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Archive of the Microphones Category

Media Vision Appoints Cardone, Solomon & Associates as Manufacturer Representative

CS&A's team in training at Media Vision's MD office

CS&A’s team in training at Media Vision’s MD office



North Eastern AV professionals, take note of this: Media Vision’s line of professional conferencing microphone systems is now being supported by top of the line manufacturers representatives firm Cardone, Solomon & Associates (CS&A). The product portfolio includes TAIDEN Multimedia terminals, the TAIDEN Digital Infrared Wireless Conference system as well as a wide selection of wired tabletop and flush-mount microphones for audio reinforcement, language interpretation, electronic voting, and video tracking.

A shared vision for how to service the industry has been a key factor in this new partnership. “We seek manufacturers that have the passion, leadership, engineering, and a true desire to make their customers happy to do business with them“ says John Cardone, Co-founder of CS&A, “Media Vision shows that drive and spirit in all their enterprises, which explains their tremendous growth”.

While for Media Vision’s CEO Fardad Zabetian, “CS&A’s approach to go beyond traditional rep firms and act as a factory direct regional manager is very much aligned with Media Vision’s strategy and core values: experience, technology and local presence”.

Cardone Solomon’s team consists of 8 associates strategically covering 12 States from Virginia to Maine. Joining the sales force of Media Vision, they will receive local support from Media Vision’s offices in Washington DC and New York City with access to their training facility and the latest demo equipment including the new generation multimedia terminals and video monitor conferencing units.

“The microphone business is in our DNA, and we are thrilled to partner with a company that is truly focused upon the microphone conferencing category, wit such powerful technology combined with customer support” says Mike Solomon, Co-founder of CS&A. Having a long history of supporting microphone conferencing solutions, the CS&A representation will strengthen Media Vision and TAIDEN’s foothold in the North East.

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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

About Cardone, Solomon & Associates
Cardone, Solomon & Associates (CS&A) is an Independent Manufacturers Representative firm with 7 offices throughout the North Eastern Unites States servicing the Audio Visual industry. CS&A seeks to partner with forward thinking engineering driven companies in the Audio Visual industry whose product development is an ongoing process tied directly to the responses, feedback, and suggestions of its customers and the customers they serve. www.cardonesolomon.com

DPA Microphones Composes a Symphonic Solution for The Nielsen Project at Lincoln Center

DPA Microphones Composes a Symphonic Solution for
The Nielsen Project at Lincoln Center

TimbreMusic uses Company’s d:dicate™ Mics to record New York Philharmonic’s Commemoration of Composer Carl Nielsen’s 150th Birthday

DPA ddicate_NY Philharmonic_Mikkel NymandNEW YORK/COPENHAGEN, MARCH 18, 2015 – To commemorate the 150th Birthday of famed Danish composer Carl Nielsen, Denmark-based Dacapo Records is releasing The Nielsen Project, a collection of Nielsen’s symphonies and concertos as performed by the New York Philharmonic. During production, TimbreMusic Tonemeister Mikkel Nymand, recording engineer on the project, relied on DPA Microphones’ d:dicate™ 4015S Wide Cardioid and 4006A Omnidirectional Microphones to accommodate the unique audio requirements at Fisher Hall in Lincoln Center and to achieve a natural quality of the live ensemble.

As one of the most famous concert venues for classic performers, Fisher Hall has a history of presenting audio challenges for symphonic music, namely diffusions that fall short of producing a rich natural sound and an imperfect early reflection pattern. To account for this, Nymand tested the acoustics of the venue during pre-production to locate the best placement of microphone solutions. A longtime DPA Microphones user, Nymand knew that a combination of the d:dicate 4015A and 4006A mics would help alleviate these issues and provide the most natural sound.

“DPA mics have clarity, dynamics and the ability to re-produce original transparent sound, which are all qualities for which DPA stands,” shares Nymand, who is also a product manager for the Danish manufacturer. “I was forced to listen to different types of microphones during my education as an audio engineer, but I always come back to DPA Microphones. The natural element is most important to me. Once you have listened to the dynamics of a real orchestra, you can tell right away when the sound is not naturally produced. You know that pristine sound character is different for each instrument, so every time I want to be as close to the original sound source as possible, I return to the d:dicate 4006A Omnidirectional Microphone.”

