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Archive by Vanessa Sanchez

SHEL Rocks Out at the 2015 NAMM Show with DPA Microphones

ANAHEIM – The band SHEL, a staple act at the DPA Microphones’ NAMM booth for the past several years, will once again entertain show attendees with appearances at the company’s stand (Hall A, Booth 7113) during the 2015 NAMM Show. Additionally, the group, which is internationally recognized for Hold On, their duet with Gareth Dunlop and the featured single from Nicholas Sparks’ film, The Best of Me, will open the She Rocks Awards on Friday, January 23 using DPA’s d:vote™ 4099 Instrument and d:facto™ Vocal Microphones.SHEL - Headshot LP cover shot - Credit Anthony Scarlati

“We are always excited to perform at the DPA Microphones booth at NAMM, and the added honor of being among the list of performers at the She Rocks Awards makes this year’s show even more special for us,” says Hannah Holbrook, singer and keyboardist for the folk pop band, which is comprised of four sisters, Sarah, Hannah, Eva and Liza. “My sisters and I know how significant the She Rocks Awards are, and we’re humbled for the opportunity to share a stage with such inspiring female musicians. Our DPA mics will guarantee that we put on a great show for everyone in attendance at the event and during our booth performances. We can’t wait to see our friends from the company and our fans at the DPA booth during the show.”

The She Rocks Awards pay tribute to stand out female leaders in the music industry. Co-hosted by solo artist Orianthi and Women’s International Music Network founder and writer/editor Laura B. Whitmore, this year’s event features appearances by Colbie Caillat, The Bangles, Mindi Abair and other well-known female artists.

Longtime supporters of DPA Microphones, SHEL will perform at the event as well as at the DPA booth using the company’s d:facto Vocal and several d:vote 4099 Instrument Microphones. During the band’s appearances on the show floor, guests will have the unique opportunity to personally mix the music at DPA’s listening stations.

“We have been using DPA mics for a few years now and love the results,” continues Holbrook. “The company came highly recommended to us when our sister Sarah was having issues finding a mic that could really get the sound of her violin across the way she wanted. We began with the d:vote 4099 Instrument mic, which gave us great results. Once we were introduced to the d:facto vocal mic, we immediately loved the clarity and natural sound it gave our voices.”

Classically trained musicians hailing from the artistic community of Fort Collins, Colorado, SHEL blends classical music with pop elements for an eccentric sound that is youthful and upbeat, yet highly emotive. The group’s recently released tracks have been featured in national television ad campaigns for brands such as Glade and Splenda. The band continues to tour nationwide, playing fairs and festivals, such as SXSW, Nashville’s Music City Roots, Lilith Fair and numerous other distinguished festivals.

“Over the years, we have developed such a wonderful relationship with the DPA team and we love having the chance to demonstrate to the NAMM crowd how we use the company’s mics year round,” concludes Holbrook. “We are excited to perform at NAMM this year, exclusively using DPA.”

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 or contact:

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DPA Microphones Presents Full Line of Music Mics at the 2015 NAMM Show

DPA Microphones_dscreet Necklace Microphone

DPA Microphones Presents Full Line of Music Mics
at the 2015 NAMM Show

ANAHEIM, JANUARY 13, 2015 – DPA Microphones is showcasing the latest versions of its d:facto™ Vocal, d:vote™ 4099 Instrument and d:dicate™ Recording Microphones at the 2015 NAMM Show (Hall A, Booth 7113). Representatives will also be on hand to discuss the company’s new d:screet™ Necklace Microphone, which has been nominated for a prestigious 2015 Technical Excellence & Creativity (TEC) Award.

Following DPA’s continued commitment to providing the best vocal microphone on the market, the d:facto Vocal Microphone offers a true studio sound for the live stage. In addition to a superior natural sound, high separation and extreme SPL handling, singers and engineers are also afforded the choice between the company’s wired handle or its state-of-the-art adapter system, which allows for seamless integration with many professional wireless systems. The mic features DPA’s remarkable triple stage pop filter design and is available with black, golden and nickel grids.

