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DPA Microphones Stars in Encore Performance during ‘Keyboards and Carols at Christmas’ Event


Southwestern Baptist Theological Seminary once again relies on DPA microphones for its holiday performance featuring 13 grand pianos and five soloists

DPA Microphones_Keyboards at ChristmasFORT WORTH, DECEMBER 10, 2014The School of Church Music at Southwestern Baptist Theological Seminary (SWBTS) is once again getting into the holiday spirit with DPA Microphones for its third annual ‘Keyboards and Carols at Christmas’ event. With 13 Steinway Grand Pianos, one organ and a choir of over 180 adults and children, student and professional musicians performed holiday songs for the packed house at the 3,500-seat venue. In addition to using a stereo pair of d:vote™ 4099 Instrument Microphones on each of the pianos, the school also utilized four wireless d:facto™ Vocal Microphones for the event’s soloists.

DPA mics were chosen for their clear, pristine sound as well as their ability to reproduce the natural beauty of both the Steinway pianos and the exceptional voices of the singers. With the addition of the large choir, this year’s event featured a significant change in the setup from previous Christmas performances. The stage featured three pianos and the organ on elevated platforms, with the additional 10 pianos on the main level of the stage, a 70-person children’s choir positioned on the steps in front of the instruments and a 115-member adult choir performed from the choir loft behind the pianos.

DPA Microphones_dvote_Keyboards at Christmas“The proven reliability of the DPA mics keeps us coming back to them each year,” explains William Schaefer, assistant director of musical productions for the School of Church Music at SWBTS. “It’s nice to have high-quality mics that are rugged enough to withstand use by students and yet also produce a clean, natural sound. The added benefit of using the small d:vote 4099 mics means that we can also keep the mics as invisible as possible, so people don’t notice that the music is being amplified. It’s also great that DPA has such a wonderful team, they’ve been a big help in putting our show together for the last two years now.”

For the majority of the program, all of the pianos played simultaneously, occasionally with two pianists per instrument. One of the main concerns for an event of this magnitude is that the artists must hear each other separately and without delay, which was accomplished with the DPA d:vote 4099s and d:facto mics. It wasn’t just the sound of the d:vote 4099s that drew the school back to DPA, but also its discreet size. Since the microphone was designed to be heard and not seen, the tiny capsule size enabled the staff to position each mic where they wanted it, without any visible signs. To accomplish this, the team ran the cables out of the back of the pianos, so the audience did not even know they were there. The magnetic piano mounts and goosenecks also meant that they could mount the mics on the brass and then reposition the mics to pick up the exact area of sound they wanted to highlight from the instrument.

DPA Microphones_dfacto_Keyboards at ChristmasAdditionally, the wireless d:facto Vocal mics for the lead soloists were used to provide a consistent and natural sound that would complement the pianos. “We used a pair of the d:factos for vocalists at last year’s event and we loved the way they responded in the room,” explains Schaefer. “The off-axis rejection and their entire sound characteristic are just perfect for what we’re doing. What’s more, there is almost no handling noise and the overall design of the mics is also great; the black capsule with the black microphone body is a very streamlined, slick look.”

The ‘Keyboards and Carols at Christmas’ event hosted Southwestern Baptist students and faculty, as well as children from Southwestern Music Academy who played two songs, Jingle Bells and Away in a Manger, which was arranged by one of the Academy’s music instructors. Among the notable SWBTS performers were Dr. Leo Day Dean of the school of church music, who performed a vocal solo of “O Holy Night” and Dr. Yoon-Mo Lim, who organized all of the musical details for the night and performed an organ Solo of “Toccata on Veni Emmanuel.” The event was run by Adam Covington, Matt Bennett, Cody Meuer, Cody Carroll, Mitchell Martin, Travis McNeely, Ryan Mulvaney, Brad Powers, Adam Tarleton, Jason Davis, Matt Vaden, Matt Miller and Neil Williams, who are all student employees of the school’s A/V Communications department and were key players in making sure the program operated effortlessly.

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 on DPA Microphones, please visit www.dpamicrophones.com.

