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Archive of the Microphones Category

Sergio Mendes and will.i.am have a (Governors) Ball with DPA Microphones

Sergio Mendes and will.i.am have a (Governors) Ball with DPA Microphones
The duo performed at the legendary after-awards party using company’s d:facto™ Vocal Microphones

DPA dfacto_Sergio Mendes SingersLOS ANGELES, FEBRUARY 25, 2015 – After awards were collected and the lights dimmed on stage at the Dolby Theatre, the stars hit the streets of Los Angeles to find their favorite after parties. Among these, the legendary Governors Ball, held at the Ray Dolby Ballroom at the Hollywood & Highland Center. Kicking off the event’s entertainment this year was Grammy® Winner Sergio Mendes, who performed songs with special guest will.i.am from their co-produced, Latin Grammy-winning album Timeless, using several of DPA Microphones’ d:facto™ Vocal Microphones.

Selected by Mendes’ Production Manager John Baker, wired and wireless versions of the d:factos were used for vocals by Mendes, will.i.am and the three female singers who performed centerstage for their roughly 45 minute set. Baker also selected DPA’s d:vote™ 4099 Instrument Microphones for a variety of the band’s instruments.

DPA dfacto_Sergio Mendes and Singers“My goal was to spread the DPA mics all around because, to me, they are the best mics out there,” says Baker. “These mics really work best when I just let them do what they do – no EQ, very minimal compression – it’s almost counter-intuitive as an engineer. I was very excited for this performance, to see how the DPAs would work, and I’m so happy to have used them.”

Though Baker is himself also an engineer, his wife Keiko Takeda is Mendes’ longtime FOH engineer, a role she once again took on for the Governors Ball. “Leading up to the event, I told Keiko about my experiences using DPA and how she wouldn’t have to process the mics very much to get a perfect sound,” says Baker, who notes that while he’s a very good mixer, his wife is even better. “She’s such a good sound engineer, so I was very interested to hear what she would think of the mics. She took my advice and the set sounded fantastic. It was very interesting to see how she worked with this new process and to hear how the mics performed. Keiko was definitely impressed as well. We’re now going to have a microphone custody battle should we have competing tour schedules.”

DPA dvote_Sergio Mendes Band_DrumsWhile available in both wired or wireless versions, Baker felt the traditional wired d:factos were best-suited to Mendes’ portion of the performance. “Sergio and his singers have excellent mic technique,” he explains. “The Mendes singers have spectacular voices, so they traditionally sing dynamically lower and further away from the mic. With the d:facto, they got a more comprehensive sound—because of the cancellation pattern and the way the mic is made—than they have achieved with other microphones. I selected wired options for them because, to me, a wired mic always sounds better than a wireless, it’s just the fact of physics.”

Since will.i.am tends to move more about the stage, Baker recognized that a wireless version would be the best solution for him. “There was the potential for other surprise guest artists showing up to perform with Sergio and Will, so I wanted to have the d:factos with the Shure wireless system on hand,” he continues. “I’m a total fan of the entire DPA line. Any opportunity I can get to open someone’s eyes to their sound, I’m ecstatic. The d:facto is really a perfect mic no matter what setup you use. The first time I ever used it, I thought ‘wow, those engineers at DPA sure have a sense of humor; they call it the d:facto—in other words, the fact or the truth. You literally just plug it in and let it do what it’s supposed to do.’ It’s really THE premier microphone for vocals.”

When he’s not doing production work for Mendes, Baker can be found on the road as FOH engineer for The Al McKay All Stars—featuring legendary Earth, Wind & Fire guitarist, songwriter and producer Al McKay—and The Jacksons, for which he also uses a large collection of DPA Microphones.

