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DPA Microphones – How Do You Wear Yours?

Company launches d:screet™ Necklace Microphone competition;
Top 100 inventive applications for the mic will win

ALLEROED, DENMARK, SEPTEMBER 2, 2014 – As part of an exciting competition beginning today, DPA Microphones is giving 100 lucky people the chance to win a d:screet™ Necklace Microphone, which was launched earlier this year. The competition, running on DPA’s Facebook page and Web site, asks contestants to come up with an ingenious idea for how and where to use the d:screet Necklace Microphone.

Five microphones will be awarded to the five most “liked” submissions on Facebook, while the remaining 95 will be given to the people who, in DPA’s opinion, come up with the best, most creative and most original ideas. An example of one of the ideas can be found at this YouTube video, created by DPA Microphones: http://bit.ly/1ll1KBQ.

By housing a legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, DPA has created a microphone that anyone can use. There is no need to worry about attaching it to clothing because the only fitting skill this microphone requires is the ability to do up a necklace catch. This unique plug-and-play microphone solution from DPA is ideally suited to situations where mounting and consistent audio output are the primary requirements.

“We are extremely excited about this product and want to share our enthusiasm with the rest of the world,” says DPA Microphones CEO Christian Poulsen. “These new microphones clearly meet a unique production need because they can be mounted and removed quickly several times by untrained talent without a sound expert nearby. We are well aware that they are perfect for reality show settings as they have already been used for the Danish adaptation of Big Brother. But, we think there are plenty of other situations where their simplicity, audio quality and size make them ideal. We hope that people entering our competition will use their imagination to come up with some really inventive ideas to surprise and amuse us.”

DPA’s competition also has a second phase for those who win one of the initial 100 d:screet Necklace Microphones. Once a winner receives their microphone, they can enter the second phase by putting their idea in motion, documenting it and posting a picture or video to the company’s Facebook page. Two grand prize winners will receive a collection of DPA Microphones of their choosing, up to a value of $1,300 USD (list price).

Entry to this competition is via the DPA Web site or Facebook page. All entries must be submitted by September 28, 2014. The 100 initial winners will be announced on October 1, 2014. Contestants can enter multiple ideas for an opportunity to win multiple Necklace Microphones, but only one microphone will be awarded per idea.

Entry to phase two of the competition will open after October 1, with the two ultimate winners announced on November 10, 2014. The first grand prize will go to the most liked picture or video on Facebook, while the second will go to the application idea that DPA perceives to be the best and most well documented.

To enter and for more information please follow these links:
Website: www.dpamicrophones.com/100freemics
Facebook: www.facebook.com/dpamicrophones

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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Professional Wireless Systems Keeps the Music Playing for Telemundo’s Premios Tu Mundo

RF Equipment and On-Site Technical Expertise Ensures Exceptional Coverage for Latin Pop Culture Awards

MIAMI, SEPTEMBER 4, 2014 – When Telemundo’s third annual Premios Tu Mundo awards show took to the stage at the American Airlines Arena in Miami, Professional Wireless Systems (PWS) was on-hand to support the star-studded spectacular, providing RF equipment and on-site expertise for the red carpet, morning show and live broadcast of the pop culture awards program.

Premios Tu Mundo is an awards show that celebrates Latin pop culture and combines the power of television, web, mobile and social media platforms to give fans the final say in what’s hot in everything that moves and inspires them, including novelas, music, fashion, movies and sports. The red carpet pre-show featured celebrities such as Yandel, Juanes and David Bisbal, to name a few.

“Since the show’s inception three years ago, the PWS team has been providing a range of wireless equipment along with its expert frequency coordination services, and we are excited to be back once again,” says Jim Van Winkle, general manager of PWS. “Live broadcasts always present their own unique set of challenges, but, we are incredibly familiar with the American Airlines Arena and the Miami RF market, which offers us a significant advantage, as we can anticipate the general causes for concern during the show and remain on-guard and ready to solve any issues that may arise within the spectrum.”

