A virtual press conference from Sound & Video Contractor

Archive of the AES Newslink Category

JDK EXPANDS DEALER NETWORK

JESSUP, MARYLAND – JANUARY 2013: JDK Audio is expanding their dealer network to include Zen Pro Audio of South Carolina and Parsons Audio of Massachusetts and Florida. These dealers will provide JDK products to customers in their regions, as well as online, increasing the ever-growing JDK customer-base.

Zen Pro Audio, which joined as a dealer in November, is a boutique-style dealer owned by Warren Dent. Located in Orangeburg, South Carolina, with select products and a large portion of them online, their site proudly touts, “We serve the world, and if you’re in it we can help.” Zen Pro also features an in-house studio and the ability to listen to any piece of equipment on their web-tool, the “Clipalator.”

Also joining JDK in November as an authorized dealer is Parsons Audio. Parsons has two locations, Florida and Massachusetts and specializes in mid- to high-end product lines, as well as new, used and rented equipment.

“All of us at Parsons audio are very excited about our new relationship as a dealer for JDK Audio. The high quality and the sound of this gear is second to none and since it comes from a company who is legendary for standing behind everything they build, we couldn’t possibly be happier to offer these components to our clients,” says Vice President of Sales, Dave McLaughlin.

ABOUT JDK JDK Audio is a brand developed and engineered by API (Automated Processes, Inc.), a company that was established in the late 1960′s and is a leader in analog recording gear.

www.jdkaudio.com

MASTERING AND RECORDING ENGINEER PIPER PAYNE STARTS AND FINISHES WITH METRIC HALO

SAN FRANCISCO, CALIFORNIA – JANUARY 2013: Piper Payne is an accomplished mastering engineer, recording engineer, and audio archivist who is currently working out of Michael Romanowski’s mastering studios in San Francisco, California. With an undergraduate degree from the University of Michigan, a graduate studies certificate from the University of Stavanger in Norway, a coveted position with Bob Katz at Digital Domain in Orlando, Florida, and a residency as Senior Audio Associate at the Banff Centre in Alberta, Canada, Payne has not only lived throughout the country, continent, and world, but has internalized a diversity of audio technologies, philosophies, and techniques. While in Norway, she became a member of the beta team for Metric Halo’s flagship ULN-8 interface, and it has remained an irreplaceable fixture in both her recording and mastering work ever since. An audio evangelist, Payne has turned other professionals on to the Metric Halo ULN-8; Michael Romanowski’s studios are now home to seven for recording, mixing, and mastering!

“I went to work with Bob Katz after my graduate studies, and he and I held our own interface shoot-out shortly after I arrived,” Payne said. “The Metric Halo ULN-8 held its own against everything. Only one other converter [at nearly three times the price per channel] sounded as good as the ULN-8. For my mastering work, the ULN-8’s transparency is paramount. Whatever I’m doing, I never want to hurt the audio – I never want to put a sound on the sound. Other converters have a ‘digital sound’ that Metric Halo avoids.” Although Payne regularly scrutinizes all new products and technologies, including interfaces, the Metric Halo ULN-8 remains at the heart of her rig.

Payne’s mastering work relies heavily on both analog and digital technologies. Sonic Studio’s soundBlade HD is her preferred digital playback, editing, and recording software. SoundBlade integrates seamlessly with Metric Halo’s MIO Console, which provides 80-bit summing and comprehensive routing facilities between all of her virtual software inputs and outputs and the hardware inputs and outputs of the ULN-8. “I always use MIO Console for summing,” Payne said. “I prefer its sound to everything else.” The outboard gear that she regularly uses includes a Manley Langevin Mini Massive EQ, a Neve Portico II Master Bus Processor, an EAR 822 EQ, a GML 8900 compressor, a Weiss digital EQ1, and a Weiss digital DS1 dynamics unit.

“Metric Halo’s MIO Console is tremendously flexible,” Payne added. “Not only can I easily reroute my mastering chain, but I can check and calibrate each piece of gear as I go. And of course the fidelity of the ULN-8 is critical. I’m using the analog components at line level and the converters in both directions. It’s a lot of sound and conversion all going through one box, and the ULN-8 introduces no noise and no artifacts.” Payne always uses the highest possible resolution, and the ULN-8 accommodates that preference with up to 24-bit/192kHz performance and a flat 3Hz to 64kHz frequency response.