ABOUT DPA MICROPHONES:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com

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Professional Wireless Systems Teams Up With ATK Audiotek And The NFL To Tackle Frequency Interference At The Pro Bowl And Super Bowl XLIX

L to R - The PWS team, including Jim Van Winkle, PWS general manager, James Stoffo, PWS RF lead, Evan Hall and Richard StocktonPHOENIX, AZ, FEBRUARY 18, 2015Professional Wireless Systems (PWS) teamed up with ATK Audiotek and Versacom for the 19th consecutive year to deliver fumble free RF management of the assigned frequencies for several of the entertainment portions surrounding Super Bowl XLIX. Working directly with the NFL Game Day Frequency Coordinators (GDC) and Karl Voss, the NFL’s lead frequency coordinator, PWS offered its on-site frequency management support not only for the Super Bowl pre-game and half time entertainment segments, but also for the referee mics and the big game’s Pro Bowl predecessor.

Preparations began back in mid-October when James Stoffo, PWS RF lead, and Jim Van Winkle, PWS general manager, worked closely with ATK Audiotek’s Paul Liszewski and Versacom’s Matt Campisi to conduct site surveys. Once initial plans were in place, PWS submitted a list of frequency requirements to the GDC, who handled the frequency coordination for the entire event, including coaches’ intercoms, referee mics, network broadcasters, media and entertainment. Karl Voss then allocated the frequencies that PWS needed to integrate the entertainment needs with the other users at the Pro Bowl and Super Bowl.

PWS at the Pro BowlThe two games had very different set ups for their entertainment shows, each which presented its own unique set of challenges. For the Pro Bowl, PWS, led by Stoffo, handled frequency management for both the live national anthem, sung on the field by Jordin Sparks, and the half time show, featuring Nico & Vinz. Distance posed a potential problem, as the PWS team, including Evan Hall and Richard Stockton, needed to configure an equipment setup that would allow both the national anthem, sung on the field, and the half time show, on a bridge behind the end zone, to operate seamlessly.

“We had to remote all of ATK’s mic racks and in-ear monitor racks up to the bridge so that we had a local presence next to the stage,” says Stoffo. “It was additionally challenging for the wireless intercom setup, because we now had to cover a much greater distance, requiring more antennas and zones, so that the intercom could work seamlessly across several locations. It ended up working out perfectly, and it was a terrific show all around.”

PWS at the Super Bowl XLIX - 1

The Super Bowl half time show, during which Katy Perry belted out an array of her hits on stage at the 50-yard line, had its own set of challenges. “Katy Perry used five live Sennheiser microphones throughout her performance, switching microphones every time she went from one location to another,” says Stoffo. “The microphones were all sharing frequencies, which meant that each time she switched to a different microphone, we had to turn off all previously utilized microphones to prevent interference. Thanks to the hard work from Evan and Richard, this whole process was carried out successfully.”

Included in the equipment lineup supplied by PWS and ATK for both the Pro Bowl and Super Bowl were the Shure Axient® wireless system, Shure UHF-Rs and PSM-1000 Series in-ear microphones, as well as PWS Domed and Helical Antennas utilized for the ATK wireless systems on the field. The team also employed Sennheiser 3732 receivers with 5200 transmitters. Versacom provided a mixture of wireless intercoms, including HME PRO850 and BTR800s from Telex for the event. “In addition, the team utilized 24 Radio Active Designs UV-1G VHF Narrow Band™ Beltpacks for the first time, which made frequency management easier than any other time in the past five years. In utilizing VHF, we were able to free up a lot of the spectrum in the UHF band for other uses,” adds Van Winkle.

PWS at the Super Bowl XLIX - 2In total, the PWS team handled more than 70 frequencies in a backdrop of more than 1,000 to ensure that spectrum users were not interfering with one another during the Pro Bowl and the Super Bowl’s entertainment segments. “The PWS team did a great job at anticipating any potential problems and working together to quickly ensure a smooth show,” concludes Van Winkle. “A special thanks to Karl Voss, as well as the ATK and Versacom crew, who were all fantastic to work with and made for another successful year.”