During the Premios Tu Mundo festivities, PWS supplied the network with microphones, IFBs and wireless communications for the red carpet event and Telemundo’s morning show, Un Nuevo Día, which built up excitement for the show by broadcasting enticing promotional segments in the days leading up to the awards. The PWS team, including Evan Hall and Frankie Castro, offered their onsite support to Telemundo’s morning show. PWS also worked closely with Brooks Schroeder, the main RF coordinator during the event, and Chad Meise, along with John Garrido, handled frequency coordination for the red carpet.

For the live broadcast itself, PWS provided Shure Axient systems, Shure PSM 1000s, Shure UHFRs, Sennheiser 5200 Is, Telex BTR 800 wireless intercoms and IFBs, as well as a range of PWS’ Domed and Helical Antennas. PWS worked with Brooks Schroeder, who handled frequency coordination for the show, in addition to Acoutech, which provided the show with PA and monitor systems, microphones and in-ear monitors.

Throughout the duration of the live broadcast, PWS worked with Schroeder to monitor the event, continuously searching for unregistered wireless devices that posed the potential of frequency interference. “It is important to stay on top of who is using the spectrum and to ensure that everyone is in compliance so that there are no unexpected signal issues, especially since this is a live broadcast,” adds Van Winkle. “With our experience and expertise, the services we provide, along with the gear we select, allow us to find, isolate and minimize any potential problems that may arise, ensuring a smooth broadcast for the awards show’s multitude of listeners tuning in from their homes.”

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.

SSL C10 HD Lays the Foreign Language Smackdown for WWE

“Ease-of-use for the operator and reliability for engineering were two strong reasons to choose the SSL C10”

STAMFORD, CT – World Wrestling Entertainment, Inc. (WWE) has upgraded its post production facilities with a Solid State Logic C10 HD Compact Broadcast Console in Audio 5 studio to support foreign language broadcasts. WWE programs, including Monday Night RAW, SmackDown and WWE Total Divas are delivered to 650 million homes in over 150 countries and translated into 30 languages. WWE live and televised entertainment encompasses terrestrial, cable and satellite broadcast and Pay-Per-View, along with the recently-launched over-the-top (OTT) WWE Network. The C10 HD is used to simulcast RAW in Spanish live in the U.S. and to Spanish-speaking countries like Puerto Rico and Mexico. It is also used for multilingual voice to picture (ADR) post-production of all WWE shows for localized programming in Brazil, China (in Mandarin), Japan and Russia.

“While our five-room facility is primarily used for post production, we need to broadcast the Spanish language version of RAW live from our Audio 5 room,” says Jason Miller, Senior Broadcast Engineer for WWE. “Being able to handle both the post-production and live broadcast roles was extremely important in our choice of a console. SSL is just rock-solid reliable and the topography is very straightforward and easy for an operator to use. We had an onsite demo of several competitor consoles, but, while they had some bells and whistles, they always took too many button presses to get to where the operator needed to go. Beyond the great sound, ease-of-use for the operator and reliability for engineering were two strong reasons for us to choose the SSL C10.”

WWE produces nearly 320 events over 52 weeks each year, so production efficiency is the rule for the busy studio complex. Audio 5, the studio control room used to accomplish the translations has a dedicated booth for voice-over and commentary work. When used for the live Monday Night RAW broadcast, Audio 5 takes its feed directly from the OB truck at the event and uses the C10 to complete the live Spanish version. Both the English and Spanish versions are simulcast on USA Network in the U.S. and Puerto Rico, while TelaVisa broadcasts the show in Spanish on tape delay.

“We have two Spanish speaking announcers working the RAW show here at the studio,” continues Miller. “One of the immediate benefits of the console was the sound, which ensures that our Spanish simulcast has the same quality audio as our main broadcast. In fact, Jim Widman, WWE’s Audio Engineer who handles 95 percent of the workload in Audio 5, has been with the company for years and he was just over the moon with the functionality and sound of the SSL. Additionally, Chris Argento, who is also VP and head of post audio and the final word in selecting the console, was equally impressed. In fact, all of the operators in the complex just rave about the sound quality of the C10.”