Employed in top recording studios and live applications around the world, DPA’s d:dicate 4011 Cardioid Microphone is perfect for both close-ups on individual instruments and vocals as well as for spot-miking symphonies. Its components have been carefully selected to provide optimal neutrality, accuracy and extremely low distortion at even the highest sound levels. Additionally, the d:dicate 2011 Twin Diaphragm Cardioid Microphone is optimized for use on stage, with a linear off-axis response and a smaller frequency bandwidth, which increases stage separation and gain-to-feedback, making the mic level easier to control.

Available with adapters suitable for a vast majority of instruments, the company’s d:vote 4099 Instrument Microphones can be purchased individually or in four-piece or 10-piece Rock and Classic Touring Kits. Despite its tiny, discreet size and lightweight design, the DPA d:vote is rugged and stable. It features a versatile and extendable gooseneck, sturdy shock mount and a detachable heavy-duty cable, making it ideally suited to the rigors of touring and live performance. Intended for fast-paced settings, the mic can easily be unclipped and repositioned or moved to another instrument with one hand. Additionally, the d:vote’s mounting system is designed to be extremely gentle, never marring the finish of any instrument.

With a nomination for a TEC Award, the d:screet Omnidirectional Miniature Necklace Microphone has been gaining attention throughout the audio industry. The mic, which can be mounted and removed quickly by untrained talent without a sound expert nearby, addresses a previously untapped corner of the market. 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 pop concert tours. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

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.

DPA Microphones Rings in the New Year at the Rainbow Room

PBS’ national New Year’s Eve festivities used a range of the company’s mics

DPA Microphones_ddicate 4011_PBS Rainbow RoomNEW YORK, JANUARY 8, 2015 DPA Microphones returned to The Rainbow Room for an exquisite and elite New Year’s celebration for PBS’ second national, primetime celebration from the recently re-opened iconic Manhattan venue, New Year’s Eve at The Rainbow Room with Michael Feinstein. After the success of the Fall Arts Festival program, DPA’s d:facto™ Vocal, d:vote™ 4099 Instrument, d:dicate™ 4011 Cardioid and d:screet™ Miniature mics once again found their way onto the guest list for the esteemed event.

DPA Microphones_dfacto Vocal_PBS Rainbow Room NYE ShowThe company’s wide range of products was perfectly suited for the various aspects of the production, including vocals and instrumentals. With the show’s swing/big-band at the heart of the special, there was no concern for the SPL levels, which can become soft in these situations. The DPA d:vote 4099 was properly adjusted to close-mic each instrument. Andy Brattain, Michael Feinstein’s production manager and FOH engineer placed the DPA d:vote 4099 either on the instrument or music stand, depending on whether the musician needed to quickly change mutes, to provide the proper isolation required for recording the performance.

DPA Microphones_dvote Instrument_PBS Rainbow Room NYE Show“A combination of DPA’s d:vote 4099 and d:dicate 4011C mics gave us a tight enough polar pattern so that each individual player could be isolated,” says Brattain. “With the saxophone, flute and clarinet performers doubling instruments within a song, we ended up positioning the d:dicate 2011C’s onto the mic stand to pickup each instrument being played. The d:vote 4099’s provided an equally matched tone and quality. DPA was able to handle this broad spectrum of instruments without any problems.”

In addition to Feinstein, a multi-platinum-selling, two-time Emmy and five-time Grammy® Award-nominated entertainer, New Year’s Eve at The Rainbow Room with Michael Feinstein features performances by Christine Ebersole, Darren Criss, Leslie Odom, Jr., Julia Goodwin, Aaron Tveit, Marilyn Maye and Kelli O’Hara.

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.