Payne views each project with fresh eyes, taking the open-ended goal of best serving the project in whatever way is needed. “If the mix comes to me perfectly balanced, then I’m happy to simply do some level matching and sequencing,” she said. “But the truth is, that rarely happens. On the other end, if a project arrives with so many problems that I can’t fix them without messing up other aspects of the work, then I’ll send it back to the mix engineer to request a remix. If I can’t help the project, I try not to hurt it. Ultimately, communication is key. It’s important that everybody involved is on board with exactly how far a project can go – no one can turn a ‘C-grade’ mix into an ‘A+’ master.”

Payne also regularly records on location throughout the Bay Area, using a collection of Metric Halo ULN-8s for a compact, high-fidelity front end. In addition to classical concerts, she records rock acts, which have included Edward Sharpe and the Magnetic Zeros, Death Cab for Cutie, Mumford & Sons, Matt Nathanson, and The Airborne Toxic Event. “Ultimately, what amazes me about the ULN-8 is that it does so many things, and it does them all so well,” she said. “There are great preamps, converters, and signal processors out there. But to have all of that inside a single box that’s rock-solid reliable,” she concluded, “that’s amazing!”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

SYMETRIX EXPANDS GLOBAL REACH IN THE MIDDLE EAST

SEATTLE, WASHINGTON – JANUARY 2013: In response to growing global demand, Symetrix announced an expanded partnership with World Representation Inc. for direct-to-dealer sales in the Middle East. The arrangement was launched at a very successful InfoComm MEA in October. World Representation Inc. is partnering with Symetrix to facilitate sales and help distribute the entire range of Symetrix digital signal processors and control interfaces in the region. The new initiative will guarantee that A/V integrators and other audio professionals in the Middle East will have ready and reliable access to the dynamic range of Symetrix high-end professional audio solutions, including SymNet Edge and Radius Dante network audio DSP, ARC-WEB browser-based control technology, and comprehensive teleconferencing DSP hardware and software.

“This is the next step in our steady growth worldwide,” said Mark Ullrich, international sales manager at Symetrix, who met with interested dealers and integrators at InfoComm MEA in Dubai. “From the numerous meetings I had at the show, it’s clear that there is a lot of excitement for Symetrix products in the Middle East, especially SymNet Edge and Radius Dante network audio DSP. The fact that the SymNet platform features the hugely popular Dante technology for networked audio, as well as a suite of conferencing solutions, all of which can be controlled from your iPhone via ARC-WEB, makes SymNet DSP hardware and software very appealing and competitive.”

“Over past years Symetrix has been enjoying phenomenal success globally as a market leader in DSP,” said Iain Cameron, technical sales manager at World Representation Inc. “Following the introduction of SymNet Express and SymLink, the Integrator Series broke the already well-established Seattle-based signal processing company into the then nascent DSP market. Since that time Jupiter (app based turn-key DSP), Solus (standalone fixed I/O DSP) and the recently introduced Edge and Radius (Dante network audio DSP) have joined this comprehensive portfolio of solutions. Symetrix decision to offer direct-to-dealer sales though World Representation will allow us to offer much closer support to the Middle Eastern and African markets. We look forward to meeting users, integrators and consultants to discuss how Symetrix can provide elegant and cost-effective solutions from the smallest to the largest of installations.”

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

ASHLY APPOINTS TAU AUDIO SOLUTIONS NEW DISTRIBUTOR IN BELGIUM, THE NETHERLANDS, AND LUXEMBOURG

WEBSTER, NEW YORK: Ashly Audio, one of the world’s leading designers and manufactures of high-quality, high-performance signal processor and power amplification solutions for the commercial and professional audio markets, has appointed Tau Audio Solutions as its exclusive distributor in “Benelux” (Belgium, the Netherlands, and Luxembourg). Tau Audio Solutions has been importing and supplying audio communications systems to the Benelux region for fifteen years, and with its connections and expertise, Ashly expects to enjoy the same steady growth in Benelux that it has enjoyed in the U.S. and other international markets.