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Sound Devices Announces Promotion of Ed Capp to Vice President of Sales

Company Veteran Brings High Level of Technical Expertise and Leadership to New Position

REEDSBURG, WI, DECEMBER 9, 2014 — Sound Devices, specialists in audio and video products, announced today that Ed Capp has been named Vice President of Sales. In his new role, Capp will oversee and manage the Sound Devices global sales team, further promoting the company’s entire range of products while continuing to strengthen the Sound Devices reseller and distributor network.Sound Devices-Ed_Capp more

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Professional Wireless Systems’ RF Communications Package Delivers Rock-Solid Results For Univision’s Latin Grammy Awards Broadcast

PWS_Helical AntennaLAS VEGAS, NV, DECEMBER 8, 2014 — When the 15th annual Latin GRAMMY Awards® were broadcast live on Univision from Las Vegas’ MGM Grand Garden Arena, Professional Wireless Systems (PWS) once again supported Univision’s system with a custom RF communications package for the network’s green carpet pre-show and star-studded main event.

The Latin GRAMMY Awards, presented by the Latin Academy of Recording Arts & Sciences, recognize outstanding achievement in the music industry. Unlike the regular Grammy® Awards, which primarily honors music produced in the United States, the Latin Grammys recognize music recorded in either Spanish or Portuguese, produced anywhere in the world.

During the festivities, the PWS team, led by lead RF coordinator James Stoffo, was onsite to monitor the RF spectrum and ensure that the show ran smoothly, with any potential interference issues quickly resolved. Brooks Schroeder was the lead coordinator on the green carpet, coordinating and managing all pre-show frequencies and working alongside Stoffo to ensure that there was no interference leading up to the main broadcast. In total for the evening, PWS coordinated and managed more than 200 frequencies.

PWS Preparing for the Latin GRAMMY AwardsThis marks the first year that the event was held at the MGM Grand, which presented some new challenges for the PWS team. “The MGM facility is not shielded, so we were being bombarded with a significant amount of television frequencies inside the venue, which we hadn’t experienced in prior years,” says Stoffo. “We also had to coordinate frequencies with KÀ, the neighboring Cirque de Soleil show, which in itself uses 100s of frequencies within the spectrum. It was a big undertaking but one that we were able to manage as a team through constant communication.”

For the pre-show green carpet activities, PWS supplied six Telex BTR-800s, as well as multiple Lectrosonic IFB systems and Shure UHF-Rs. For the live broadcast, PWS supplied four Telex BTR-800s, along with four PWS Domed Antennas and four PWS Helical Antennas. PWS also utilized a RAD UV-1G Enhanced Narrow Band™ wireless intercom system for the main event, which provided PWS with the ability to use frequencies that would not interfere with the more than 200 existing frequencies already in use for the live broadcast.

Aside managing the abundance of active wireless devices during this event, PWS was also faced with a challenge in terms of the layout of the hardware on stage. “The PWS antennas were all at concourse level, positioned behind video walls,” says Stoffo. “The video walls not only radiated RF interference but also blocked the antennas from picking up the microphones on stage by obstructing the clear line of sight. We were able to resolve the issue through the use of highly filtered wireless microphone systems and our helical antennas, as the circular motion of the RF field emitted by the helical antennas reduces the risk of drop-outs and guarantees the strongest possible signal.”

With PWS’ support, the Latin GRAMMY Awards’ live broadcast remained free from interference for a successful event. “Doing a live broadcast from the Las Vegas Strip always presents a unique set of challenges from a wireless coordination standpoint,” says Jim Van Winkle, general manager, PWS. “It was great to be able to work alongside the talented professionals at ATK Audiotek, which supplied the show’s PA and monitor systems, as well as the wonderful team at Univision, once again. With our experience and expertise, the services and equipment we provided helped to ensure that the show once again went off without any hitches.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.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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The Iconic Rainbow Room Officially Reopens with a PBS Primetime Special Featuring Michael Feinstein and DPA Microphones

A range of the company’s microphones used on national broadcast

Friday, August 22nd Taping of Michael Feinstein at the Rainbow Room, Airing  October 31st as part of PBS’ Arts Fall FestivalNEW YORK, DECEMBER 8, 2014 – Coinciding with the reopening of an iconic Manhattan venue, PBS recently broadcast a 60-minute primetime special, Michael Feinstein at The Rainbow Room, as part of its Fall Arts Festival programming. As a loyal DPA Microphones user, Feinstein’s long-time Production Manager and FOH Engineer Andy Brattain ensured that the performer’s microphone of choice was used for the taping, which included a variety show and a series of big band performances. Several DPA microphones were used for the production, including the d:facto™ Vocal, d:vote™ 4099 Instrument, d:dicate™ 4011 Cardioid and d:screet™ Miniature mics.