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 led by President Stephanie Hansen and the firm’s third generation owner, Geoff Shearing. 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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DPA Delivers Pristine Audio During The Filming Of Taken 3

Stephane Bucher on Taken 3 set

Capturing high quality audio for a blockbuster film is always crucial as dialogue between the actors must be heard if the story is to be understood. But when the sound crew also has to contend with action-packed scenes featuring car chases and shoot outs, recording comprehensible audio becomes an even more complex challenge.

This was the situation French sound engineer Stéphane Bucher found himself in when he started working on Taken 3, the third and final instalment of the Taken film trilogy starring Liam Neeson, Forest Whitaker and Maggie Grace.

“I knew we had a lot of dialogue taking place in difficult conditions where using a boom mic just wasn’t going to work, so there was only one thing for it,” he says. “I reached for my stock of DPA d:screet™ 4060 miniature microphones and asked the wardrobe team to help me figure out where we could hide them.”

Bucher is no stranger to the versatility and exceptional sound quality afforded by these tiny DPA mics as he used them to great effect last year on the Luc Besson film Lucy, which starred Scarlett Johansson. On that occasion they were sewn into the seams of Scarlett’s t-shirt and delivered great audio without any visibility issues.

“When we were filming Lucy, Luc Besson only used one camera so we did have the option of using a boom mic for some scenes,” Bucher says. “The big difference with Taken 3 was that Olivier Megaton [the director] used three cameras at the same time so that he could capture numerous different angles. In tight situations, such as inside the police station where Forest Whitaker had five pages of dialogue to record, we couldn’t use only a boom because of the wide and tight angles. That was when the DPA mics became so indispensable. Their sound matched perfectly when the boom couldn’t be used. We recorded fantastic audio that came across loud and clear in the mix. By the end of the film I’d say that 80% of the audio was recorded using these mics.”

Internationally acclaimed as a sound engineer, Bucher has worked with numerous famous actors and directors including Morgan Freeman, Pierce Brosnan and Kevin Costner. In recent years many of the projects he has undertaken have come via major feature film producers such as EuropaCorp. He also owns and manages the Paris-based rental company, A4Audio, which supplies audio equipment to film and TV clients.

Bucher believes that good preparation was key to the success of the audio in Taken 3. Before shooting started in the USA, he spent four days with wardrobe staff figuring out the best places to hide the DPA d:screet 4060 mics.

“Unlike Lucy where the action took place over a very short timeframe, this film spans a longer stretch of time so there were more costume changes to content with,” he explains. “Hiding microphones in clothing only works if you can avoid scratching or chaffing noises. We did pretty well with most of the costumes until we came up against a waterproof jacket that Liam wore in a few scenes. This was made from really noisy fabric, so the wardrobe department put a noiseless soft tissue into the jacket to prevent the mic from picking up the crackling of the cloth. Luckily the 4060 was sufficiently sensitive to be able to pick up the sound we did want without any problems.”

For scenes where the action took place within a car, Bucher used DPA d:dicate™ MMC4018-ES supercardioid microphones with MMP-ES active cables with side cable, which were supplied by DPA’s French distributor Audio2.

“They were great,” he says. “I used them for the first time and for one particular car chase where Liam Neeson is driving very fast on the highway. I needed a very small mic to put into the car’s sun visor. We bought two new sun visors, opened them up and put the 4018 mics inside. This was possible because the cable comes out of the side of the mic and it worked perfectly that way. We also tested them on a much simpler car scene, in which Forest Whitaker is driving and talking, and they worked great for that, too.”

Bucher adds that he is so impressed with the results he has achieved when using tiny DPA microphones that he now wants to use DPA mics on a boom.

“I’ve got some new film projects coming up and I think one of them will be ideal for this,” he says “It’s going to be shot in Denmark later this year, so what could be better than using Danish DPA mics? I have no doubt that I’ll get great audio quality if I do use them because this is what DPA is renowned for – really translucent, clear, natural sound.”