“It’s our experience that Ashly’s high-performance line of audio electronic products work best when paired to high-performance loudspeakers,” said John Sexton, Ashly Audio’s vice president of sales. “Tau’s combination of SoundTube loudspeakers and Ashly amplifiers and DSP is a perfect match. Tau will have the ability to present turnkey audio system solutions to its Benelux dealers. We look forward to working with Ron Vossen and the Tau sales team to grow Ashly’s business in the Benelux region.”

“Ashly has been on our most wanted list for many years,” added Vossen. “It’s a company that is known for its high standards and quality products. Ashly is a perfect fit for our portfolio, and the appointment is a very nice gift for our fifteenth birthday.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

WITHOUT ADDING A SINGLE NEW RIGGING POINT, DANLEY SPEAKERS DRAMATICALLY IMPROVE COVERAGE AT XAVIER UNIVERSITY’S CINTAS CENTER

CINCINNATI, OHIO: The Musketeers men’s basketball team is the standout athletic program at Xavier University in Cincinnati, Ohio. Over the last dozen years, the team has made an appearance in an NCAA tournament in all but one, and Forbes places it among the nation’s top twenty most valuable college basketball programs. The Musketeers play at the 10,500-seat Cintas Center at Xavier University, which was built in 2000. Xavier University recently asked consultant Anthony James Partners and local integrator ICB Audio & Video to update the sound system with increased coverage of seating areas that were poorly covered by the original system. In part because no additional rigging points could be added, the solution centered on lightweight Danley loudspeakers and subwoofers with excellent pattern control and exceptional sound quality.

“The Cintas Center is a large venue, and Xavier University does a good job keeping up with it’s A/V system,” said John Keller, who configured the system and the rigging with ICB Audio & Video. “They wanted the new system to improve upon the old system’s coverage, which had quite a few holes – most notably in the first few rows on the floor. The big trick was that we couldn’t add any rigging points nor add significant weight to the rigging points that existed.

“Of course,” he continued, “the reason you get holes in coverage is because the speaker is delivering the wrong pattern at the wrong location, but the direct and obvious solution of adding new locations wasn’t on the table. Nevertheless, the coverage, efficiency, and relatively lightweight design of Danley loudspeakers allowed us to meet the facility’s goals within those stringent constraints.” An interesting side note, when Danley demo’d its products for the Xavier officials, they responded to its noticeably superior fidelity with a chant that exceeded the most indulgent fantasy of the most optimistic contractor. “They literally chanted, ‘Cut the check!’ and ‘Give the man the P.O.!’ to the head of purchasing,” recalled Mike Hedden, Danley president. Anticipating a chuckle of incredulity, he added, “They really did do that!”

The new Danley system replaced the old system, cluster for cluster. Ten clusters use a pair of Danley SH-96 full-range loudspeakers stacked in opposite orientations to provide complete coverage of the upper and lower bowls. Two additional clusters use an SH-96 with two Danley SH-64s to provide expanded coverage at either end of the bowl. A total of six Danley TH-115 subwoofers hang independently in two rows along the arena’s long axis. Each cluster is dead hung from a single point because a pick point wasn’t possible; the catwalks and other ceiling hardware couldn’t safely support it.

Keller was able to reuse the wiring infrastructure, and ICB replaced the distributed audio system for all of the facilities outside of the bowl with a BiAmp system networked via CobraNet the previous year. A 32-channel Yamaha LS9 console serves as a new front end, with CobraNet output feeding a new QSC Basis DSP system. The two DSP systems share audio via CobraNet. A rack of QSC CX- and PL-series amplifiers power the Danley loudspeaker and subwoofers.