The PBS-special featured Michael Feinstein and a 17-piece big band, along with June Squibb, Christine Ebersole, Cheyenne Jackson, American Idol Season 11 runner up Jessica Sanchez and the noteworthy tap duo, the Manzari Brothers, all using DPA microphones. Working with the show’s esteemed producer Marc Cherry, DPA was chosen due to its wide variety of d:vote 4099 clip-on mics for the multitude of instruments in the band.

DPA ddicate 2011C_Michael Feinstein Rainbow Room“With this show, we knew we would only get one chance at this, mainly because of time and budgetary restrictions, both with the room and the band,” says Brattain. “The main goal for the microphones was to make sure that we got not only the best quality sound out of the performers, but also the most isolated sounds. The d:vote 4099’s ability to reject unwanted noise ensured that there wasn’t any bleed from the other mics and instruments in case something had to be re-mixed later. In addition, the d:dicate 4011’s proved to be the perfect choice to isolate the band as a whole and capture a perfect stereo mix that would later be blended with the spot miking of the 4099s.”

The piano was center stage within the Rainbow Room, with the band just off stage right. DPA helped to eliminate extra clutter on set, as the d:vote 4099’s mounting capability reduced the amount of mic stands and cables on stage. Since the mics were unobtrusive and out of the way, the musicians were happy as well.

DPA dvote 4099_Michael Feinstein Rainbow RoomIn addition to miking the instruments, deciding how to mic the Manzari Brothers presented an interesting challenge on set, as the team needed to amplify the sounds coming off their tap shoes. Each brother was outfitted with two d:screet 4061 microphones, one on each leg in order to capture the unique audio tones of their shoes, removing any SPL challenges for the audio team.

“We also used the d:screet 4061 as an audio solution for miking June during her comedy skit at a cabaret table,” adds Brattain. “Instead of using a handheld mic, we used a wig kit to hide the 4061 in her hair. As for Michael and the rest of the performers, they all used the wireless d:facto handheld microphone for their vocal performances and they sounded really great.”

Brattain credits DPA’s customer service for a seamless production. “Not only were we able to use DPA’s microphones for the entire production, but a representative came on set to assist with mic placement for each instrument, assuring that we got the best sound possible for both the live mix and the recording.”

Feinstein is a multi-platinum-selling, two-time Emmy and five-time Grammy® Award-nominated entertainer dubbed “The Ambassador of the Great American Songbook.” The Rainbow Room is an art deco-style restaurant and nightclub that in its heyday hosted the elite and influential including royalty and A-list celebrities. The Rainbow Room has officially reopened after being closed for nearly five years while it underwent a multi-million dollar renovation.

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. L500’s New Theatre ‘Home’ In Manchester

“The interface is so intuitive we’re confident new operators will pick it up quickly”

MANCHESTER, U.K. – The HOME organisation’s new performing and visual arts complex is set to open this winter. In the meantime, its recent production of Shakespeare’s Romeo and Juliet, was staged in Manchester’s historic Victorian swimming baths. This performance was also the maiden voyage for HOME’s new Solid State Logic Live. L500 console. Supplied by HD Pro Audio and chosen by technical director Jasper Gilbert and sound designer Paul Gregory, the L500 will be installed in HOME’s new facility for continued use.