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Daddy Kev Chooses SSL XL-Desk For Mixing and Mastering at Cosmic Zoo

“For the first time in more than ten years, I’m back to a true analogue workflow and I feel like I’m just scratching the surface of what I can do with the console”

ATWATER VILLAGE, CA – When he’s not mixing for the hugely successful Low End Theory dance party at the Airliner nightclub on Wednesdays in LA, producer engineer and Alpha Pup Records label co-founder Daddy Kev, can be found at his California recording studio, Cosmic Zoo. With a parade of successful underground electronic music artists coming through the door, including Flying Lotus, Run the Jewels, Mr. Oizo, Thundercat, Nosaj Thing, Daedelus, Jeremih and Shlohmo, Cosmic Zoo recently became one of the first studios to feature SSL’s new XL-Desk. To keep up with the ever-changing sounds of the underground electronic movement, Kev installed the console for a variety of mixing and mastering applications.

XL-Desk at Daddy Kev's Cosmic ZooDaddy Kev’s affinity for SSL sound goes back to the late 1990’s when he was recording at Paramount Recording Studio B. When the XL-Desk was introduced, he jumped on it. Kev considers himself a “low rider,” positioning his monitors at 36 inches, so he had a custom desk built for the XL-Desk to accommodate the way he works. The custom setup combined with the ability to have his 500 modules within reach is changing his workflow – particularly for his mastering projects, his primary workload at Cosmic Zoo.

“I have mastered more than 40 albums this past year alone,” he explains. “In that process, I use a bunch of 500 modules. As soon as I installed the XL-Desk, I immediately took the 500 modules and installed them in the console’s built-in 500 format rack. Now, I’m able to access those modules – as well as the new SSL bus compressor that comes with the XL-Desk – through the console. I think that the whole genius of the XL-Desk is the ergonomics of having the 500 rack in-line with the channels. In the past, I’d sit at the mix position with my outboard processors on either side of me. I’d always have to move a few feet in either direction to access the outboard gear, which would take me out of my ideal listening and operating position. Now, my Focal CMS 65 monitors are on 36-inch stands, putting the tweeters perfectly at my ear level. So, I’m right on top of the console, but nothing blocks the monitors and I have everything within arms’ reach.”

Kev says that location isn’t the only element that has changed his mastering process. “The integration for controlling multiple monitors on the XL-Desk is fantastic,” he explains. “I’m using the speaker switching and LF management to run between both my Focal monitors or QSC KW153s three-way monitors and a pair of JBL SRX728S subwoofers, and the monitor path is still very clean. This might be the only XL-Desk wired to four 18-inch subwoofer drivers — so we can probably levitate the room if necessary!”

Kev reveals that, until now, he feels like he’s never been able to properly integrate his compressors and EQs. “I’ve been collecting outboard gear for years, and in my old situation without a console I was really just doing a lot of two-bus treatments. This is literally the first time in more than ten years that I’m back to a true analogue workflow. Now, when I mix, I can group or submix tracks in Pro Tools® and send them in stereo groups to the XL-Desk. I have all of the 500 module inputs, outputs, send and return insert points — as well as all of the XL-Desk’s channel insert points — on my patchbay, giving me a very easy way to integrate that outboard gear into my mixing and mastering processes.

“I can insert the 500 module that sits inline with a particular channel simply by pressing a button or using the patchbay to patch it into another channel. With the additional ‘INS’ button on every channel, I can actually have two processors on a single channel. The four ‘500’ buttons in the master section connect the mix buses to the 500 modules without need for patching. This gives me a wide range of options to best suit each project.”

In addition to his 500 modules — EQs from Avedis, Electrodyne, Rupert Neve Designs, Elysia and Empirical Labs, Kev also has an SSL X-Rack with two 9000 compressor modules and an SSL FX G384 bus compressor. “So, I have three different SSL compression options to work with during mixing or mastering and it’s very nice,” he adds. “I feel like I’m just barely scratching the surface of what I can do with the XL-Desk; it’s incredible. It’s very inspiring for me to come to the studio and want to work as much as I can on such a beautifully-designed piece of gear.”