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Revolabs Now Shipping Elite Wired Microphones

Design-Driven Devices Bring Color and High Quality Audio to Conferencing and Unified Communications Environments

SUDBURY, Mass. — Feb. 3, 2015 — Revolabs(R) today announced that the company is now shipping its new line of beautifully designed Elite Wired Microphones. Combining elegant colors with Revolabs’ highly acclaimed audio engineering, the cutting-edge microphone family allows conferencing environments to augment sound quality for meeting participants while seamlessly integrating with any ambient color scheme or design. more

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TAIDEN Digital Infrared Language Distribution is Turning 40… Channels

TAIDEN 40-channel Digital Infrared Receiver

TAIDEN 40-channel Digital Infrared Receiver

The world’s first 40 channels digital infrared receiver, unveiled by TAIDEN this month, will be on display at Media Vision’s booth 3-A118 at ISE. The HCS-5100Plus series is a forward-looking solution based on the growing needs expressed by European institutions. The product is intended for high-fidelity wireless language distribution uses in multilingual conferences.

The HCS-5100Plus new generation language receiver has the same user-friendly design, with a large LCD displaying the complete name of the selected language in addition to the channel number, battery status, signal intensity and volume level. The system main unit audio interface has been upgraded to provide 40 RCA jacks as well as connectivity through Dante.

In large multi-country conference settings, ensuring that language is no barrier to understanding can be a real challenge for conference organizers. Meeting facilities that are intended for multilingual conferences – such as headquarters of inter-governmental organizations – are usually equipped with integrated wired simultaneous interpretation systems. For all other meeting facilities, a portable wireless language distribution solution is required.

TAIDEN’s wired digital conference system offers 64 audio channels enabling meetings in up to 63 languages, the highest possible number. Media Vision has provided such interpreting solutions, in the forms of microphones with built-in language channel selectors or flush-mounted channel selectors in armrests of chairs, for installation in many international organizations.

TAIDEN’s wireless language distribution system uses digital infrared technology. Ensuring crisp clear audio quality and no interference from RF devices, digital infrared language distribution systems are a norm in the conference interpreting industry. Up till now, they were limited to 32 channels or less. TAIDEN’s release of a 40-channel system is thus a major development for today’s linguistic needs, and offers relief to key users such as institutions of the European Union.

Supporting TAIDEN technology solutions for conference interpreting in Europe and North America, Media Vision is proud to offer the new HCS-5100Plus 40-Channel Digital Infrared Language Distribution System, and keep on promoting greater cultural and linguistic diversity.

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About Media Vision
Media Vision is a leading provider of professional wired and wireless conferencing solutions for multipurpose meeting rooms, VTC boardrooms, training centers, council chambers and auditoriums. Supported by feature-rich, flexible technologies, powerful software, and a dedicated product engineering team, we work with system integrators and consultants to design conferencing solutions that improve the audio intelligibility in the room and on the far end for distance communication. Additional information can be found at www.media-vision.com

DPA Microphones Are The Perfect Accompaniment For Lamia

Lamia Bedioui with DPA dfacto  (1280x903)

Tunisian singer Lamia Bèdioui is renowned for her unique vocal style that combines extensive range with a huge amount of sensitivity and acoustic detail. Taking her influences for a variety of cultures and musical traditions, Lamia is highly respected on the World Music circuit and much in demand as a collaborator with other musicians.

In recent months, Lamia has been recording her second album, Athamra. For this project she switched entirely to DPA microphones because she and her sound engineer, Andreas Kamenidis, felt DPA was the only brand capable of delivering the clear, clean signal she wanted.

Currently based in Greece where she has lived since 1992, Lamia’s repertoire embraces ballads, opera-style singing, improvisation, acoustic music, storytelling, rhythm, dynamic range and rich harmonic variations. Capturing such diversity is an enormous challenge, but Kamenidis thinks DPA is easily up to the task.

