogue miking solutions for primetime soap

LOS ANGELES, SEPTEMBER 15, 2014 – ABC’s Mistresses is a primetime soap opera starring Alyssa Milano that is based on the lives of four girlfriends living in Hollywood who are involved in an array of illicit and complex relationships, but it is the show’s miking solution that is far from complicated. A longtime DPA Microphones user, Sound Mixer Joe Michalski relies on the company’s d:dicate™ 4017 Shotgun Mic in conjunction with several d:screet™ 4071 Omnidirectional Miniature Mics to achieve a pristine sound that requires almost no editing in post.

Used primarily for wide-angle outdoor shots, the d:dicate 4017 was recently put to the test on a motorcycle scene during which Milano was the passenger. Unlike many situations for which a shotgun mic would be used, the boom operator was not able to be positioned behind the actors, on the back of the trailer that was towing the bike. Having to use both arms to hold the boom, the operator was unable to secure himself in the moving trailer, which resulted in several safety concerns.

“In order to record the two pieces of dialogue that we needed for that scene, we took the 4017, placed it in a Rycote Zeppelin windscreen and then mounted that off the handlebars,” explains Michalski. “From there, we were able to split the audio between Alyssa’s character and the male actor driving the motorcycle. It was just a sick position. Normally, you have to deal with the sounds of the trailer, the truck that’s pulling it and the other motorcycles in the shot, but the mic was more parallel to the ground with the position it was in, so all of the noise was rejected. It sounded almost like we were on stage shooting off a green screen.”

For this shoot, Michalski had 20dB spread between the noise and the dialogue. Once it goes to post production, the only thing they’ll need to do is add the motorcycle sounds because they’ll have a clean voice recording with no background sounds. As a backup, Michalski also outfitted both actors with the d:screet 4071, which provided him with an additional, clean track. “With the signal noise being so far above the noise, with either my shotgun or my lavs, it’s a perfect world for the post team because they can play with the scene later,” adds Michalski. “They can add more background or take it out.”

These characteristics are also being noticed by the actors, who prefer not to go back to the studio for ADR. Due to its compact size, the d:screet 4071s are ideal in situations when a boom isn’t, including shots on-location at a pizza restaurant with noisy ovens or out on the street across from a rowdy outdoor bar, where ambient noise can’t be controlled, no matter the position of the shotgun.

“We’ve been applying lavs to all of those scenes and going without a boom,” says Michalski. “Alyssa was also a little concerned with the background noise at some of the restaurants, because she isn’t going to have time to ADR, so we suggested using the d:screet. Generally, actors and costume designers are not fond of lavalier microphones because the wires are obtrusive, especially on Mistresses, where the outfits seem almost painted on. But, the DPA mics have the thinnest cable of any microphone out there and the wardrobe assistants can place it into the costume or directly onto the skin. Whereas you can typically see the competitors’ cables under tight costumes like those used in Mistresses, DPA can be easily hidden along a seam line. The actors are definitely much more receptive to this.”

Michalski has used several microphone brands over the years, but it is DPA Microphones that caught his eye. Having recently purchased his second d:dicate 4017B, he currently owns a total of 10 DPA mics, which he says will now serve as his primary microphone offerings for productions. “I’ve heard a lot of competitor mics and DPA mics just sound more natural,” concludes Michalski. “You don’t have to worry about any of the problems you see with other brands because DPA has such solid mics, even the sheer physical difference is noticeable.”

Kansas City born Michalski has worked as a boom operator and sound production mixer on various projects for the more than 20 years. His recent work includes, Jane By Design, Sons of Anarchy, Suburgatory, The Mindy Project, Without a Trace, Shameless and Grey’s Anatomy.

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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RTW Announces Mastering Tools PlugIn at IBC 2014

Second Addition to Masterclass PlugIns Line of Software Offers Extensive Analysis and Display Functions

AMSTERDAM, 12 SEPTEMBER, 2014 – RTW, the market leader in visual audio meters and monitoring devices, will introduce RTW Mastering Tools, the second plugin in its Masterclass PlugIns line of software-based metering solutions, at the 2014 IBC Show (Hall 8, Stand D92). Ideal for post production, TV, film and music recording, the new addition brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications as a standard-format plugin for Windows and Mac OS platforms.

Designed for simple, intuitive operation by a broader user base, RTW Mastering Tools offers a wide range of PPM scales, displays and TruePPM measurements. It provides support for many of the leading global loudness standards including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, plus MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multicorrelator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances.

“RTW’s development of the RTW Masterclass PlugIns Mastering Tools plugin is part of the company’s continuing efforts to give a wider range of our customers access to high-quality audio metering and measurement,” says Andreas Tweitmann, managing director, RTW. “It puts a very powerful tool for mastering, metering and loudness measurement into a convenient, easy-to-operate software package, adding further efficiency to the overall workflow.”

The RTW Mastering Tools plugin is the second product in RTW’s Masterclass PlugIns line, which provides users with software versions of some of the company’s most popular metering and measurement solutions. The first product in the series, the RTW Loudness Tools plugin, was announced earlier this year.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

RTW to Support the 2014 IBC Show with a Range of Loudness Metering Solutions

AMSTERDAM, 11 SEPTEMBER, 2014 – RTW (IBC Hall 8, Stand D92), the market leader in visual audio meters and monitoring devices, is once again providing the IBC 2014 show’s technology team with TM9 and TM7 TouchMonitor audio meters and SurroundControl 31960SD controller to support audio in the RAI’s D-Cinema auditorium featuring the IBC Big Screen Experience, as well as four TM3 TouchMonitor units to support the IBC News crew’s live and studio coverage of the show.

