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Archive by Vanessa Sanchez

DPA Microphones Unveils Latest d:screet™ Miniature Solutions at InfoComm 2014

LAS VEGAS, JUNE 18, 2014 – DPA Microphones is presenting its new d:screet™ Omnidirectional Miniature Necklace Microphone at InfoComm 2014 (Booth C11936). Also on display will be the company’s heavy-duty d:screet™ 4060 and 4061 Omnidirectional Miniature Microphones and d:screet Omnidirectional Miniature Mics with reinforced cable relief.

Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for quick costume changes. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

“Our expansion of the d:screet Miniature Microphone Series is in direct response to increasing market demands for a large variety of solid workhorses that deliver superb sound under challenging conditions,” says Christian Poulsen, CEO of DPA Microphones. “We identified and meet a need with our new d:screet Necklace Microphone for a mic that can be mounted and removed quickly, and several times, by untrained talent without a sound expert nearby. Additionally, with the heavy-duty and reinforced cable relief solutions for our d:screet Omnidirectional Miniature Microphones, we’re fulfilling requests from users for high-quality sound with a highly-durable housing and cable.”

During the show, the company is presenting at is booth two options that address these needs. Incorporated on all d:screet Miniature Microphones, the robust strain relief version ensures that people who are not used to handling miniatures can feel reassured by the increased reliability. The heavy-duty 4060 and 4061 microphones, which are ideal for people who require even more enhanced security and for whom the visual appeal is of less importance, are perfect for placement in rigorous production situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. It features a stainless steel housing, sturdy cable relief and a thicker .08-inch cable. Both enhanced versions are exceptionally durable and ideally suited to the rigors of various productions.

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

DPA Microphones is Newest Member of the Jersey Boys Big-Screen Quartet

Company’s d:vote™ 4099 and d:screet™ 4061 played a key role in the audio quality for Clint Eastwood’s Film Adaptation of the Broadway production

LOS ANGELES, JUNE 17, 2014 – When production started on the film adaptation of the Tony Award-winning musical Jersey Boys, set to hit the big screen this Friday, June 20, crew members knew they would need to capture all audio, music and vocals live without any pre-recordings. As instrument miking was not available during the 1950s to 1970s era of the film, the production team also needed to conceal the musicians’ mics on set. To address these unique challenges, they turned to DPA Microphones.

Tim Boot, production music mixer for Jersey Boys, relied primarily on DPA’s d:vote™ 4099 Instrument Microphones and d:screet™ 4061 Omnidirectional Miniature Microphones to capture the live instruments on set. Easy to conceal during filming, these mics provided a very natural sound quality and proved to be the perfect complement to the era of the film. Further keeping with the film’s theme, the crew used vintage instruments, such as Fender guitars and Ludwig drums, to maintain a classic sound, while the mics allowed them to record discreetly.

“You always have to be prepared when you have live music on set,” says Boot. “DPA was my hero when it came to miking the drums. I couldn’t use prop mics, so I bought myself a kit of DPA d:vote 4099 and d:screet 4061 mics. Depending on the setup, we buried five to 12 microphones on the drum kit. You don’t see the mics on camera, but each element of the kit was individually miked, just as you would do in the studio.”

Boot achieved the studio-recording results by placing the d:screet 4061 under the cymbals and in other areas that were more challenging to conceal. He relied on the d:vote for the snare and kick drums. “When you’re looking to hide a microphone, you need a lot of options,” he continues. “The d:vote’s ability to handle the kick and snare drums is absolutely amazing. It has no distortion and is very natural. The type of sound we were looking for is not a produced rock sound; it’s a natural sound. We were trying to capture the sound of the instrument, not over-produce it. The d:vote achieves that.”

In one of the film’s biggest musical numbers, featuring Frankie Valli (played by John Lloyd Young) and The Four Seasons, the audio crew faced their biggest miking challenge. The performance employed a live guitar, bass, drums and a keyboard, accompanied by a big band of five saxophones, trumpets and trombones, an acrylic drum set, a grand piano and an upright bass, which were revealed behind the curtain on stage where the group was performing.