“We have 12 DPA microphones in total – a wired d:facto™ Vocal Microphone for Lamia; five d:vote™ 4099 Instrument Microphones that are mainly used on acoustic guitar and traditional instruments such as the kanun, Cretan lyra, oud, mandolin and lute; a d:screet™ 4090 Omnidirectional Microphone for instruments, vocals and as overhead and a d:screet™ 4091 Omnidirectional Microphone for frame drums and various percussions. We have completed our line-up with four d:fine™ Directional Headset Microphones, which are used by Lamia when she is storytelling and by the rest of the band for backing vocals. These mics are also ideal for capturing small wind instruments that are in close proximity to the face, for example the kaval, flute, jaws harp and kazoo.”

Kamenidis adds that the DPA microphones have now been used to record vocals, instruments and percussion for Lamia’s new album and also to replace previous recordings that were not done with DPA and were therefore not up to the standard Lamia wanted.

“The signal is so clear now,” Lamia adds. “The sound is very focused, fresh and alive. I really like the accuracy and precision we are achieving with these microphones – even a rough recording made with DPA is potentially good enough to fit into the mix. Everyone in the band is enjoying the new recording sessions, especially me as now I can truly recognise my voice.”

Kamenidis is using DPA for both live and studio work, and says they are ideal for both situations.

“They allow us to capture the pure, analogue sound of the band’s instruments,” he says. “The d:vote 4099 Instrument and d:fine Headset Microphones are particularly versatile because they offer close miking, stable mounting, easy patching and dispatching and crystal-clear sound capture.”

Kamenidis adds that Lamia takes great interest in her sound and how it is technically achieved.

“When we first met, I realised her demands were very high and I was surprised to hear her describing in very clear detail exactly what she wanted,” he says. “At that stage she wasn’t happy with the sound she was getting. She was using different equipment in different environments, and this inevitably affected the end results. She couldn’t find the proper balance and was therefore unable to achieve her desired sound.”

Kamenidis created a technical rider for Lamia that addressed all of her touring and recording needs 100%. Investing in DPA microphones was key to getting her sound right.

“I explained that she should only invest in equipment that told the ‘truth’, equipment that could support and highlight her skills and ideas, equipment that she could trust. That is why I recommended DPA.”

As a singer, Lamia was particularly keen to have a vocal mic that didn’t colour the sound of her voice. Kamenidis recommended DPA’s d:facto Vocal Microphone because it offered an exceptionally natural sound, superior gain before feedback and high separation from nearby sound sources.

“Lamia also wanted the opportunity to move about and to give the audience a very clear view of what was happening on stage,” he adds. “DPA’s d:fine Headset Microphones allow her this freedom of movement and give the audience a nice sense of an unplugged show. And in real ‘unplugged’ conditions, we are able to use our DPA microphones to silently record the performance.”

Lamia’s new album will be released in April 2015. For more information about Lamia and her music please visit http://www.lamiabedioui.com/

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Golf Channel’s News Show Golf Central Stays in Swing with Lectrosonics

Stef_Butler_Golf_LectrosonicsMedium

Los Angeles, CA (January 28, 2015) — As part of the Comcast Programming Group, Golf Channel is the gold standard when it comes to the sport of golf. Shot on location throughout California, including Beverly Hills, Pebble Beach, and San Diego, Golf Channel operates in partnership with the PGA Tour and showcases the biggest and the best of everything related to the sport for the television news show, Golf Central. Capturing the magic of this sport must be done efficiently and without distracting the competitors. That’s precisely why, when it comes to location sound recording, Digital Hybrid Wireless® technology from Lectrosonics plays a central role in the show’s production.