The presets on the C10 also help to streamline workflow, which requires that a variety of engineers and languages are being supported from the same space. “Everything about the C10 makes our job easier and better than before,” adds Widman. “We have many operators running the console to accomplish our Japanese, Chinese, Russian and Spanish versions and there are many presets being used for different situations, such as an ISDN session, ADR or live production, as well as for voice over and commentary. With the push of a button, we can instantly recall a setup and start working. Additionally, we can also expand our functions through the production assistant software packages that are available on the console. Essentially, the C10 accomplishes everything we need it to do very effectively.”

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.

Video Devices Product Line Steps into the Spotlight at IBC for the First Time

New Brand Identity from Sound Devices Reinforces Video Product Line

AMSTERDAM, AUGUST 27, 2014 – Video Devices, mission-critical video products by Sound Devices, will make its IBC debut at this year’s exhibition (Hall 8, Stand B59). Since Sound Devices introduced its first video products, the camera-mounted PIX 240i and PIX 220i, the company has expanded on its success with a range of rack-mounted, network-connected video recorders. These product additions, including the new PIX 270i and PIX 250i, have opened new markets and product categories for the company.

“While production sound equipment is our foundation, and we continue to develop new audio gear, video production has become increasingly important for us,” says Matt Anderson, President of Sound Devices. “We are excited to highlight this new brand to the international broadcast community, in addition to our range of audio gear, at IBC 2014.”

The network-connected PIX 270i and PIX 250i video decks offer significant advantages for production workflows, providing time-saving tapeless, file-based recording and playback with the ability to remotely control, set up and transfer high-quality files over Ethernet. The units record edit-ready Apple ProRes or Avid DNxHD files and allow simultaneous multiple-drive recording, giving production staff peace of mind with their rock-solid redundancy and backup capabilities (four drives for PIX 270i and two drives for 250i). Their extensive audio capabilities, including 64 channels of both MADI audio and Dante audio-over-Ethernet for PIX 270i (a world’s first for a video deck) and the PIX 250i’s 16 tracks of audio, make each unit a comprehensive, cost-effective tool for high-performance video capture and presentation.

Over the next several months, the company will brand all video-related products as Video Devices, including the PIX 240i, PIX 250i, and PIX 270i recorders. All future video products will also be branded Video Devices. This is a key step in a focused strategy to make Video Devices a dominant force in the video production and video integration markets.

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. 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. Founded in 1998, the company designs and manufactures both brands from its Reedsburg, Wisconsin headquarters, with additional offices in Madison, WI. For more information, visit the Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

DPA Microphones Expands Sales Force

U.S. office welcomes three new Area Sales Managers; promotes new General Manager

LONGMONT, CO, AUGUST 25, 2014 – DPA Inc., the U.S. branch of DPA Microphones, is pleased to announce the appointment of Christopher Spahr, Pedro Rocha and Leonardo Romero as Area Sales Managers for the Eastern U.S., Western U.S. and Southern U.S./Latin America, respectively. The company has also promoted Shan Siebert to General Manager of the Longmont, Colorado-based office. After a year of unprecedented growth for the U.S. operations, these latest assignments signify the company’s continued commitment to its customers in the region.

“This announcement comes at a very exciting time for DPA Microphones’ U.S. operations,” says Eric Mayer, President of DPA, Inc. “Not only does this serve as an example of how our brand recognition has expanded, but it also means that we’ll be able to further grow our fan base throughout the Americas. In addition, these appointments will allow me to perform my day-to-day strategy, sales and marketing responsibilities more effectively, giving us the opportunity for even greater success. Welcome aboard, Pedro, Leonardo and Chris, and congratulations Shan!”