“We are very happy to be back this year, supporting the IBC show with an assortment of audio metering tools from RTW,” says Andreas Tweitmann, CEO, RTW. “We are longtime collaborators with IBC and are happy that the technology team finds our metering solutions useful for their important productions. This show represents the epitome of innovation in the broadcast technology market and we look forward to another inspiring show.”

In the RAI’s D-Cinema Auditorium, RTW’s TouchMonitor TM9 (HW 20911) will be used for confidence monitoring between the outputs of the console in the auditorium and the input to the cinema system. The IBC technology team chose to also use RTW’s SurroundControl 31960SD controller with 3G/HD/SD-SDI de-embedder interface option, “in order to give us flexibility to meet any de-embedding or other signal requirements,” explains Terry Nelson, Technical Resources, IBC.

Also in the auditorium, engineers will use the TouchMonitor TM7 (HW 20711), that is connected to the control surface of the Cadac console, this will help to provide accurate monitoring of the cinema system feeds.

Meanwhile, the IBC News crew will make use of several TouchMonitor TM3 audio meters. These will be used in the different production areas of IBC News and were chosen to be an important element in controlling and verifying levels.

The IBC Big Screen Experience is the ultimate showcase that demonstrates how the disciplines between cinema and traditional broadcast are merging. For the full IBC Big Screen Experience programme of events, click here.

There’s Still Time to Trade-up to DPA Microphones’ d:fine Headsets

LONGMONT, CO, SEPTEMBER 10, 2014 – DPA, Inc., the U.S. arm of DPA Microphones, is urging everyone to take advantage of its trade-up rebate program for its d:fine™ Headset Microphones, which concludes Friday, October 3, 2014. Participants will receive a $100 mail-in rebate for every purchase of select d:fine Headset Microphones, provided they additionally trade-in a competitor headset. The promotion is only valid on purchases made from an authorized U.S. dealer.

The DPA d:fine Headset Microphones raise 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 available as both directional and omnidirectional mics, with single- and dual-ear mounts, to cover a broad range of applications. They are also available in black, brown and beige with a variety of boom lengths and adapters for every professional wireless system.

“This trade-in program is the perfect, cost-effective way to upgrade the tools that audio professionals need most,” says James Capparelle, Director of Marketing for DPA, Inc. “We’ve already seen a great response to the promotion from new and existing users, but there are only a few weeks left. We hope that all headset microphone customers continue take advantage of this opportunity.”

This special program is available to all U.S.-based microphone customers. In order to receive a rebate for each headset, customers must trade-in an equal number of competitor headset microphones. The following DPA and competitor microphones are included in the promotion:

Eligible d:fine Headset Mics:

d:fine Directional
d:fine Omnidirectional
d:fine 88 Directional
d:fine 66 Omnidirectional
Both single- and dual-ear mounts, as well as all colors, boom lengths and connector types are part of the campaign.

Offer excludes the classic d:fine 4066 and 4088 Headset Microphones.

Eligible Non-DPA Head-worn Mics:

Audiotechnica – MicroSet or Microearset Series
Countryman – ED, E6, H6 or Isomax Series
Crown – CM Series
Samson – SE50 or DE50
Sanken – HWM Series
Sennheiser – Ear Set, HS or HSP Series
Shure – MX, WBH or WCM Series

To claim the $100 rebate, customers must mail in a completed form, proof of purchase of the new DPA d:fine and the non-DPA headset that is being traded to DPA’s U.S. office, postmarked no later than October 31, 2014.

For more information about DPA, Inc.’s promotion, please visit the Trade Up to d:fine promotion info page or contact your local authorized dealer.

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.

RTW Showcases Latest TouchMonitor Updates at IBC 2014

Upgrades to Timecode Reader and Logging Data Server Licenses Add Loudness Recalculation and More Plus Chart Displays to TM7 and TM9 Meters

AMSTERDAM, 10 SEPTEMBER, 2014 – RTW, the market leader in visual audio meters and monitoring devices, is pleased to debut two major updates to its highly regarded TouchMonitor TM7 and TM9 audio meters at the 2014 IBC Show (Hall 8, Stand D92). The meters’ Timecode Reader License SW20008 now permits recalculation during loudness metering, while their Logging Data Server License SW20014 has gained expanded chart-display functionality.

The new Loud.Recal (Loudness Recalculation) instrument helps mix engineers and editors save valuable time during a broadcast sound editing session. Jumping back and forth in a program segment with continuous timecode, it automatically calculates loudness measurements for the complete runtime of a segment at the time the user performs corrections to the mix or sequence (wherever located in the program). Logging Data Server License SW20014, meanwhile, now offers graphs with up to four different loudness and TP values, as well as real-time relative-gate display.

“When it comes to loudness monitoring, anything that helps the operator work more efficiently makes a huge difference. We had this in mind when we developed these latest upgrades,” says Andreas Tweitmann, managing director, RTW. “Now, users can recalculate the loudness measurements for a segment without having to pass through the program after corrections on overdriven program spots have been completed, and they have more options than ever to view loudness values. It all adds up to a faster, easier user experience, which can save time when it really counts.”

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a seven- and nine-inch touch-sensitive display, respectively, and pair unparalleled flexibility and modularity with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, and the CALM Act.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

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