“The whole reveal was done live and everybody was miked,” continues Boot. “If you look at performances from the 1970s, there were only a few mics on stage and they were usually for the vocalists. It’s only been in the last 20 years or so that we’ve been able to mic everything individually. This production was such a stickler for accuracy that we couldn’t violate that.”

To achieve the big stage number, Boot placed a d:screet 4061 on the stand of every sax, trombone and reed instrument. The drum set, which for this scene had a transparent body, posed an even bigger challenge for masking the mics, which again included a combination of d:votes and d:screets. The scene was recorded with a total of 47 inputs, each of which was concealed.

“We pushed the limits of hiding the mics,” explains Boot. “It just goes back to the d:vote and d:screet being such tiny mics with even tinier capsules and just being so amazingly musical sounding. You just don’t get that with other brands. No one else can do it. I’ve used DPA for years and I think the d:screet 4061 is especially the most musical lavalier microphone ever made. I think it’s the only lav mic I would ever feel comfortable putting on an instrument to get a musical sound. It was a no-brainer to put it on the musical instruments that required masked microphones.”

In addition to using the d:screets for the main band members during the big band number, Boot also relied on the mics to complement the flute for that scene. “We had a flautist playing live and, even though it looked liked it was miked through a vocal mic, we used the d:screet, which made it much more musical.”

In addition to Boot, production sound mixer Walt Martin and music playback mixer Mark Agostino played vital roles in the audio production of the film. “Between the three of us, we created this totally new way of doing music,” says Boot. “It was amazing to be on the set of Jersey Boys, because even great session players perform a little bit differently every time. Even though the guitarist may have been off camera at times, it felt as if he was right there. They were all in the space playing together, and that’s the way this music was recorded back in the 1950s, so it was really cool.”

Tim Boot has recorded and edited music for film for over 20 years. Additionally, he has recorded and mixed live music in some of the world’s greatest venues with world-renowned artists. He also operates a consulting firm at which he designs high-end audio and video systems for performing arts venues around the world.

Directed by Clint Eastwood, Jersey Boys is based on the true-life story of The Four Seasons, comprised of Frankie Valli (John Lloyd Young), Bob Gaudio (Erich Bergen), Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda). The group rose to fame in the 1960s, known for hit songs including “Sherry”, “Big Girls Don’t Cry” and “Walk Like a Man.” Young previously earned a Tony Award for his depiction of Valli on Broadway. Christopher Walken also stars in the film as Angelo “Gyp” DeCarlo, a mobster and friend of Frank Sinatra, who played a big role in helping The Four Seasons achieve fame.

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.

RHC Holdings Announces New Pro Co XP Fit Plus Field Installable Fiber-Optic Connector at InfoComm 2014

LAS VEGAS, JUNE 18, 2014 – Pro Co Data, an RHC Holdings brand, unveils its new XP Fit Plus™ Field Installable Fiber-optic Connector at InfoComm 2014 (Booth C9516). Designed in collaboration with the SENKO Group, the XP Fit Plus is a pre-polished, pre-assembled connector, compatible with standard SC and LC connectors.

Housed in a convenient, compact package, the XP Fit Plus is highly-stable and reliable, and features a mechanical splice or index-matching gel. Additionally, the connector meets the UL94-VI Flammability Rating and is RoHS and TIA/EIA 568-C3 compliant.

The XP Fit Plus can be installed in less than two minutes due to its internal mechanical grip that effectively holds the fiber in place. With no need for polishing or epoxy/adhesives, which requires additional labor, the connector makes on-site installations quick and simple. Additionally, the connector comes with an assembly fixture and fiber holder for 250μm and 900 μm tight buffered fiber, ensuring accurate alignment and fiber cleave when terminating. The XP Fit Installation Kit contains everything needed for installation of the SC and LC XP Fit Plus connectors.

RHC Holdings, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Momentum, Pro Co, Pro Co Data, RAT, RoadHog and StageMASTER, each RHC Holdings brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance. RHC Holdings also has a state-of-the-art Custom Shop to modify existing products or build new devices to meet any need.