Fluent in English, Spanish and Portuguese, Leonardo Romero has more than 20 years experience in the U.S., Latin American and Middle Eastern markets. In addition to joining DPA, Inc. as Area Sales Manager for Southern U.S., he will also oversee DPA Microphones’ distributors in Canada and Latin America. He comes to the company from Teldyne Reson, manufacturer of high-tech sonar and hydrophone devices, where he served as Latin America Sales Director. With a bachelor’s degree in economics from the University of California, Irvine, Romero has held sales positions for a variety of companies across the oil, printing and software markets, including Lub-Line Corporation; OneVision Software, AG; Esko-Graphics; Budde International, Inc. and Newgen Systems. He will build on these experiences to help with DPA’s presence in the HOW, theme park and cruise ship markets.

With a bachelor’s degree in business administration from Barry University and a recording arts associate’s degree from Full Sail University, Christopher Spahr’s 20-year career spans the music, recording arts and pro sound industries. He comes to DPA Microphones as Area Sales Manager for Eastern U.S. from RTW, where he oversaw U.S. sales and operations. Prior to that, he spent seven years as a Market Development Manager and certified U.S. RF Expert for Sennheiser, in both the installed sound and professional channels. He has also served as Staff Engineer at Criteria Studios in Miami, Florida and performed live sound work for various concerts, corporate functions and theater applications. These experiences make Philadelphia-based Spahr an excellent candidate to grow DPA’s reach on the East Coast and in the broadcast, theater and music markets.

A former Film Sound Instructor with The Los Angeles Film School, Pedro Rocha joins DPA Microphones as Area Sales Manager for Western U.S. In addition to his bachelor’s degree in electronics and telecommunications engineering from the Santo Domingo Institute of Technology, Rocha also earned a certificate degree in audio engineering from the Musician’s Institute and attended Full Sail University’s online entertainment business master’s program. Prior to his teaching position, Rocha served as an Avid Pro Tools® Marketing Specialist and as a pro audio and musical instrument Sales Representative for a variety of retailers, which will serve him well for his current position. In addition to his responsibilities of West Coast sales, Rocha will also be tasked with overseeing growth in the film and music industries.

Building on his five-year tenure with the company, Shan Siebert has been promoted to General Manager from his role as Service Manager, which he has held since 2010. In this new position, Siebert will oversee the day-to-day operations of the U.S. office, including distribution, technical assistance and loan facilitation. Prior to joining DPA Microphones, Shan served as a Radio Installer in the United States Army for four years, learning to solder and repair electrical equipment, and later earned a pastry degree that led to his own dessert company, where he learned the intricacies of business management. This unique background gives Siebert the perfect combination of trade and financial experience to manage and oversee DPA’s U.S. office.

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 Launches Online Store on Company Website

Customers Can Now Purchase Selected RTW Products Directly from Relaunched Corporate Website

COLOGNE, GERMANY, AUGUST 25, 2014 – RTW, the market leader in visual audio meters and monitoring devices, is pleased to announce the launch of its new online store, operated by asknet, where customers can purchase a selection of RTW products directly from the company’s website. Now, by clicking the “Shop” icon on the recently relaunched RTW.com homepage, customers can buy a range of RTW metering and loudness tools.

With so much technology now available for download from the Web, RTW saw an opportunity to serve its customers even more promptly and efficiently. It chose asknet, a major worldwide provider of e-commerce solutions, to create and power the store because it enables RTW to sell its products in 26 different languages and more than 30 currencies. This allows the company to reach the widest customer base as possible. Among the products available to purchase through the online portal are models from the company’s smart line of specialized meters, the TM3 Smart and TM3-3G Smart and the recently released Masterclass Plugins Loudness Tools software, with more units being added later this year.

“At RTW, we strive to make exceptional metering products accessible to a wide range of customers, from traditional broadcasters and sound technicians to musicians and music producers,” says Andreas Tweitmann, managing director, RTW. “As with our development of the Masterclass Plugins Loudness Tools earlier this year, the launch of our new online store makes it easier for RTW customers around the world to take advantage of world-class monitoring quickly and easily. It demonstrates yet again, RTW’s commitment not just to engineering great products, but also to exceptional customer service.”