Los Angeles-based Stef Butler serves as the show’s camera operator and high-definition engineer and selects and specifies equipment. With a background that encompasses working on the production teams for the TV shows Wheel of Fortune and The Biography Series on A&E, as well as contract work for NASA/JPL, Butler knows what it takes to capture the activity without holding up production. And he relies on an arsenal of Lectrosonics UM400 beltpack transmitters, SRb5P slot mount ENG receivers, and IFBR1a beltpack IFB receivers.

“For my work with the Golf Channel, I’m using eight UM400s, four SRb5P receivers, plus four of the IFBR1a beltpack IFB receivers,” says Butler. “Much of my work for the Golf Channel show, Golf Central is news related, so it’s fast paced. The Lectrosonics SRb receivers are an essential part of my kit in such an environment. It really makes a tremendous difference having the receivers mounted in the slot inside the camera’s body, as it increases both ease of use and efficiency.”
A matter of vital concern to someone in Butler’s field is the equipment’s ease of use. “The very nature of news gathering is demanding,” says Butler. “Having a wireless system that is intuitive is a tremendous help. I constantly encounter situations where the RF frequencies need to be changed in order to avoid RF interference and optimize sound quality. Lectrosonics equipment makes it very easy to scan for open frequencies and then lock them down with a single button press.”

Sound quality is, of course, central to Butler’s work and, here too, he was very complimentary of Lectrosonics’ Digital Hybrid Wireless® technology. “Lectrosonics’ Digital Hybrid Wireless technology sounds terrific and makes for a strong signal with very low power consumption,” adds Butler. “I experience great range with this equipment and the sound never exhibits any of the sonic artifacts that are common with wireless systems using a compandor.”

Knowing your equipment is reliable is one thing. Equally important is the knowledge that if something happens, the equipment manufacturer offers knowledgeable and responsive support services. In this regard, Butler offered the following, “Lectrosonics is very supportive of its customers. They understand the nature of our business and recognize that, when answers are needed, they’re frequently needed ASAP.”

Before turning his focus to preparation for an upcoming shoot, Butler offered these closing thoughts, “I honestly can’t think of a better wireless system than Lectrosonics. My Lectrosonics gear delivers excellent sound quality, bulletproof reliability, along with great tech support and customer service. I wouldn’t trust my business to any other manufacturer.”

For additional information on the services of Stef Butler, contact him at steffinbutler@gmail.com.

About Lectrosonics
Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company’s dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com.

CAD Audio Expands USB Mic Line With GXL2600USB

GXL2600USB angleSolon, OH––CAD Audio added the new GXL2600USB to its popular line of USB microphones at the 2015 Winter NAMM Show.

Reflecting CAD Audio’s longstanding reputation for designing and building high-value studio and live performance microphones, the GXL2600USB is a Large Diaphragm Studio Condenser mic designed with the highest quality materials to provide exceptional performance and accuracy in a variety of computer-based recording situations.

The GXL2600USB features a 1” Aoedein™ large diaphragm condenser capsule that enables the mic to achieve full range studio fidelity with exceptional transient response. The Aoedein capsule is paired with CAD’s PureTone™ A/D converter to further ensure a clear and efficient signal path. The GLX2600USB is supplied with a studio quality shock mount, desk stand and cable.

Specifications
• Polar Pattern: Cardioid
• Frequency Response: 20Hz to 20kHz
• Sensitivity: -35dB
• Equivalent Noise Level: ≤15dB (A Weight)
• Max SPL: 135dB
• High Quality PureTone™ A/D Converter
• Windows 8 and Mac compatible

For more information about CAD Audio, call 800.762.9266 or visit www.cadaudio.com.