“The coverage and sound of the new system are dramatically better than they were in the old system,” said Keller. “There are no dead spots, and the cabinets work together nicely in the clusters. How that happens exactly is Danley’s magic secret. In the areas that were covered previously, the coverage is now more even. The client is very pleased, and I’m impressed that we were able to swap out all the speakers within a two-week window in order not to conflict with their basketball schedule or corporate sponsors. Using the same rigging points was really the only option to get the job done.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

ARGENTINA’S FORT MUSIC RECORDS LATIN GRAMMY WINNER ARTURO SANDOVAL ON AN EXPANDED API 1608

BUENOS AIRES, ARGENTINA – JANUARY 2013: A successful Argentinean businessman and a splendid trumpet player, Jorge Fort recognized the need for a high-end recording studio in Argentina that successfully leveraged the strengths of both digital and analog technology. With the help of well-known Buenos Aires recording engineer Oscar Gimenez, he built and developed Fort Music over the last seven years to become one of the premier recording destinations in Argentina. Advised by SL Audio, API’s distributor in Argentina, Fort Music upgraded its existing 16-channel API 1608 to thirty-two channels with full automation. The new arrangement helped propel trumpet legend Arturo Sandoval’s recent release, Tango, Como Yo Te Siento, to popular success and a Latin Grammy win for “Best Tango Album.”

“Lots of now-famous Argentinean records in the Jazz, Pop, Rock, and Tango traditions have been recorded on Fort Music’s API 1608,” said Daniel Paracha, who, together with Sergio Levinsonas, are on staff at SL Audio and assisted with the original purchase, as well as the more recent purchase of the 16-channel expander. “But it was in the hands of Arturo Sandoval that Fort Music received well-deserved recognition in the form of a Latin Grammy. Sandoval and Fort produced and engineered Tango, Como Yo Te Siento.”

The album title translates to “Tango, As I Feel You,” which is an apt description for its heartfelt contents. Sandoval collected the world’s greatest tangos, all of which were composed by “true artists… true musicians” in Sandoval’s words. The great compositions are elevated by Sandoval’s masterful vision and the skills of a vast ensemble of world-renowned musicians. Many of the recording sessions involved huge, multi-mic setups that were made possible by the 32-channel API 1608. Its 500-series expansion slots are loaded with API processors and other VPR-approved units. Outboard gear includes an API 2500 Stereo Buss Compressor, and Pro Tools HD serves as the recording and editing platform.

“The recording sessions for Sandoval’s Grammy-winner consisted of renowned artists from many different genres,” expanded Paracha. “Indeed, there were as many as sixty-four musicians on any given song. Some moments feature fifty string players! The location is huge, and this is a recording without precedent in Argentina. A-list vocalists, such as Valeria Lynch, Patricia Sosa, and Raul Lavie, among others, also contributed to the project.” Fort Music’s upgrade to thirty-two channels makes it the owner of Argentina’s largest API console and is a decisive factor in attracting new artists and producers to work at the studio.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

AN API 48-CHANNEL 1608 WITH AUTOMATION INSTALLED AT 77 RECORDING

EVANSVILLE, INDIANA – JANUARY 2013: A 48-channel API 1608 analog console with 32-channels of automation has been installed at 77 Recording, making them owner of one of the largest 1608’s manufactured to date! In less than a decade, this studio has matured from an in-the-box basement rig to a world-class facility occupying 3,500 square-feet of acoustically-stunning real estate just two hours north of Nashville in lovely Evansville, Indiana. The already busy studio is getting busier as it draws talent from an ever-expanding radius, and by recently hiring Nashville recording, mixing, and mastering engineer Jimmy Dulin as its chief engineer. The perfection of 77 Recording’s live studios is complemented by an exquisite hybrid analog/digital signal path in the control room. A 24-track Sony MCI JH24 two-inch tape machine interlocks with Pro Tools HD via Endless Analog CLASP synchronization, and the whole rig is now piloted by the API 1608 console.

Owner and recording engineer Brett Mulzer’s guided 77 Recording from its project-studio roots to the big league studio it is today. “When I first started out, I was recording and mixing with little more than a Digi 002 and a computer,” he said. “After adding some gear to the front end, I ventured outside the box with a summing mixer. I liked the results so well that I purchased a mid-sized analog desk, but ultimately its capabilities were limited and its automation was frustrating and of poor resolution.”

Mulzer explored his alternatives, and the API 1608 jumped out as an obvious candidate. “I wanted a board that was geared toward rock, and API is legendary in that regard,” he said. “API is especially well known for its drum sound, and drums are our forte at 77 Recording. The live room is huge and warm, and I really wanted to play to that strength. The API 1608 delivers on everything I had hoped for: a classic aggressive, punchy sound paired with a reliable, modern signal path and excellent automation.” Mulzer noted that the 1608’s automation is of very high resolution and is robust and reliable to implement together with Pro Tools and CLASP.