The store operates similarly to most conventional online stores, making it familiar and intuitive for users. Customers can view and select items of interest, read product details and put them in a shopping cart. As the shopping cart is displayed at the top right of the page, customers can easily view the products they have selected.

Another special feature of the successful integration of RTW’s and asknet’s system is the web price service, which ensures that data exchanged between the asknet shop database and the RTW website is updated so that store prices in the product description are always displayed correctly in all currencies on the RTW website as well.

If there are different prices in the shop than what appears on the main portion of the RTW website, it could confuse potential customers and most likely cause them to cancel the purchase. As the eCommerce specialist pays attention to precisely these subtle details, asknet’s online stores attain above-average conversion rates.

The online store’s launch coincides with RTW’s unveiling of its revamped website and updated url, www.rtw.com, which helps customers find the company website more easily.

About asknet:
Asknet, a leading global provider for customized e-commerce solutions allows merchants to sell into more than 190 countries around the globe. asknet’s e-commerce gateway exceeds market standards for software and digital media distribution. The company develops and maintains portals for software distribution and supplies 80% of all German universities with software products. asknet acts as a large account reseller for Adobe and Microsoft in the Academic Market. asknet offers students a wide range of software downloads for personal use through its leading Internet platform studyhouse.de. asknet’s customers include numerous providers of specialty software and licensing products including ABBYY, CyberLink, F-Secure, HBO, Nero, NetObjects, Norman, Panda Security and Steinberg Media Technologies. asknet was founded in 1995 as a spin-off of the Karlsruhe Institute of Technology (KIT, formerly the University of Karlsruhe). In 2013 the company’s transaction revenues amounted to around 96 million euros. For more information, visit www.asknet.com.

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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DPA Microphones Was The Impresario Of Aspen Opera Theater Center

Collection of company’s mics were on hand for recording at Wheeler Opera House during the Aspen Music Festival and School

ASPEN, CO, AUGUST 19, 2014 – Every year, professional and aspiring classical musicians and technical personnel from around the world head to the mountains of Colorado for an eight-week summer intensive retreat at the Aspen Music Festival and School. As the country’s premier classical music program, the festival presents more than 300 performances and music education events, including the Aspen Opera Theater Center (AOTC) program at the historic Wheeler Opera House, where DPA Microphones had its chance to shine.

The AOTC relied on the d:dicate™ 4006C Omnidirectional, 4011A Cardioid and 4015C Wide Cardioid Microphones, as well as the d:vote™ 4099 Instrument Microphone 10-piece Classic Touring Kit for their pristine recording capabilities. Supplied by DPA, Inc. — the company’s U.S. branch, these mics were used primarily to record and broadcast AOTC’s Saturday morning opera master classes as well as its fully-staged productions of Tchaikovsky’s Eugene Onegin and Bizet’s Carmen.

“We were looking for a clean and accurate sound,” explains Scott Burgess, head audio engineer for the Aspen Music Festival and School. “The DPA mics are spotless and precise, and could handle the dynamic range of an operatic performance.”

Since the AOTC is a training program for professional singers, the music was not amplified for the live audience. However, Burgess still needed to ensure that the broadcast audiences, recording listeners and guests in the green rooms all had the same audio experience as the live attendees. He selected the d:dicate 4006s to pick up the vocals from across the front of the stage, a pair of d:dicate 4015s arranged for the main orchestra, a pair of d:dicate 4011s in the wind section and the d:vote 4099s to accent the orchestra’s string section. This guaranteed a pure sound for all recordings and radio broadcasts, including those aired on the local NPR station.

“Another big appeal of the d:dicates and the d:votes was their small size,” adds Burgess. “We could put them where we wanted without having visual distractions, as we needed to stay out of the way of the performances that took place.”

Burgess also arranged d:votes inside the piano to feed sound to the students during the master classes. “The flexibility and sound of the d:votes proved invaluable for the Saturday classes, especially since the piano was constantly being moved in and out of the pit,” he continues. “DPA’s unique magnetic clip design saved us a lot of time as the mics can easily be placed in and out of the piano.”