Paul Gregory with SSL Live L500 at Manchester Victorian BathsHOME evolved from the Library Theatre Company, from which actors such as Anthony Hopkins, Patrick Stewart, Alan Rickman and Martin Jarvis have gone on to fame. When Manchester’s Central Library was renovated in 2010, the company lost its intimate 312-seat basement venue of 58 years, and has since presented in a variety of unorthodox spaces, such as the productions at the Victorian baths. For Romeo and Juliet, HOME employed a promenade-style production that moved actors and patrons through three large swimming pools. The main bulk of the action happened in the empty ‘female’ pool, with the finals scenes on the cross structure in the filled ‘Gala’ pool, where Juliet’s body floated. Retold in a contemporary Eastern European criminal underworld, this production included Balkan choirs and Gypsy music by Macedonian composer Nikola Kodjabashia. With a production like Romeo and Juliet in a Victorian structure with brickwork, glass and tiles, the acoustic problems were immense.

As Gregory explains, sound design is crucial in a situation such as this. That’s where the features of the SSL Live were really appealing. “For Romeo and Juliet, we were very reliant on the console operator getting feedback from the stage management team roving with the performance,” he comments. “Much is pre-programmed and level adjustments must get radioed to the operator. In addition to 16 channels of radio mics, there were 16 inputs from a live band plus a dozen channels of playback from Figure 53’s QLab on a Mac that was triggered from the L500. It really was a one button show. The desk controlled the show and we simply had a series of cues that we sequenced through.”

The Romeo and Juliet audio team distributed about 200 inexpensive BOSE-like speakers and used individual delays to overcome the Baths’ long reverb times. “The idea was to pick up actors using head mics and bring it as close to the audience as we could, which we found incredibly easy to do with the SSL desk,” explains Gilbert, a veteran of mobile tours and site-specific productions. “This production is also staged in such a manner that one character never actually appears ‘on stage. So, in addition to the distributed speakers, there were also traditional PA-like speakers for the actor’s disembodied voice, as well as larger-scale speakers with subwoofers for the music.”

Along with helping to make a complex production more streamlined, Gregory, who has been with the company for 17 years, also found the sound quality of the L500 to be an asset. “Even with complicated mixes, the sound doesn’t become cluttered,” he says. “There’s a lot of headroom, the mix busses are very broad and the console is incredibly clean and transparent-sounding.” Gregory adds “Another thing that attracted me to the desk was its versatility and flexibility. You can essentially build a desk for whatever application you need, whatever project you’re doing; it’s invaluable.”

“The interface is so intuitive we’re confident new operators will be able to pick it up quickly,” he continues. “It’s so easy to get your head around. We’ll be adding staff members for HOME’s new venue and it’s reassuring to know the SSL will be a quick catch on for them, that even though it’s an incredibly complex desk.”

HOME’s ambitious new complex rejuvenates of Manchester’s First Street area and will be one of the first theatre venues in the U.K. to have an L500 permanently installed. Besides its 500-seat main theatre, it also houses a 150-seat flexible studio space, digital production and broadcast facilities, a 5,300 square-foot gallery space, five cinema screens on the third floor, as well as a café bar and restaurants.

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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Downtown Studios Achieves Ultimate Flexibility with SSL Duality and AWS Consoles

“Our clients have been blown away by the remarkable clarity and depth provided by the SSLs”

JOHANNESBURG – The legendary Downtown Studios, a world-class facility in Johannesburg, has recently undergone a major upgrade, incorporating Solid State Logic Duality and AWS consoles. Throughout its 36-year history, Downtown has hosted many of the industry’s leading recording artists including U2, Simon Lebon from Duran Duran, Manfred Mann and Mick Hucknell, amongst many others. The arrival of the new SSL consoles has allowed the studio to provide the highest levels of recording and mixing services to both South African and international artists.

Daryll Heillbrun with SSL Duality at Downtown StudiosRenamed in 1992, Downtown Studios’ story dates back to 1978 when the facility was built under the name RPM Studios. Today, the studio is an integral part of the Downtown Music Hub an entity established by the South African Department of Arts and Culture and run under the leadership of its chairperson Don Laka, a legendary South African Musician and its CEO, Chola Makgamathe. The Downtown Music Hub also provides rehearsal spaces and access to a music museum which showcases the history of South African music. Being longtime SSL users, when time came for Downtown to select two new consoles, SSL, once again, came out on top.