Mulzer expanded his stock 16-channel API 1608 with two 16-channel expanders because he wants to be able to mix down without having to make submixes in Pro Tools. “I like having a fader for everything I record,” he said. In addition, he wanted a large count of high-quality preamps in order to accommodate the orchestras, choirs, and other large ensembles that frequent 77 Recording’s tremendous live room. “Zero restrictions” served as his guiding principle.

“Apart from the obvious improvement in sound quality and the ease of integrating outboard gear, mixing outside the box has a more subtle, but equally important benefit,” Mulzer observed. “I find that when I’m mixing within the Pro Tools environment, I start to let the visuals guide my decisions. I start mixing with my eyes rather than my ears. In contrast, when I mix outside the box, my ears guide all my decisions, as they should.”

To complement the API 1608, 77 Recording has a wealth of outboard gear, including several 500-series modules – API 525 compressors, API 550a three-band EQs, and API 550b four-band EQs – situated within the console’s 500-series expansion bay.

Acoustical design for the studio is credited to Haverstick Designs.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Clearwing Productions to Host Yamaha CL Digital Audio Console Event

Clearwing Productions will host an orientation and training session on the new Yamaha CL Digital Audio Console, on Tuesday, February 12 between 1:00 – 8:00 pm at their Milwaukee, Wisconsin location. The open house will also feature demonstrations by Yamaha Commercial Audio Systems representative, Mike Eiseman, between 1:00 – 4:00 pm.

Clearwing Productions is located at 11101 W. Mitchell Street, Milwaukee.

Refreshments will be served.

RSVP with Kerry Miller at kmiller@clearwing.com or call 414.258.6333.

For more information visit http://us5.campaign-archive2.com/?u=569f3c53263ba5c7c09883735&id=6de6032bee.

For more information on the Yamaha CL, visit www.yamahaca.com.

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Christian Artist FOH Engineer Relies on new Yamaha CL5 Digital Console

BUENA PARK, Calif.–Known for front of house mixing dozens of Christian artists, front of house engineer, Harold Rubens, has found much success using the new Yamaha CL5 Digital Audio Console on several tours in 2012 and early 2013. “CTS Audio (Franklin, Tenn.) has been my preferred audio provider,” states Rubens “They provide us with racks and stacks and any additional audio support we need. For the shows I’m doing now the CL I’m using is owned by musician, Brandon Heath, who purchased the console through CTS for his “Blue Mountain” Tour.” Once I mixed on the CL5 for Brandon’s national tour, I liked it so much that I turned right around and took the same console out to mix the Andrew Peterson “Behold The Lamb of God” Christmas tour.”

“The networking capabilities of the CL Series using Dante makes everything easier,” Rubens said. “On the “Blue Mountain” Tour, it was easy to just plug in a computer and instantly record and playback all 64 tracks for both virtual sound check and recording. On Andrew Peterson’s tour, we were touring with one CL5, but with two sold-out shows at the Ryman, we added a second CL5 to accommodate additional instruments and guest performers. The console’s networking made it really easy to add the second CL5 and also be able to sound check everything using the playback from the previous show.”

“I think that the CL5 sounds incredible,” adds Rubens. “It has exceeded any expectation I had for the console. I’ve used Yamaha digital consoles extensively at one point or another on tours and/or installs, and I was anxious to see how the CL5 was going to perform. I knew about the long list of new features, but I still wondered how it was going to sound. Needless to say, I was very impressed which is why I recommended that Brandon buy one along with two Rio3224-D boxes to use as part of his own touring system.”

Andrew Peterson’s “Behold The Lamb Of God” show has been touring for 13 years. Each year, the tour makes a stop at the historic Ryman Auditorium in Nashville which production support from CTS. “The show is a complicated concert to mix,” says Rubens. “There is a seven-piece string section, drums, percussion, bass, lap steel, dobro, mandolin, ukele, electric guitars, acoustic guitars, piano, hammer dulcimer, lap dulcimer, accordion, along with six vocalists who take lead on different songs.” The concert featured special appearances by Steven Curtis Chapman, Stuart Duncan, Jeff Taylor, Buddy Green, Sierra Hull and members of Union Station (Allison Krause’s band).”