In addition to the traditional uses, Burgess also called on his d:dicate 4011s to amplify the percussion section for the July performances of Lowell Liebermann’s The Picture of Dorian Gray into the theater through a pair of powered speakers. “We weren’t able to record Dorian Gray, for contractual reasons, but we still needed mics during these performances,” he explains. “Since the show had an especially large orchestra, we were unable to fit the percussion in the theater. Instead, they had to perform from a side room where we set up an ORTF pair of DPA 4011s, which allowed us to amplify the sound of the percussion back into the theater using a standard PA speaker system. It was an astoundingly convincing method as audiences could scarcely tell that the percussionists were not in the theater. The conductor was happy with it and it worked really well for everyone.”

Though the AOTC had not used the newer DPA mics before, it was essential to Burgess, who started with the festival in 2011, to be able to hit the ground running. “The space can be a little challenging and usually I have to make some modifications, but the DPA mics worked right off the bat,” he says. “We only had to make very minor adjustments to get a really good sound.”

Working with professional companies, such as DPA Microphones, has proven indispensible to Burgess and the students. “Our staff comes from all around the country, from some of the biggest recording programs where they are taught on a variety of equipment,” he says. “Having companies like DPA Microphones as one of the sponsors is a great way for our students, and even our professionals, to work with the best professional audio equipment on the market, which is a really important part of our program.”

Founded in 1949, The Aspen Music Festival and School is held annually each summer, with this year’s run ending on August 17. The three AOTC operas presented each summer feature AOTC singers and distinguished conductors and directors. Additionally, all members of the AOTC are expected to sing in one opera chorus and to provide technical-support hours during events such as vocal chamber music performances, house concerts and the weekly public Opera Scenes Master Classes. AOTC singers also participate in an intensive curriculum of weekly voice lessons, and classes focused on opera music, acting, song repertory, movement, rehearsals, Alexander Technique and auditioning, among other requirements.

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

Three SSL Live Consoles Deployed for Chess in Concert

“I was stunned by the exceptional audio quality and dimensionality of sound from the SSL Live”

TROMSØ, NORWAY – What better music to accompany the 41st World Chess Olympiad tournament than the soundtrack to Chess the musical? Under the direction of Andrew Eljas (who also wrote the original score to the music by Benny Anderson and Bjørn Ulvaeus), the performance included the Norwegian Arctic Philharmonic Orchestra along with a choir and ensemble of leading Norwegian musical performers. This full concert version of Chess demanded a massive audio system. The production tapped the power of three SSL Live consoles, supplied by Bary Sales AS in Oslo, to handle the inputs from the live band, choir and the Arctic Philharmonic. This application is among the largest implementations of SSL Live thus far.

FOH and monitor consoles shared 64 inputs from the band and soloists on stage, while the third Live was used to submix 86 orchestra channels down to six stereo stems. Engineer Espen Andersen was at the helm of the orchestra console, delivering the stem mixes to the main FOH console. The layering, VCA and snapshot automation capabilities of Live were utilised to control both the mix and solo portions.

Additionally, FOH engineer David Solheim and monitor engineer Stig Kamonen each took advantage of Live’s highly flexible automation system to store and recall scenes. This was especially helpful for Kamonen whose monitor console was running a total of 71 mix busses, feeding effects, in-ear monitors, wedges and personal monitoring systems.

“I was stunned by the exceptional audio quality and dimensionality of sound from the SSL Live,” adds Solheim. “The console provides tremendous detail and the response of the controls is very precise. At the Olympiad ceremony, a competitor console was being used at FOH to mix two guest artists who were also playing with the orchestra. The same six stereo orchestra stems were sent to this console; so it was very interesting to have the opportunity to compare the audio quality through my SSL Live as well as the guest console. I think we all were a bit surprised by the difference in quality. Listening to it through the SSL Live was like hearing a stereo mix compared to a mono mix.”