“The decision to upgrade Studios 1 and 3 was fuelled by the board’s desire to stand out as the number one state-of-the-art recording facility in Africa,” says Darryl Heilbrunn, General Manager of Downtown Studios. “While we considered other options, SSL’s international legacy and reputation lead us to Duality and AWS.”

The Duality’s 72 channels of dual SuperAnalogueTM and VHD microphone preamps in Studio 1 give Downtown the flexibility to record groups of any size or genre. While the more intimate Studio 3, largely used for electronic music production, takes advantage of AWS as a hybrid console/controller, catering to clients with a variety of styles of workflow.

“SSL has allowed us to fulfill our musical mandate in a big way,” continues Heilbrunn. “The Duality studio appeals to international recording artists; and the sonic consistency between the two consoles enables us to achieve the same results for electronic music on the AWS. Additionally, the sonic quality of both consoles is superb, crisp and warm. Our clients have been blown away by the remarkable clarity and depth provided by the SSLs.”

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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Becoming California Recorded with DPA Microphones

Sound Mixer for the documentary uses company’s d:mension™ 5100 Mobile Surround Microphone to capture the beautiful audio of the state’s national parks

DPA Microphones_dmension 5100_Becoming California2SACRAMENTO, CA, DECEMBER 2, 2014DPA Microphones played a prominent role in the making of Becoming California, a two-hour documentary sponsored by The California Environmental Legacy Project that explores the history and future of the state’s national parks. Narrated by award-winning actress Jane Fonda, and set to air on PBS this fall, the film features 15-minute segments of beautiful videography from each park. With its ability to capture everything from the birds in the sky to the elephant seals in the ocean, the DPA d:mension™ 5100 Mobile Surround Microphone proved to be the perfect microphone solution for these scenes.

DPA Microphones_dmension 5100_Tim OMalleyChosen by Production Sound Mixer Timothy O’Malley, the d:mension 5100 was an integral part of the documentary. “I used the DPA d:mension 5100 specifically for this film because there wasn’t a lot of dialogue to be captured,” he explains. “Instead, I captured the 5.1 surround sound effect of the environment, such as the wind hitting the trees, elephant seals snorting on the beach or birds calling to their mates. The wind was especially important because there’s a lot of it out there. The d:mension 5100 was the only solution. You can’t compare it to other products on the market; it’s just that good.”

In addition to the documentary, each park will feature its individual 15-minute segment in its welcome center, many of which are newly renovated. With more than 30 parks throughout the state, the entire project took more than a year to capture. On recommendation from his film professor at Humboldt State University, O’Malley was chosen for the documentary before his official college graduation. It was this same instructor who introduced O’Malley to the DPA d:mension 5100.

“My film professor taught me everything I know about sound – how to record dialogue, record orchestral arrangements or hair metal bands, and scoring for film,” says O’Malley, who graduated with a film degree in May 2011. “He also showed me all of the different microphones and mic patterns that I could use for these different recording styles. In theory, the d:mension 5100 shouldn’t work because the mics are so close together, but it is perfectly engineered with these little capsules and plastic spacers, which make it sound great. The d:mension 5100, along with my Sound Devices 788T recorder, were my first two equipment purchases after college.”DPA Microphones_dmension 5100_Becoming California

Full of stunning cinematography, astonishing aerials, 3D animations and an original score led by Grammy Award-winning musician Pat Metheny, the goal of Becoming California is to reconcile human nature with ecological nature on America’s West Coast. It explores how past, present and future relationships will impact California’s environment and whether nature and civilization can co-exist.

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 Custom Audio Package Resonates With Audiences at U.S. Premiere of New Musical, The Hunchback Of Notre Dame

1-Ciara Renée (center) & the cast of La Jolla Playhouse's US premiere production of THE HUNCHBACK OF NOTRE DAME - Photo by Kevin BerneNEW YORK, NY, DECEMBER 2, 2014 — When five-time Tony® and Laurence Olivier winning/nominated sound designer Gareth Owen was presented with the task of ringing up a spectacular and captivating sonic landscape for the U.S. premiere of Disney’s The Hunchback of Notre Dame at La Jolla Playhouse, he turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, for his audio equipment needs.