Video Devices PIX 270i and PIX 250i Come Into Focus at InfoComm 2014

New Recorders Offer Advanced Network Functionality and Multi-Drive Recording for Seamless Integration into Existing AV Systems

LAS VEGAS, JUNE 17, 2014 – Video Devices, mission critical video products by Sound Devices, showcases its latest PIX recorders, PIX 270i and PIX 250i, at InfoComm 2014 (Booth C6443). The network-connected PIX 270i and PIX 250i multi-drive video decks offer comprehensive multi-channel AV record and playback tools for house of worship (HOW), corporate, live event and other production applications.

The PIX 270i and PIX 250i recorders offer significant advantages and time-savings to production workflows, providing tapeless, file-based recording and playback with the ability to access and transfer high-quality files over Ethernet. Its advanced network functionality along with simultaneous multi-drive video and audio recording makes Video Devices latest PIX products a complete production-ready AV solution. In addition, its ability to be controlled over IP, RS-422 and GPIO make it ideally suited to be integrated into a range of AV applications.

Both products feature extensive network connectivity and can be connected over Ethernet for simultaneous grouped recording and playback, creating a cost-effective scalable solution that addresses the multi-camera recording needs of today’s production. Its built-in Web server, PIXNet, offers browser-based transport and setup-menu control of any number of units. PIX 270i features built-in multiple unit synchronization, offering simultaneous, frame-accurate recording and playback, ideal for multi-camera production and live event multi-screen playback. Any number of units can be grouped and controlled as a single system from either the hardware or the built-in Web-based control panel. Frame accurate sync works with other PIX 260i and PIX 270i recorders. The PIX 250i can be grouped with other PIX 250i, PIX 260i and PIX 270i recorders. The PIX 270i and PIX 250i can be controlled by external RS-422 (Sony 9-pin compatible) controllers as well as via its GPIO port.

Up to four drives, two SATA drives in PIX-CADDYs and two SATA-connected drives can be connected to the PIX 270i. All four drives can be recorded to simultaneously or sequentially for redundancy and long-form programs. For PIX 250i, up to two SATA drives in PIX-CADDYs can be connected to the easily accessed front-panel drive bays. In the same fashion, both drives can be recorded to simultaneously or sequentially. This redundancy in local, removable storage devices, coupled with standard, Ethernet-based file-transfer features, further reduces steps in the production workflow. Recording to multiple drives offers immediate file backup, eliminating time-consuming post-record copying. Gigabit Ethernet network ports enable remote access to recorded files and the ability to transfer these files quickly into a post-production environment.

The Video Devices PIX 250i and PIX 270i are designed for mission-critical applications with their dedicated video hardware, and PowerSafe and FileSafe feature sets. Both products are equipped with the company’s proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. PIX also features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. Should a drive be inadvertently removed during recording; simply reinsert the drive and it automatically repairs its files. Powered by 10-27 VDC through a four-pin XLR connector, the PIX 270i also offers a secondary DC input for power supply redundancy.

The PIX recorders offer 3G-SDI (12-bit, 4:4:4) and HDMI I/O, and can record at numerous data rates. Full RGB Apple ProRes 4444 (330 Mbps) and low data rate proxy files (36 Mbps) are available. Files are ready for import directly into popular editing environments, including Avid, Final Cut Pro and Adobe Premiere Pro, eliminating time-consuming transferring and transcoding.

The PIX 270i offers extensive audio capabilities, with 64 record tracks (32 tracks at 96k), Dante audio-over-Ethernet, 64 channels of both MADI (coaxial and optical) audio, eight channels of analog audio, eight channels of AES digital audio, and 16 channels of embedded SDI audio, making the PIX 270i the world’s first video device that also includes Dante audio over Ethernet. The PIX 250i features eight channels of analog audio, eight channels of AES digital audio and 16 channels of embedded SDI audio, and supports up to 16 tracks of audio. With its wide range of input and output capabilities, the 270i also offers real-time bridging between the various audio interface types.

PIX 270i and PIX 250i also include a high-performance hardware scaler and frame-rate converter. Regardless of the incoming signal, PIX records the signal after up-, down- or cross-conversion at the same or different frame rate. Hardware-based 3:2 pull-down removal is also available.