Each of the Live consoles used for this special staging of Chess in concert included onboard Blacklight II I/O. The system was also comprised of six 32 channel ML 32.32 analogue stageboxes, a D 32.32 AES/EBU stagebox and two BL II.D MADI Concentrators. The analogue stageboxes provided the engineers with shared access to a total of 192 remote-controlled SSL Super Analogue™ mic/line inputs and 192 line outputs, while the AES/EBU stagebox facilitated use of 16 pairs of AES/EBU digital I/O at 96 kHz for driving the PA mains. SSL’s BL II.D MADI Concentrator ensured bullet-proof reliability through redundant pairs of SSL’s proprietary Blacklight II connections, each of which are capable of carrying 256 channels of 96 kHz digital within a single armoured fibre cable.

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

Sound Devices Opens New European Service Center

New Berlin Location Provides Shorter Repair Turnaround Time for European Customers

REEDSBURG, WI, AUGUST 20, 2014 – Sound Devices is pleased to announce the establishment of Sound Devices Europe GmbH and the opening of its new European Service Center in Berlin-Adlershof, Germany’s leading science and technology park. The new facility has been established to extend product service and repair to the company’s growing international customer base.

With the opening of the new repair facility in Berlin, European customers can expect shorter turnaround times and lower shipping costs. In addition, local users will also have closer contact with Sound Devices technicians. The facility is stocked with a full inventory of parts and features brand-new, state-of-the-art repair equipment, and Sound Devices factory-customized test stands to ensure the highest quality service and repair possible.

“This new Service Center is a big step for us and a testament to our commitment to our European customers,” says Matt Anderson, President of Sound Devices. “We are not only committed to creating the finest video and audio products, but also providing unrivalled service to our customers. It is further proof of our continued growth and evolution as a company.”

Effective immediately, the European Service Center will perform factory service and repair for all Video Devices products, warranty and non-warranty, sold in the EU. For Sound Devices audio products, it will provide this service for the following EU countries: Belgium, Bulgaria, Croatia, Czech Republic, Finland, Hungary, Italy, Poland, Lithuania, Romania, Slovakia, Slovenia and Sweden. Distributors with established audio service repair facilities will continue to service Sound Devices audio products at this time, including Ambient Recording, Audio Electronics Mattijsen, JBK Marketing and Shure Distribution UK. Over time, all warranty service repairs will be moved to the Berlin facility.

The European Service Center is in direct contact with all European distributors, further ensuring timely delivery of service. To have product repair or service undertaken, customers should contact their local distributor directly to receive authorization.

The Berlin facility is headed by Ginetta Fassio, an accomplished Tonmeister (sound master) and Sound Devices product user for more than a decade. The expert technician team comprises highly qualified German electrical engineers, all of whom have received special training at the Sound Devices corporate headquarters in Reedsburg, Wisconsin.

“Our doors are officially open and we are ready to begin handling repairs.” says Fassio. “As an extension to the team headquartered in the U.S., we will provide the personal one-on-one service that Sound Devices is known for, to those customers and distributors in Europe and the surrounding region.”

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. Established in 2014, Sound Devices Europe GmbH is a wholly owned subsidiary headquartered in Berlin. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

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SSL Live Joins the 2014 World of Music, Arts and Dance (WOMAD) Festival

“The flexibility of surface offered by the SSL is unparalleled”

MALMESBURY, ENGLAND, U.K. – Celebrating its 34th year, World of Music, Arts and Dance (WOMAD) is an annual eclectic world-music festival of “artists whom we might not get to hear anywhere else” and the largest and most prestigious event of its kind. As with WOMADs of the past, Britannia Row Productions Ltd. once again provided sound services for the festival. But this year had a new team member – SSL Live consoles at FOH for two stages: the main Open Air Stage and at WOMAD’s new Society of Sound marquee.