“When Harold came into the Ryman with Andrew’s annual Christmas show, it was the first time anyone had brought in a Yamaha CL5,” notes Les Banks, Ryman Auditorium Tech Supervisor. “I had previously attended a demo but had not yet seen one in action. As soon as Harold powered up the CL5 and played the previous evening’s show (using Virtual Soundcheck), I instantly commented on how clear the console sounded. The top end was clear and the bottom was tight…no smoke and mirrors here; great mic pre’s and plug-ins. As the Ryman’s audio supervisor, I am in the unique position to audition every type of console on the planet through the same PA, and this console rocks! For its price and size, the CL is jammed-packed with performance and features. It gets all A’s on my report card!”

Rubens said that while out with Heath, things were sounding so good that opener, Matt Maher, decided to release a live project using the tracks acquired during the tour from the Nuendo Live function of the Yamaha CL. “Yamaha digital consoles all have different feature sets that are not always available on other Yamaha consoles; i.e. the USB recorder on the LS9, the touch screen on the M7CL, and the direct to matrix send on inputs on M7s and 5Ds.The CL is a culmination of all those features plus a whole lot more, and to top it all, it sounds really, really good. This is an amazing package at an incredible price point.”

For more information on Harold Rubens, email hrubensaudio@gmail.com.

For more information on the Ryman Auditorium, visit www.ryman.com.

For more information on CTS Audio, visit www.ctsaudio.com.

For more information on the Yamaha CL Digital Console Series, visit www.yamahaca.com.

-END-

Photo ID: Rubens at Yamaha CL5 during Andrew Peterson’s “Behold The Lamb of God” Tour at the Ryman Auditorium in Nashville.

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

DPA Delivers Sweet Sounding Jazz

Acclaimed Chicago vocalist and songwriter Dee Alexander has joined the growing band of international artists who have discovered the joy of singing with a DPA d:facto Vocal Microphone.

Ms Alexander was encouraged to try DPA’s d:facto hand-held vocal microphone at the Umbria Winter Jazz festival, which took place in Orvieto, Italy in December 2012.

“I’m always willing to try something new. I was introduced to the d:facto during sound checks for the festival and wasn’t at all nervous about giving it a go,” she says. “I was impressed with its sleek look, the way it felt in my hand and the natural pure sound quality that allowed me to vocalize with ease and comfort. It was like tasting something sweet for the first time!”

Salvatore Zocco, product manager at DPA’s Italian distributor Casale Bauer, says: “Gianni Grassilli, whose PA rental company provided equipment and FOH sound engineers for the festival, has long been a fan of DPA microphones and was keen to try the new d:facto vocal microphone on a major project. We provided him with a couple of microphones and he encouraged the artists to use them and give feedback. Dee, who was one of the festival’s headline acts, really embraced the microphone and found it perfectly suited to her technique. On some occasions she was almost three feet away from the microphone, yet it still captured the dynamics of her performance and the amazing precision of her vocals.”

Although Dee Alexander’s talents span every music genre, from Gospel and R&B through to Blues to Neo-Soul, her real love is Jazz, which she delivers with a style and passion that is truly her own. Besides being a phenomenal headliner in her own right, Ms Alexander has performed as the opening act for many of her musical peers, including David Sanborn, Earl Klugh, Gerald Albright, Roy Ayers, Joshua Redman, and the O’Jays.

Dee Alexander’s Evolution Ensemble completed a CD entitled Sketches of Light, which was recorded and produced by Umbria Jazz. She is now working on a project focusing on classic songs by artists such as Gloria Lynn, Sarah Vaughan, and Nancy Wilson.

“I used the DPA d:facto for all of my performances in Orvieto and loved it,” she adds. “I can’t thank Gianni enough for introducing me to the d:facto. It captured the essence, quality and natural sound of my voice and I did not have to work hard at all. It truly is a microphone of excellence.”

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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