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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Danny Michael Runs on DPA Microphones


Veteran sound mixer chooses company’s d:dicate™ 4017B Shotgun Mic to cover his audio needs, from television to the big screen

NEW YORK, JANUARY 6, 2015 – Whether Danny Michael is working on the set of a television pilot or the next box-office hit, the veteran production sound mixer relies on DPA Microphones for his diverse miking needs. Using his trusted d:dicate™ 4017B Shotgun for traditional booming situations, Michael occasionally turns to a variety of the company’s other mics for the wide range of productions he works on.

DPA Microphones_Night at the MuseumAfter first discovering DPA Microphones in 2011 during pre-production for Now You See Me, Michael’s admiration for the company quickly grew. “I was tasked with finding a headset mic to use during the on-stage magic scenes in the movie,” he says. “We received a few different samples, but the DPA d:fine stood out as it provided the best sound. Since it was ultimately an artistic decision, I left it to the director to make the final call and, luckily, he also preferred the d:fine. That little mic piqued my interest to try additional DPA products and I’ve been using the brand ever since.”

Within the last year, Michael has also used DPA mics on a variety of productions, including the New York set of Night at the Museum: Secret of the Tomb, directed by Shawn Levy. The third installment of family-friendly action series revisits Larry Daley, a night-shift museum security guard portrayed by Ben Stiller, who is on duty when the ancient artifacts come to life and bring him along for their adventures. While filming exterior shots with Stiller and Ricky Gervais, who plays Dr. McPhee, outside of the Museum of Natural History in Manhattan, Michael relied on DPA’s d:dicate 4017B to battle the noise of Central Park West.

“We found that the d:dicate 4017B was very useful for this project since it is small and lightweight, which lends perfectly for use during closer shots on the actors,” says Michael. “With other microphones, which tend to be longer, when you come in for a close-up, sometimes it doesn’t sound flattering because it adds an odd tube-like sound. The d:dicate doesn’t have that discoloration, which is a very positive aspect.”

In addition to removing the noise of the streets and sidewalks, the d:dicate 4017B is built to provide clear directional sound, regardless of the environmental conditions. This ensured that there was no delay in the mics performance during the outdoor shots, which took place during the heart of New York’s blustery winter.

Michael once again favored the 4017B facing the city’s rough weather while filming the pilot for NBC’s upcoming fall drama, Allegiance, starring Hope Davis and Scott Cohen. Allegiance focuses on Alex O’Connor (Gavin Stenhouse), a decorated American war hero and young CIA analyst specializing in Russian affairs who learns that his parents, Mark (Cohen) and Katya (Davis), are covert Russian spies. Deactivated decades ago, the Kremlin has now re-enlisted them into service.

“I am using the d:dicate 4017B more frequently and trying it on a variety of projects to get an even better feel for what it can withstand,” Michael adds. “I’ve compared it to other standard mics on the market and found that DPA is the top contender.”

Michael has also started to incorporate the company’s d:screet Miniature Microphones into his rig in conjunction with his d:dicate 4017B, as he continues to add to the list of projects in which he sources DPA Microphones. These include This is Where I Leave You, a comedy directed by Levy and starring Jason Bateman, Tina Fey, Adam Driver, Rose Byrne, Corey Stroll, Kathryn Hahn and Jane Fonda, set to be released in theaters this fall; and The Intern, directed by Nancy Meyers, starring Anne Hathaway, Nat Wolff and Robert De Niro, which is currently in production.

Michael is an industry veteran who has worked as a sound mixer on other blockbuster films, such as The Departed, The Secret Life of Walter Mitty, 8 Mile and Extremely Loud and Incredibly Close. His work on the film Mississippi Burning earned him a Best Sound BAFTA Award and Oscar Nomination for the same category.

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 Continues Broadway Run with Season’s Most Anticipated Revival, The Elephant Man

Elephant Man, The Booth TheatreNEW YORK, NY, JANUARY 6, 2014Masque Sound, a leading theatrical sound reinforcement, installation and design company, recently provided a custom audio equipment package for the current Broadway revival of Bernard Pomerance’s Tony Award®-winning play The Elephant Man, which is now playing a limited engagement through February 15, 2015 at the Booth Theatre in New York City.