With its built-in ultra-accurate time-code generator/reader with genlock input/output, the PIX is a great master clock for driving a network of devices requiring synchronization. In addition to generating ultra-stable time-code, time-code can be read from the SDI stream, the HDMI stream or external sources.

PIX can be seamlessly integrated into existing AV systems and environments due to its 1/2-rack, 2-U chassis dimension. Both the PIX 270i and PIX 250i have precision five-inch IPS, 800- x 480-pixel displays for setup menu access and video monitoring. The high-accuracy display, with its peaking, false color and zoom functions, is perfect for framing, exposure and focus evaluation.

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 their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

Professional Wireless Systems’ Frequency Coordination Hits A Homerun For Joel Osteen’s Night Of Hope At Yankee Stadium


Megachurch Pastor Returns to the Bronx for an Inspirational Experience of Encouragement

BRONX, NY, JUNE 16, 2014—When Joel and Victoria Osteen’s Night of Hope made its inspirational return to Yankee Stadium on Saturday, June 7, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand to provide frequency coordination for the event. The company also complemented Joel Osteen’s equipment setup with a range of additional wireless solutions.

Night of Hope is an inspirational experience of encouragement, hope and worship. The two-hour event offers audience members words of encouragement from Victoria Osteen, a special testimony from Dodie Osteen and concludes with prayer and an inspiring message from Joel Osteen. This was the second time that the stadium housed the wildly popular author and megachurch pastor. The Osteens’ motivational worship gathering in 2009 was the first non-sporting event at the new stadium.

In providing its wireless services for the outdoor broadcast, PWS managed a total of 115 frequencies and faced two main challenges. Not only did PWS need to survey the area to track down interfering ENG crews that were not coordinating with the show’s wireless frequencies, but the company also had to be on standby for inclement weather during the outdoor event, as sudden storms open the potential for dropped signals and channel interference. PWS provided exceptional service in its RF coordination, immediately locating all interfering sources and correcting any potential issues that may have arisen during the show’s broadcast.

“Whenever working in a major metropolitan city like New York, it is essential that we get as much information ahead of time from all of those who plan on using the spectrum, in order to keep any potential challenges or issues to a minimum,” says Jim Van Winkle, general manager of PWS. “John Garrido, the RF coordinator during this event, once again did a great job in ensuring that there was no frequency interference or signal problems, and that the evening was a success.”

For the event, PWS supplied and deployed a majority of its own equipment, including a combination of its Domed and Helical Antennas, all running through its GX-8 Combiners for transmission, in addition to its DB-IC Multicouplers for zoning and distribution. PWS relied on its Directional Finding Kit, along with a frequency counter and RF scanner to locate all frequencies. Tying everything together, PWS managed the show’s frequencies with its own Intermodulation Analysis Software System (IAS). IAS is a complete frequency management tool that helps coordinators quickly choose the clear frequencies for each specific wireless system and tuning range. Additionally, Telex BTR 800s were used for the show’s wireless intercoms.

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 live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, 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,” “Mama Mia,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. 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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Cerwin-Vega! P-Series Sets the Stage for 2014 New Music Seminar

NEW YORK, JUNE 12, 2014 – Cerwin-Vega!, part of Gibson Brands Inc., is pleased to announce that its P-Series Professional PA system was an integral part of the audio setup for the prestigious New Music Seminar (NMS) in New York. Marking its second year in attendance at the event, the Cerwin-Vega! P-Series provided a natural sound that is ideal for all NMS presentations and performances.

See Factor, the lighting and sound company for the conference, supplied a total of eight full P-Series setups – comprised of two P1500X Loudspeakers and a P1800SX Subwoofer each – for traditional PA arrangements, two additional P1500X Loudspeakers for monitor wedges and two 16-Channel CVM Mixers. “Before we moved to our current location at the iconic New Yorker Hotel, the entire conference was held at Webster Hall,” explains Dave Lory, musical director for the event. “Since it’s an acclaimed music venue that hosts world-famous musicians, we always relied on the hall’s house PA system for all of our audio needs. Knowing about the change of location, my friends at Gibson approached me and recommended I try their Cerwin-Vega! P-Series. I was honestly a little wary at first, but they performed so well last year that it was a no-brainer for me this year.”