DPA Microphones and Blues Duo P.S. are d:dicate’d to Autism Awareness

DPA Microphones and Blues Duo P.S. are d:dicate’d to Autism Awareness
Company’s d:dicate™ 4011A and d:facto™ Vocal mics used for blues album and performances

Dan SpitzANAHEIM, JANUARY 21, 2015Dan Spitz, co-founding member, co-producer and lead guitarist of the American thrash metal band Anthrax, and vocalist Michaela Paige, a Top 12 contestant on Season 3 of NBC’s hit reality TV show The Voice, have collaborated to form P.S., a unique blues duo with the mission of raising autism awareness around the world through a soon-to-be-released, self-titled acoustic EP. For the project, Spitz plays several unique Weissenborn lap slide guitars, which he recorded using a stereo pair of DPA Microphones’ d:dicate™ 4011A Cardioid Microphones, an equally distinctive microphone capable of capturing the instruments’ exceptional acoustics. In addition, Spitz knew that DPA’s d:facto™ Vocal Microphone would lend perfectly to Paige’s vocal range. The pair will also use DPA microphones during a performance on the 2015 NAMM Show Main Stage on Thursday, January 22 at 1 p.m.

Having previously used DPA’s d:dicate 4011A to record the Weissenborn, Spitz knew that the mic would once again be perfect for this album. “The unique sounds that can be achieved with this instrument help me bring my personal experiences to life,” says Spitz. “With the Weissenborn, you’re playing all frequencies continually, and that’s the beauty of the instrument. The 4011A captures baritone to alto sounds and gives the microphone a chance to recover, even in a condenser form, before switching over to grab another frequency. When I started to select microphones that would best suit this recording, I knew I needed something that could project the purity and tonality of my instrument and Michaela’s vocals. The songs had to sound exactly like what we heard while we played. I knew the natural sound of the DPA mics would be an ideal solution.”

Paige, who is using the d:facto with both wired and wireless setups, echoes Spitz’ sentiments. “I think this is an absolutely beautiful microphone,” she says. “The d:facto has a clearness and a smoothness to it that I haven’t found with previous microphones. I fell in love with it the first time I used it. I’ve noticed that Dan’s mics are also great at picking up the bluesy sound of his Weissenborn, giving our album just the right amount of soul. I’m very happy to have been introduced to all of the DPA mics. They perfectly capture the sound of this project, which encompasses everything Dan and I believe in.”

In the future, the duo plans to take the d:dicate 4011A and d:facto mics on the road, praising the simplicity of switching between setups and having mics that can highlight the range of sounds. “I’m excited to take the mics on the road with me for my live performances, like the one at the 2015 NAMM Show,” Spitz adds. “We have a great sound that will appeal to a large audience, not just blues fans. My goal is to raise autism awareness through music, and I plan on reaching as many people as possible.”

In addition to his role as Anthrax’s lead guitarist and co-producer, Spitz’s six-string accomplishments include several Platinum, Multi-Platinum or Gold albums and soundtracks, as well as three Grammy® nominations. He is also the first heavy metal artist to have his music played on another planet. Chosen by NASA to place the first top 10 song chart on Mars to awaken the NASA Curiosity Rover 2012 – alongside prestigious songs from Frank Sinatra and the Beatles, among other revered artists – Spitz can be thought of as the first intergalactic heavy metal recording artist.

Already an iTunes Top 100 artist, 19-year-old Paige has made it to the Top 10 on U.K. and German Dance charts and has been mentioned in USA Today newspaper, Rolling Stone magazine and on Access Hollywood. With a voice that’s reminiscent of the greats, like Billie Holiday and Ella Fitzgerald, Paige has wowed international audiences and philanthropic circles, performing jazz, blues and R&B standards.

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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Revolabs’ Executive Elite Wireless Microphone System Wins SVC Innovative Product Award

SUDBURY, Mass. — Jan. 20, 2015 — Revolabs(R) today announced that the company’s flagship Executive Elite(TM) wireless microphone system has been awarded a 2014 Most Innovative Product Award by Sound & Video Contractor magazine. Chosen by readers, the honor recognizes the year’s top thirty electronic and mechanical innovations across the professional A/V industry that demonstrate ingenuity, creativity, and technical achievement. more

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Related Topics: Corporate AV, Microphones, News |

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