Two-time Academy Award® nominee Bradley Cooper, Academy Award nominee and Emmy Award® winner Patricia Clarkson and Alessandro Nivola return to Broadway in The Elephant Man, directed by seven-time Tony nominee Scott Ellis. Based on the real life of Joseph Merrick, The Elephant Man tells the story of a 19th-century British man (Cooper) who became a star of the traveling freak show circuit. When the renowned Dr. Treves (Nivola) takes Merrick under his care, he is astonished by the man’s brilliant intelligence, unshakable faith and, most of all, his resounding desire for love and understanding. He introduces Merrick to the beautiful actress Mrs. Kendal (Clarkson), who is deeply touched by this pure and genuine soul. As a complex friendship blossoms among the three, Treves and Kendal struggle to protect Merrick from a world of questionable intentions, and so begins a story of love as unique as “The Elephant Man” himself.

Elephant Man, The Booth TheatreJohn Gromada, Tony Award®-nominee and three-time Drama Desk-winning sound designer and composer, worked closely with Masque Sound to create an intimate and very natural sounding experience for the audience. “In designing the sound for The Elephant Man, my job was to provide transition music and sound, delivering the aural landscape that keeps the production moving forward,” says Gromada. “With about 20 scenes in total, my goal, artistically, was to sew the whole production together, take those scenes and make something full out of them in a way that was bold and daring. As always, I also wanted to ensure that all of the performers are heard properly and that the vocals are reinforced in a realistic way. The equipment Masque Sound provided made sure that we were able to do this, and my associate, Charles Coes, did a wonderful job of assembling the system.”

One of Gromada’s biggest challenges in designing the sound was with the layout of the theatre itself. “The Booth Theatre is a fairly intimate house, but there is a very deep under-balcony that makes it difficult for people who are sitting in that location to hear what is happening on-stage,” adds Gromada. “In order to overcome this and allow those people to hear the actors and sound score well, we consulted with Masque Sound and put together an under-balcony audio system, which provided excellent coverage in this area and made every seat in the house a good one.”

At the heart of the equipment package that Masque Sound provided was a Yamaha DM1000 digital console. Because the front of house had such a small footprint, the compact size and flexibility of the DM1000 made it an ideal solution and was Gromada’s console of choice. Gromada also used Yamaha DME processors for delay zones. The speaker system featured an array of equipment from audiotechnik d&b, including E9, E3 and E0 loudspeakers for the front fill. As the director wanted to give a sense of surround around the house, Gromada utilized EAW-Eastern Acoustic Works JF60s for the rears and sides surround system.

Elephant Man, The Booth TheatreTo reinforce the show, Gromada relied on five DPA 4021 microphones across the front deck of the stage. “There is no substitute for the 4021s in terms of clarity and presence,” Gromada adds. “It’s a pretty amazing little microphone. It’s so discreet, and there is usually never more than one mic up at a time. In an effort to make the show sound as natural as possible, the show’s engineer, Adam Smolenski, is doing a fantastic job of putting together a very active mix of the 4021s, which helps deliver a much cleaner sound to the audience.”

In addition to the custom audio equipment package, Masque Sound also provided its expert frequency coordination services for the show, which can be complicated to manage in the congested Broadway theatre space. “We threw a curve ball at them by adding wireless at the last second and Masque Sound was able to accommodate us, and made the whole process one that was seamless,” concludes Gromada. “We had a fairly limited budget, but Masque Sound was able to provide us with everything that was on our equipment list, without compromising on quality. The service I get from Masque Sound is always top rate, the quality control is excellent, and there is always a quick solution to any problems. Masque Sound is truly a fantastic company to work with.”

Bernard Pomerance’s Tony Award-winning classic, The Elephant Man, is scheduled to run through Sunday, February 15 at the Booth Theatre, located on 222 West 45th Street in Manhattan. For more information, visit www.elephantmanbroadway.com.