Having worked as front of house and system engineer in WOMAD’s Siam Tent last year, New Zealander Johnny Keirle returned to mix FOH at the Open Air Stage. An SSL Live console was used by Keirle to mix acts travelling without a FOH engineer. “The SSL Live provides an intuitive, logical workflow and is very easy to use in a festival situation,” he says. “Despite the time restrictions and last minute changes that can prove difficult and stressful at a festival, the console proved to be perfect for our setup.”

The collection of acts that Keirle mixed included the eight-piece traditional Cuban ensemble Septeto Santiagero, Italian folk traditionalist Anna Cinzia Cillani and her Macuran Orchestra and Ethiopian jazz master Mulatu Astatke, who performed just before founding WOMAD headliner and Senegalese icon Yousou N’Dour. Over on the Society of Sound stage Live was coupled with the unique Bowers & Wilkins ‘Sound System’ to deliver pristine high fidelity audio to a discerning audience who enjoyed an impressively diverse collection of experimental artists including: Radiophonic Workshop, Beardyman, 9Bach, Justin Adams and Iarla Ó Lionárd.

For Keirle, the most appealing feature of Live was the customisability of the surface. “On analogue consoles, you always have everything in front of you at all times,” he says. “Obviously, with digital consoles, this is not the case. So, it’s essential to have channels where they’re needed. The flexibility of the control surface offered by the SSL is unparalleled.”

Keirle also mentions the secondary screen on the Channel Control Tile and its Focus Fader below, which together form the right-hand ‘Focus Channel.’ “The combination of direct-access buttons, push-button rotary encoders and touch screen offer full control across all channel processing,” he continues. “I could work on channel processing while simultaneously using the primary screen for other functions.”

Many engineers begin by mainly using Live’s large, central multi-touch screen but like Keirle quickly started to see the benefits of its Channel Control Tile. “As I familiarised myself with the console’s layout and workflow, I found I preferred to use the secondary, smaller screen with its direct access buttons and associated rotary encoders,” he adds. “The Focus Channel offers quicker access to various channel functions and has the added benefit of physical knobs, which I find preferable to the touch screen or a fader flip for fine-tuning and tweaking.”

With a new digital console it can be a challenge to understand its workflow and find the best method of operation but not so for Keirle with Live. “For me, the simple comfort of being able to have my faders laid out exactly as I wanted, in conjunction with full control over channel processing on the second screen, made it easy to quickly get underway,” Keirle says. “This meant I could spend more time working on my mixes, rather than learning how to operate the console. The ability to easily change the console’s configuration is fantastic. Changing inputs or outputs from mono to stereo, or changing auxiliaries from pre- to post-fader is fast and easy, making the creation of suitable mix templates effortless.”

It wasn’t long before Keirle was comfortable pushing the limits of the console. “I began to get more experimental with my show file structuring and layout,” he remarks. “I would change the configuration; make use of multiple stems as subgroups for parallel compression; use various effects units inserted on channels, stems and auxiliaries; run inputs into multiple channels for dedicated effected channels and so on.”

Keirle also found the customisable fader banks and layers very useful for WOMAD’s festival situation. “I found that I could easily reorder channels to work in our festival-patch scenario,” he adds. “So, I adopted a layout that worked well for the bands I was mixing.”

SSL Live’s surface provides three 12-fader banks, or Fader Tiles, each with multiple layers that can be customised with any combination of inputs, outputs, stems, groups, auxiliaries or VCAs. He dedicated the lower, Left Fader Tile to band and instrument inputs and stems on various banks. The Central Fader Tile was used for vocal inputs and dedicated FX send fader and the Upper Fader Tile was used for auxiliary masters and VCA faders.

The loudspeaker system at the Open Air Stage consisted of one dozen L-Acoustics K1s per side, supplemented with 16 SB28 subs and a dozen KARA front-fills. “Using the SSL with the K1 system made for an extremely effortless mix. I never struggled to get anything sounding how I wanted,” Keirle says. “I found SSL Live’s internal effects very easy to dial in and never had any issues with quality of effects sound, which I’ve commonly found to be a weak point in other touring consoles.”

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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