“Dave is one of the best event producers in the industry, he demands excellence when it comes to audio production and the quality of his work always reflects that,” adds Peter Schwinge, the seminar’s general manager who was appointed to help grow international presence at the event. “Gibson brought the idea of Cerwin-Vega! to us, but the fact that Dave has chosen to use them again speaks volumes. And I agree with him, too. The speakers sound very natural and the distance on them is absolutely great!”

With an average attendance of approximately 1,300 people each year, NMS is one of the most influential music conferences in the world. It features sessions and/or presentations from more than 150 CEOs, presidents, executives and leaders who address the many aspects of the emerging music industry in addition to as many as 100 artist performances. The seminar’s goal is to serve as a quality launch pad for musicians and businesses alike. On the artist side, the conference provides the opportunity for them to hone their skills and learn new tricks. For businesses, it’s a chance for them to find the next big name in the industry.

Originally having run from 1980 to 1995, NMS was re-launched in 2009 with new vigor. In 2012, the seminar received support from the New York City Mayor’s office to declare the first New York Music Week. With support and appearances from the heads of such corporate brands as Pepsi Co, Napster, Clear Channel and Vevo, the seminar features music showcases from France, Spain and Sweden and the newly-launched Xray A&R Listening and Critique room where artists had the opportunity to have their music reviewed by the representatives from all of the major recording labels.

About Cerwin-Vega!
Cerwin-Vega!, part of the Gibson Pro Audio division, is a leader in the design, manufacture, and distribution of loudspeakers for the home and professional audio markets. Designed in the pursuit of dynamic, accurate sound reproduction since 1954, Cerwin-Vega! products are distributed throughout the world via a network of distributors and dealers in more than 75 countries. For additional information on all Cerwin-Vega! products, please visit us online at www.cerwin-vega.com.

About Gibson Brands
Gibson Brands Inc. is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul Guitar is the bestselling guitar of all time and is a tribute to the late, famed musician of the same name. Collectively, the Gibson Robot Guitar, Gibson Dark Fire, Gibson Dusk Tiger and the Gibson Firebird X represent the biggest advances in electric guitar design in more than 75 years. Through the Gibson Foundation, Gibson Guitar Corp. has become equally known for its philanthropic efforts on behalf of music, education, health, and human services. Founded in 1894 in Kalamazoo, MI, and headquartered in Nashville, TN, since 1984, Gibson Brands Inc’s family of brands includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, Wurlitzer, Cakewalk and Gibson Pro Audio. Visit Gibson’s website at www.gibson.com. Follow Gibson Guitar at www.twitter.com/gibsonguitar and www.facebook.com/gibsonguitar.

DPA Microphones Goes on a Musical Journey with The Walk to Fisterra

Company supplies array of microphones for a unique recording and musical documentary about a U.S. cellist’s 600-Mile Trek through France and Spain

NEW YORK, JUNE 11, 2014 – New York-based Cellist Dane Johansen is embarking on The Walk to Fisterra, a 600-mile musical/walking journey along the Camino de Santiago, a popular pilgrimage route through France and Spain. Over the course of his six-week journey, which began May 14, Johansen will stop at several of the 36 historic churches along the Ancient Roman footpath, where he will perform Bach’s Six Suites for Unaccompanied Cello, while a team of filmmakers and music producers capture content for a stunning documentary about the pilgrimage. To ensure the highest quality audio, sound engineer, Kyle Pyke, and Grammy® Award-winner, Jesse Lewis, who is the music producer and co-sound engineer on the project, are using several pieces from DPA Microphones’ product line.

Included in their audio arsenal are d:dicate™ 4007A Omnidirectional mics for location recording and a combination of d:dicate 4011F Cardioid Podium and d:vote™ 4099 Instrument mics for close-pickup of the cello. A variety of d:mension™ 5100 Mobile Surround and d:dicate 4017B Shotgun mics are being used to capture ambience along the trail, while d:screet™ 4061 Miniature mics pick up dialogue.