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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PMC at NAMM 2015

PMC to launch twotwo sub2 active subwoofer and showcase the new QB1-A

1PMCtwotwosub2LONDON, JANUARY 5, 2015 – UK-based reference monitor manufacturer PMC will be launching a new addition to its twotwo range of active nearfields at NAMM 2015 (Hall A, Booth 6598), as well as giving West Coast audio professionals another chance to see the mighty QB1-A large-scale studio monitor, launched in Los Angeles in Autumn 2014.

The new twotwo sub2 is a subwoofer designed to complement the twotwo range, providing greater headroom and dynamics than its smaller sibling, the twotwo sub1. The new sub2 is a low-distortion, active subwoofer featuring PMC’s unique ATL™ bass-loading technology, Class-D amplification and DSP-based filtering and bass management, which extends bass output significantly with negligible harmonic distortion. The sub2 also features a highly rigid, braced cabinet, ensuring that unwanted colouration is reduced to inaudible levels.

2PMCtwotwosub2The built-in amplifier delivers an impressive 400W of power to the LF driver, which has an active frequency response from 20Hz up to 200Hz, and as with all PMC ATL™ designs, the tonal balance of the output remains consistent at all listening levels, from whisper-quiet to levels you feel as well as hear. The sub2 can be deployed in a 2.1 configuration with twotwo series monitors to gain extra bass extension and headroom, or to reproduce the low-frequency effects (LFE) channel in a surround monitoring system. Used with the twotwos, the sub2 is also ideal where midfield performance levels are required, but where there may not be the space for large-scale reference monitors, such as in broadcast or post-production environments.

The long-throw bass driver employed in the twotwo sub2 — a flat piston design composed of a carbon-fibre/Nomex® sandwich — is a bespoke PMC design that delivers unparalleled transient response and potent performance for the speaker’s size when combined with the Advanced Transmission Line. The slim-line cabinet dimensions also make the sub2 far easier to place than typical cube-shaped subwoofer designs.

The sub2 features an AES3 input with a built-in high-quality sample rate converter, and can thus accept digital signals at sample rates between 32 and 192kHz. A pair of balanced stereo analogue XLR inputs also feature, and both sets of inputs are continuously active regardless of which sources are connected; switching between the sources is carried out from the rear panel or the optional desktop RC1 remote. The digital input is also passed through to the sub’s analogue and digital outputs for connection with other devices, allowing the twotwo sub2 to be used as a high-end digital-to-analogue converter to drive other analogue monitors from a digital stream, if required. A single parametric equaliser is provided to assist with in-room alignment, and the analogue and digital outputs can be high-pass filtered to feed satellite speakers in a 2.1 configuration.

In addition to the full twotwo range, PMC will also be demonstrating the recently launched QB1-A main studio monitor at the PMC booth (see http://www.pmc-speakers.com/ products/professional/active/qb1a).

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 coloration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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MASQUE SOUND KICKS OFF HOLIDAY SEASON WITH MAGICAL PRODUCTION OF DR. SEUSS’ CLASSIC TALE, HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

Custom Audio Equipment Package Delights Audiences at the Theater at Madison Square Garden

NEW YORK — With New York City’s holiday season underway, Dr. Seuss’ How the Grinch Stole Christmas! The Musical returns to the Theater at Madison Square Garden (MSG). In preparation for the Grinch’s arrival, Masque Sound, a leading theatrical sound reinforcement, installation and design company, worked with Sound Designer Ed Chapman to provide a custom audio equipment package for this family favorite.

Shuler Hensley as The Grinch in the 2014 Equity Touring Company of Dr. Seuss' HOW THE GRINCH STOLE CHRISTMAS The Musical (c) BlueMoon StudiosFeaturing hit songs like “You’re a Mean One, Mr. Grinch” and “Welcome Christmas,” Dr. Seuss’ How The Grinch Stole Christmas! The Musical is narrated by Max the Dog, who tells the story of the mean and scheming Grinch whose heart is “two sizes too small.” The Grinch hatches a plan to steal Christmas from the Who family, a cheerful bunch bursting with holiday spirit, but, along the way, he discovers that there is more to Christmas than he bargained for in this heart-warming holiday classic.