Based on the Victor Hugo novel and featuring the Oscar-nominated score from the 1996 Disney classic film, The Hunchback of Notre Dame is the only stage collaboration from two masters of the American musical theatre, composer Alan Menken and lyricist Stephen Schwartz. In this brand new production, an emotionally rich score highlights the music’s orchestral power in an intimate retelling of the famous love story of the bell-ringer Quasimodo, the gypsy Esmeralda and the gallant Captain Phoebus.

2-Michael Arden (center) & the cast of La Jolla Playhouse's US premiere production of THE HUNCHBACK OF NOTRE DAME-Photo by Kevin Berne“My primary objective in designing the sound is always making sure that the audience can hear all of the words to the story,” says Owen. “It seems obvious, but I cannot tell you the number of shows that I see and can’t clearly hear what the performers are saying. Masque Sound was able to provide me with the equipment I was looking for to attain this sonic clarity and, as a result, allowed us to achieve our goal.”

Another goal of Owen’s was to try to make the show sound as exciting as possible, from a musical standpoint. “I will often go to a show and see a massive orchestra in the pit, but they might as well not be there,” he says. “You can hardly hear them. They are tucked away and the audience is not getting any excitement from them. I consider my sound designs very cinematic in nature and want them to be exciting and enveloping. Once I’ve made sure the audience can hear all the words, I make a concerted effort to try and make the music as dynamic and involving as possible, as is the case with The Hunchback of Notre Dame.”

In order to bring that level of excitement to the design, Owen finds close collaboration with the show’s music department and cast to be essential. “To a sound designer, the music department can be your best ally,” adds Owen. “I like to work with the various musical department heads to learn what it is that they want to hear and do my best to deliver it. Additionally, I find that if I can give the cast exactly what they need in order to perform to the best of their abilities, and give an energetic, accurate performance, the end result is a great sounding show, even if technically tricky to accomplish.”

3-Patrick Page (center) and the cast of La Jolla Playhouse's US premiere production of THE HUNCHBACK OF NOTRE DAME-Photo by Kevin BerneOne of Owen’s biggest challenges in designing the sound for The Hunchback of Notre Dame was found in the acoustics of La Jolla Playhouse. “The one tricky thing about the theatre is that it has very hard walls with lots of reflective surfaces,” says Owen. “With all of that sound bouncing around, speaker choice was critical and that’s where the audiotechnik d&b speaker system that Masque Sound supplied really came into its own. I’ve been a huge advocate of d&b for years and find that, when it comes to constant directivity of wave forms and frequency response, d&b speakers are so much more cohesive and accurate. They were a huge help in cutting down on reflections and induced noise from the walls.”

The large audiotechnik d&b speaker system that Masque Sound provided included 24 T-Series boxes for stage left and stage right, a T-Series center cluster, as well as Q-Series loudspeakers and B2 subwoofers. The front fills featured E5 loudspeakers, while the out fills were E8 loudspeakers, and E0 loudspeakers comprised the surround sound system. On stage, there was a mixture of E3s, E4s and E5 loudspeakers. Owen chose an Avid VENUE Profile System for the front of house console and utilized another for his monitors. In addition, Owen relied on several Yamaha 01V96 digital mixers to sub-mix various aspects of the show, including the 32-piece choir that is present on stage for the duration of the show.

“Gareth’s design for this musical was impeccable,” says Scott Kalata of Masque Sound. “Even at the show’s first preview, which I attended, the clarity of the dialog along with the show’s dynamic range perfectly matched what I was seeing onstage.”

In addition, as part of its custom audio equipment package, Masque Sound also provided an extensive microphone package that included DPA, Shure and Audix microphones, as well as 36 channels of wireless featuring Sennheiser EM 3532s and SK 5212 belt packs.

“Masque Sound delivered, supplying everything needed to create this soundscape,” concludes Owen. “Scott Kalata really looked after us and Gary Stocker was once again amazing to work with. He was onsite to solve any problems and ensured that everything was working properly. This was a great collaboration, and my team, including Joanna Lynne Staub, associate sound designer; Dave Horowitz, head of sound; and Zoe Blackford, assistant sound designer, all did a wonderful job and worked tirelessly to ensure the show’s success. I have a philosophy that I like to stand in the theatre on opening night, look at the sound system and know that there is nothing in the theatre that doesn’t need to be there. I consider that a sense of professional pride, and I am proud to say that held true on this production.”