“DPA was our top choice for microphones to record the audio for this journey,” shares Pyke. “When we were spec’ing out what we might need for the project, we enlisted DPA Microphones to be our exclusive mic partner. The reason is pretty simple, not only does the company’s catalog offer everything we could hope for, and more, in terms of microphone quality and detail, but DPA itself embodies an open, adventurous approach to pushing the industry forward, which is an intrinsic quality of The Walk to Fisterra.”

“DPA’s entire line of microphones is world class and the first I turn to for literally any situation,” adds Lewis. “Whether they are used for dialog, mobile-surround ambience or a solo cello, there isn’t another product line out there that can do everything that DPA’s mics can do. The accessories give us configurability, the vast microphone line gives us a freeing flexibility – which is something we especially need on this journey – and the capture of speech, ambience and music is lifelike and pristine. For a project like this, we need voices to be clear and the music has to be stunning, and that’s just what we get with DPA. Since DPA spares no expense in development and production, no matter the microphone or application, their mics are really a perfect fit for The Walk to Fisterra.”

As Johansen performs at churches along the route to Fisterra, his team will produce recordings and sound maps of each location, which Lewis can then use back in the studio to recreate the audio during film screenings or as background for Johansen’s live performances. “When we are on the road in often less-than-ideal acoustic environments, it’s important to make sure that nothing is lost due to noise or lack of detail,” continues Pyke. “We’re very happy with our selection of DPA mics, which ensure we keep the natural sound of the instrument intact during the recording process.”

To prepare for any unique audio challenges that they may encounter at the older venues, Pyke will rely on the cardioid pattern of the DPA d:dicate 4011F and d:vote 4099 mics, to capture sound directly off the instrument. The 4011F, superior for high sound levels and close pickup, will highlight the sound around the cello, while the d:vote 4099, much more natural sounding than any internal microphone or pickup, will be mounted directly on the cello to accurately record the instrument while removing any unwanted noise. Pyke also plans to use his DPA d:dicate 4007A Omni mics to capture in surround sound the reverberations produced by the instruments in the churches, which have an antique architecture that offers unique acoustics. The setup uses a decca tree in front, with two mics spaced at a variable distance and width, to give a sense of depth between venues.

“The 4007A’s flat response across the frequency spectrum is the perfect tool for capturing the true sound of the hall in both musical recording and impulse responses,” shares Pyke. “The 4011F offers a colorless pickup yet still retains its musicality, while the 4099 is conveniently small and unobtrusive without losing any detail. Additionally, the 5100, which we use to capture ambience in the venues, offers incredible audio quality in a rugged, easily mounted microphone design.”

In order to ensure the recordings offer listeners a true sense of the experience, Pyke must also capture dialogue and the ambience of journey along the Camino. To produce the best results, a combination of a d:mension 5100 Surround, 4017B Shotgun and several d:screet 4061 Miniature mics will be used. The d:mension 5100 comes conveniently packaged for recording surround on the road, as it can be mounted to a camera or boom, while the 4017B shotgun provides everything necessary for clear directional sound regardless of environmental conditions. The d:screet 4061s, though tiny, produce an accurate omnidirectional pattern without need to be aimed directly at the sound source.

The Walk to Fisterra was inspired by Johansen, who feels the voyage is symbolic to his relationship with music. The dedication needed to perfect the Bach Suites requires an artist to continuously pursue a singular goal and therefore is like a pilgrimage, endless and requiring extreme effort, daily commitment and absolute resolve. Johansen and his team hope the performances of Bach’s music and visits to mentor young cellists in schools along the Camino during The Walk to Fisterra, will inspire the communities as they speak through the universal language of music.

Johansen performs throughout the world as a soloist and chamber musician and he is a member of the Chamber Music Society of Lincoln Center. He made his Lincoln Center Debut performing Elliott Carter’s Cello Concerto with James Levine in celebration of the composer’s centennial and his Carnegie Hall debut in 2012, performing a program of his own design entitled Lightness, which explored philosophical lightness in music of the 20th century.