In designing the sound, Chapman worked hard to ensure that the system could cover the large size of the Theater at Madison Square Garden without overpowering the audience. “The Theater at MSG is much larger than a traditional musical theater venue, and this production caters to children, so my goal was to distribute the sound evenly without making it sound like a rock concert,” says Chapman. “It takes a very accurate sound system to achieve this, which is where Masque Sound came in, supplying us with all necessary equipment to turn this vision into a reality.” 2014 Equity Touring Company of Dr. Seuss' HOW THE GRINCH STOLE CHRISTMAS The Musical (c) BlueMoon Studios

Yet, Chapman’s goal also proved to be his biggest challenge. “The Theatre at MSG’s in-house system is fantastic for a music concert situation but with a seating capacity of 6,500 and an unusually low ceiling with only one level, MSG is definitely a tricky place for musical theatre,” adds Chapman. “With microphones that are farther away from the source, as well as omni-directional mics on top of people’s heads and not handpicked vocal mics right in front of their faces, it ups the stakes for the other end of the PA, which is the sound system and the speaker system. That puts a big burden to get the sound distributed evenly without overpowering the audience.”

In order to provide complete coverage with great sound, Masque Sound provided Chapman with a Yamaha PM5D digital mixing console, equipped with a DM2000 sidecar, which he likes for its rock solid reliability. To complement the theatre’s existing in-house speaker system, Masque Sound supplied a delay ring of Meyer CQ-1s as well as Meyer UPQ-2s for the surround and Meyer Sound M1D line array loudspeakers for front fills. “Meyer loudspeakers are very high quality and some of the best on the market. Using the Meyer speakers is what allowed us to give it a little more finesse to not drive the house system like a rock and roll show. They sound great and were an excellent choice for this show,” adds Chapman.

Masque Sound also provided a selection of microphones, including DPA d:screet™ 4061 Miniature Microphones for the actors, as well as Sennheiser MKE 2s and Neumann KM 184. In addition, 30 channels of Sennheiser wireless were used and Masque Sound also provided its expert RF frequency coordination for the show.

“MSG is a special place,” adds Chapman. “The theater is double the size of any other venue that we would play, so it was necessary to acquire some supplemental speaker systems. Masque Sound was really helpful in talking me through the different options, while keeping in mind the show’s budget. They have a great inventory and were a wonderful crew to work with.”

The limited holiday engagement of Dr. Seuss’ How the Grinch Stole Christmas! The Musical opened in Manhattan at the Theater at Madison Square Garden on December 5 and is slated to run through December 28. For more information, including how to purchase tickets, please visit www.theateratmsg.com/thegrinch or www.grinchmusical.com.

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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Peter Pan Live! Soars with DPA Microphones

Company outfits entire cast of the NBC production with d:screet™ 4061 Miniature Mics

Peter Pan Live! - Season 2014NEW YORK, DECEMBER 18, 2014Peter Pan Live!, NBC’s live primetime television production of the classic Broadway musical, aired last week with audio support from Firehouse Productions and DPA Microphones. The live TV ‘film,’ which followed the success of the network’s 2013 depiction of the Sound of Music, raked in over nine million viewers. With a live show of this magnitude, Firehouse needed an audio solution that would provide pristine audio quality expected with HD television while still giving audiences the feel of a grand theater production. To accomplish this, the sound reinforcement company called on 48 d:screet™ 4061 Miniature Microphones to support the entire cast, which included Christopher Walken as Captain Hook and Allison Williams as Peter Pan.

With each lead and principal actor double-miked, and a single mic on each member of the ensemble, DPA’s d:screet 4061 was the exclusive microphone used for the production. Having gained familiarity with the DPA d:screet 4061s from years of Tony Awards productions, Mark Dittmar, audio producer for Peter Pan Live! and lead design and integration engineer for Firehouse Productions, credited both the sound and the size of the mics for highlighting the show’s top level performers.