The Hunchback of Notre Dame is scheduled to run through Sunday, December 14 at La Jolla Playhouse’s Mandell Weiss Theatre. The next stop for the production is New Jersey, where it will play at the Paper Mill Playhouse in March 2015. For more information, please visit www.lajollaplayhouse.org.

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 led 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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Professional Wireless Systems Says Adios to Signal Interference at NBA Global Games Mexico City 2014

MEXICO CITY, NOVEMBER 24, 2014 — As the Houston Rockets and Minnesota Timberwolves tipped off at the Mexico City Arena on November 12, as part of NBA Global Games Mexico City 2014, Professional Wireless Systems (PWS) was courtside to manage all wireless frequencies throughout the game.

PWS’s overall goal was to provide frequency coordination for all wireless communications, enabling multiple wireless frequencies to be used in conjunction with one another without interference. PWS’ presence reaffirmed that the NBA would have clear communications throughout the event, without worry of dropped signals or unwanted interference during the live show. In all, the PWS team coordinated approximately 110 frequencies.

Two challenges that the PWS team faced in managing frequencies while on-site centered on combating potential signal interference from several active TVBDs in the area and successfully coordinating frequencies with the influx of international media. “There were many more frequencies in use in the area than initially anticipated, which meant that our team had to be prepared and on-guard for unexpected challenges and potential interference during the game,” says John Garrido, PWS’ main RF coordinator for the event.

PWS utilized a selection of equipment, including multiple Telex BTR-800s with wireless intercom beltpacks for extended coverage and range, the Shure UHF-R wireless system, and an assortment of Shure handheld microphones and Lectrosonics IFB kits. In addition, PWS set up a main intercom master station for the game’s courtside lead director, which enabled her to utilize multiple channels at one time and effectively coordinate the game entertainment with all parties involved. For this event, PWS also supplied all the hardware for the hard-wired communications using a Telex RTS-BP325 for all technical positions, which amounted to 25 drops.

“The intercoms proved essential during the event and kept the production running smoothly, allowing crew members to seamlessly coordinate the timing of all talent acts,” adds Garrido. “At one point, one of the team mascots acted out physically eating the game floor host! It seems a crazy act in and of itself, but it is one that was only possible because she was working with wireless equipment.”

In addition, PWS used several of its own proprietary equipment. This includes two Domed Helical Antenna kits, one PWS GX-4 combiner and one PWS DB-IC Custom Intercom Antenna Distribution System.

“We have enjoyed a long relationship with the NBA and were very excited to be a part of the NBA’s Global Games initiative in Mexico City,” says Jim Van Winkle, general manager, PWS. “It is difficult to know what to expect when working an event outside of the United States, especially a live one, but our extensive experience and expert team once again did a great job and the broadcast went off without any issues.”

Along with the on-court action, NBA Global Games 2014-15 will feature a variety of off-the-court activities, including NBA Cares community programs and interactive fan events in each city. The games will also be supported by a variety of marketing and merchandising partners, and fans will be able to receive real-time updates through the NBA Game Time App, on NBA.com, and NBA social media channels, as well as watch globally on television and digital media, including NBA LEAGUE PASS International.

For more information about Professional Wireless Systems, visit http://www.professionalwireless.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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DENVER, NOVEMBER 24, 2014 — An Outline GTO C-12-based line source sound system, recently installed in the Summit Music Hall by DSI Event Group (formerly Dowlen Sound), rocks the house for such high-power musical groups as Anberlin, Andrew McMahon and GWAR, to name a few. The 1,100-seat venue, purchased by Soda Jerk Presents in 2010, needed the sonic adrenaline provided by the Outline GTO C-12 system to bring it to the next level. While this system could easily handle a larger outdoor audience of several thousand attendees, the GTO C-12 fit the bill perfectly for this venue, providing the clarity and power necessary for the performances without exceeding the flying-rig weight limits of the building’s ceiling. Outline C-12 at Summit Music Hall small more

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