El Camino de Santiago, an ancient route to Santiago de Compostela and Fisterra on the western edge of Europe, was originally a Pagan footpath that was later appropriated by the Romans as part of their campaign to Christianize Spain. Still journeyed by those seeking to challenge their bodies and minds, the path features roads, monasteries and cathedrals along the route to provide pilgrims with areas of rest.

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.

Professionak Wireless Systems Showcases Range of RF Solutions for Live and Broadcast Events at InfoComm 2014

LAS VEGAS, JUNE 11, 2014-Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, will showcase its range of RF solutions at InfoComm 2014 (Booth C11816), including its GX Series of Combiners, DB Series of Multicouplers, Helical Antennas, Domed Helical Antennas, and various accessories such as splitters, Dual Bias Ts and receive and transmit line amps.
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“InfoComm is the ‘can’t miss’ AV technology show of the year, and we look forward to demoing our range of state-of-the-art RF and wireless equipment to the industry professionals in attendance at the show,” says Jim Van Winkle, general manager, PWS. “In addition to showcasing our RF solutions, PWS representatives will be on hand to discuss our ability to provide onsite install services and show support for wireless systems at broadcast, industrial, live entertainment and media events of any size.”

At InfoComm 2014, PWS will highlight its GX series of combiners, the GX-4 and GX-8, which offer selectable high and low output settings, as well as above unity gain on output. Helpful for very anemic transmitters, the combiners in the GX series are considered RF limiters because of their proprietary Automatic Level Control (ALC) circuitry. The power level of each frequency at the output of the combiner is a maximum of 250 mW licensed, 50mw if not licensed. This is the FCC’s maximum allowable limit for RF in-ear monitor (IEM) systems in the UHF band. The GX-4 is an RF IEM transmitter combiner/booster, compatible with RF signals from major IEM transmitter manufacturers across the radio band from 470MHz to 698MHz. The system accepts input power levels from 20 to 100 mW, with each input containing its own discreet RF amplifier and ALC circuits. The signals are amplified to the power level needed to produce up to 250 mW of RF at the output antenna port.

PWS will also feature its DB series of Multicouplers, including the DB8 (8 outputs), DB16 (16 outputs) and DB24 (24 outputs). These diversity systems are designed to distribute antenna signals to multiple receivers without loss and with high isolation between ports. Outputs can be put into ranges, providing the user the ability for low, middle and high as well as custom ranges for frequencies. The systems all come packed with features providing the user with maximum control as well as two power supplies, ensuring that if there is a power failure, backup is available.

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

For venues and installations where site-line appearance is a priority, PWS Domed Helical Antennas offer a wider angle of coverage that’s perfect for smaller stages and medium gain. Featuring the same circular polarization as the original PWS Helical Antenna, the Domed Helical features a more durable, sealable enclosure, and compact profile. Inconspicuous and robust, the PWS Domed Helical Antenna is a great choice when the requirements of aesthetics and function can’t be compromised.

Additionally, PWS has recently begun to streamline its manufacturing process to accommodate faster turnaround time when it comes to product development. “To continue to provide the necessary support and high-level functionality on today’s in-demand productions, we are constantly looking for ways to improve both our products and our services, as a company,” adds Van Winkle. “We specialize in frequency coordination that is solid, accurate and constant, as is our workflow.”

For more information, stop by Booth C11816 or visit 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” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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


New mics join the original 4066/4088 and d:fine Headsets in the d:fine family to meet a variety of needs


LAS VEGAS, JUNE 10, 2014 DPA Microphones’ new d:fine™ 66 and d:fine 88 Miniature Headset Microphones will be on display at InfoComm 2014 (Booth C11936). Ideal for productions involving presenters and performers needing to move freely about a stage without obstructions from a handheld mic or mic stand, the d:fine 66 and d:fine 88 have joined the company’s d:fine Headset Microphone family, which now addresses a variety of sound handling and size options, depending on the intended application.