Peter Pan Live! - Season 2014“DPA d:screet 4061s have become our premier high-end microphone,” says Dittmar. “We used them on the Sound of Music last year, which was the first big NBC live musical, and even knowing where the microphones are hidden, you cannot see a single one. It’s the combination of size and sound quality that makes the d:screet 4061 the perfect choice for this application; it was the same thing this year. Most of the cast members were wearing two microphones, so we were even able to hide two on one person. From my experience, the sound quality of the microphones is spectacular and that is especially evident when miking an actor who has a very dynamic vocal range.”

Since the production was not filmed in front of a live audience, the audio team also had no PA system to hide behind when it came to hiding background noises. “Literally every single sound on the set is audible and some microphones are so sensitive that you even get noise from their wires,” continues Dittmar. “The DPA mics don’t have this obstruction. The sensitivity of the noise is like nothing else I’ve ever dealt with. The microphone works very nicely for us in that it’s not adding anything unwanted. What’s more, they are a very popular Broadway microphone. We have a whole team of A2s that had to mic the cast and the d:screet is absolutely a top choice for them.”

Peter Pan Live! - Season 2014A live telecast of the beloved J. M. Barrie book, Peter Pan, the production featured an all-star lineup, which not only includes Williams and Walken as the leads, but also Minnie Driver as both the narrator and the adult version of the character Wendy Darling, and Christian Borle in dual roles as Mr. Smee and George Darling. The show aired Live on NBC on Thursday, December 4 at 8 p.m. Eastern, from Grumman Studios in Bethpage, New York. Peter Pan Live! is now available on DVD and as a DVD+CD Soundtrack Gift Set, which includes “The Making of Peter Pan Live!,” a unique opportunity for fans to have an inside look at the creation of the musical event.

A 25-year veteran of the industry, Dittmar has been with Firehouse Productions for the last 14 years. During this time, Dittmar has had the benefit of working on several high-profile productions, including the MTV Video Music Awards, the Rock & Roll Hall of Fame Induction Ceremonies and the Concert of Valor, among others.

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 Matrix Used For Recording Much Anticipated New Faith No More Album

“The Matrix has been a great box for tracking.”

OAKLAND, CA – After a 17-year hiatus, seminal American band, Faith No More, are nearing completion of a new album. Bassist and songwriter Billy Gould is also producing the album and has used his SSL Matrix to streamline the recording process. Faith No More are cited by many artists as ground breakers and a key influence thanks to their distinctive sound, explosive energy and fusion of metal with a wide range of other stylistic influences. They have enjoyed huge commercial success, scooped numerous awards and are known for approaching recording and production as a part of their creative process. For this new album, the band members wanted the creative freedom of working in their own private rehearsal space ‘Estudios Koolarrow.’

Billy Gould with SSL Matrix“Matrix was a great way to get a lot of recording done within the small footprint needed to fit this space,” says Billy. The Matrix is Billy’s personal console which he has been using for other production projects, some of which can be found at the excellent Koolarrow Records web site. “Previously, I had been working in the box and having a real master control section and analogue channels have been a major step forward. The last album we (FNM) recorded, in 1997 (“Album of the Year”), was done in a full-service studio, on two-inch analogue tape, although we did utilize an early Pro Tools system at the time, which was a first for us. Back then the state of the business was totally different; as a musician, recording was a process that was usually overseen by producers and engineers in commercial facilities. Something like the Matrix allows us to be creative in our choice of recording environment. It sounds good and is manageable enough for an easy install and to get up and running.”

“The Matrix has been a great box for tracking,” continues Gould. “Simply doing things like setting up monitor levels happens very quickly. It’s great having real input channels, being able to use our own selection of outboard mic pre’s, blending mic channels using real faders and setting record channels with the touch of a button. Everything is done within the same console. I like this thing!”

The new Faith No More album is slated for a 2015 release. Koolarrow Records releases a steady stream of material from an eclectic mix of artists from around the world.

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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