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

“We introduced the d:fine Headset Microphones a few years ago and selected the name based on a belief that the microphone would define a new generation of headsets,” says Christian Poulsen, CEO of DPA Microphones. “The d:fine certainly did meet our expectations, so we have now decided to expand the d:fine Headset series to include this third solution to give users a broad assortment of headsets and features. Featuring a total of four capsules – two omnis and two cardioids – and three headset mounts – single-ear, dual-ear and personalized mount, the d:fine Headset Microphones Series offers something for every user and environment.”

When DPA Microphones launched its d:fine Headset Microphones, the company met a market demand, which created a new niche of DPA headset users that did not affect the popularity of the original 4066 and 4088s. Thanks to the strong popularity of both microphone lines, this third option in the d:fine series comes as a result of a growing need for durable body worn microphone solutions with excellent sound reproduction and sturdy casing for stringent use in live environments.

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 Fills Charleston with Sweet Music for 38th Season Of Spoleto Festival USA

Custom Audio Equipment Package Turns on the Charm for Celebration of America’s Premier Performing Arts Gathering

CHARLESTON, SC, JUNE 10, 2014 – When the 38th annual Spoleto Festival USA, America’s premier performing arts festival, kicked off on May 23, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on-hand to provide Sound Supervisor Lew Mead with an extensive custom audio equipment package for the multi-venue, two-week long celebration.

For 17 days and nights each spring, Spoleto Festival USA fills Charleston, South Carolina’s historic theaters, churches and outdoor spaces with performances by renowned and emerging artists and performers in opera, theater and dance, as well as chamber, symphonic, choral and jazz music.

As sound supervisor, Mead is given the incredibly challenging task of piecing together all of the different equipment and staffing needs of the various companies at each venue, to not only provide them all with exactly what they need for their shows but also to allow them the flexibility to coordinate with multiple performers in one space. In order to pull this off, Mead begins his pre-planning as early as November of the previous year and works with an audio staff of 10 engineers during the festival.

“Months before the festival, we compile all of the drawings and requirements for each artist and performer,” says Mead. “I then work with the venues directly to discuss which equipment we can place in each location. Lighting Supervisor Andy Cissna, Special Projects/Carpentry Coordinator Paul Hunter, Director of Production at Spoleto Festival Rhys Williams and I are in constant communication to try to blend all of the different requirements for each venue together so that it works for all parties involved.”

In addition, Festival Engineer Kate Foretek spent two weeks in the Masque Sound shop, piecing together the various custom equipment packages that the festival events required before shipping the packages to Charleston.

“The crew at Masque Sound has been fantastic to work with and incredibly helpful in terms of assisting our team through the engineering and extensive planning that goes into all of the different events,” adds Mead. “Everyone at Masque Sound is very forward-thinking, and they were all quick to anticipate and address our needs. Additionally, the depth of their inventory is great. They are always able to provide us with the exact equipment we are looking for.”

One particular instance in which Masque Sound was able to provide Mead with specific equipment to accommodate a performer’s request occurred during preparations for acclaimed recording artist Lucinda Williams’ performance. “Lucinda Williams requested two DiGiCo SD10 Live Digital consoles for her performance at the TD Arena,” says Mead. “We haven’t used the SD10s in the past, because they’ve been quite a rare commodity in the industry, but Masque Sound stocks them in its inventory and ensured that the consoles would be made available to my team. We were thrilled to be able to supply Ms. Williams with these fantastic consoles, as the sound quality was impeccable.”

Mead also credits Masque Sound’s customer service and hands-on approach as a big part of the festival’s success. “When I’m looking at these venues, I try to do it with an open mind, envisioning the different equipment that Masque Sound can offer me and seeing if I can make it work. Scott Kalata, from Masque Sound, came down to Charleston and toured all of the venues with me and came up with some suggestions, which was very helpful. The fact that I can call anyone on the team—whether that person is Scott, Gary Stocker or Dennis Short—and quickly be offered equipment advice is a huge benefit. It is really great to be able to rely on them as a resource, and it is very reassuring to know that with their extensive inventory, they can accommodate my needs for an event of this size and scope.”

In total, the festival utilized more than 200 microphones, 100 speakers and 5 digital consoles from some of the audio industry’s top manufacturers, including DiGiCo, Sennheiser, JBL and Meyer, all adding up to an incredibly successful premier performing arts festival.

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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