To achieve a live surround sound reproduction with the utmost natural clarity, Nymand relied on the DPA Microphones S5 Surround mount. The S5 provides flexibility for distance placement and angling options for the mics while remaining hardly visible in a concert hall setting, allowing Nymand to surround mount three d:dicate 4006A microphones from the ceiling above the orchestra. Additionally, to capture the ambient sound, he positioned two wide cardioid d:dicate 4015A mics toward the audience. Additional microphones were spaced out on the stage to produce an optimal audio balance.

The setup was used to record in DXD (Digital eXtreme Destination), an extreme resolution format that can be reproduced on a CD to meet today’s technical standards. With four separate albums planned for the collection, Nymand captured a series of rehearsals and live performances over the course of three years. The recordings are then sent to TimbreMusic’s studio in Copenhagen, where music producer Preben Iwan edits the takes into the best musical performance.

“It’s a tricky hall to produce in, but we ended up with a sound we’re very proud of,” says Nymand. “The reviews have been very positive and a lot of people have said that it’s the best recording ever done at Fisher Hall.”

With musical direction by Alan Gilbert, the Nielsen Project is a multi-season survey of six symphonies and three concertos written by the beloved composer. With the CD of performances of Symphony No. 2 and No. 3 already released, it was heralded by The New York Times as “one of the Best Classical Music Recordings of 2012”. The flute and violin concertos were released in 2013. This past March saw an addition to the collection with the Helios Overture and Symphony No. 1 and No. 4. Upon its completion in 2015, The Nielsen Project will comprise four recordings, released by Dacapo and distributed by Naxos.

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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DPA Microphones is In Sync with Natalie Merchant

DPA Microphones is In Sync with Natalie Merchant
Veteran audio engineer George Cowan relies on a variety of
company’s mics to capture folk-singer’s artistry

DPA Microphones_dfacto_Natalie MerchantNEW YORK, MARCH 11, 2015 – Whether folk-rocker Natalie Merchant is on tour or in the studio, the musician’s long-time audio engineer, George Cowan, relies on DPA Microphones’ d:facto™ Vocal Microphone to provide the singer with the purest sound possible. Additionally, a combination of the company’s d:vote™ 4099 Instrument Microphones highlight the supporting live-string quartet, while d:dicate™ 4011A Cardioid and 4006A Omnidirectional Microphones have been used for the musician’s recent recording projects.

Cowan was first introduced to DPA Microphones while engineering at the renowned Bearsville Studios near Woodstock, NY. It was there, in 1989, that he met Merchant and the two have been working together ever since. For Merchant’s current tour, the singer added a new element, a string quartet, which required proper amplification. Cowan turned to DPA to find a low-profile miking solution with high-quality sound.

“I have mixed for a variety of live audiences, from stadiums to small clubs, so I know the importance of having a good microphone,” says Cowan. “Based off my experience and the company’s reputation, I knew that DPA would be the best solution for close-miking the quartet as the d:vote mics allowed us to get an isolated sound on the string instruments, which can be difficult to do with other brands. The d:votes solved every problem we had and are great microphones for live music because they just sound clearer. We prefer a subtle attachment mic, and its unobtrusive design allows us to eliminate clutter from the stage.”

In addition to the 2014 summer tour, Merchant, Cowan and co-engineer Eli Walker were busy working on the 20th anniversary re-recording of the singer-songwriter’s hit album, Tigerlily which features new arrangements and sensibilities.

“We used a d:dicate 4011A on the viola and seven d:dicate 4006As on the strings for the recording session for Tigerlily,” continues Cowan. “We also used the 4006As for ambience at the Club House, a studio in Rhinebeck, NY. The string mount that comes with the mics is the best in the business; I’ve never seen anything better. They’re not clumsy at all and they are really well thought out.”

In addition to using DPA to isolate the instruments, Cowan switched Merchant to DPA’s d:facto Vocal Microphone. “It was a no brainer when we tried the d:facto capsule on Natalie’s vocals,” adds Cowan. “It sounded better than anything we were using prior. I’m a big fan of DPA, every time I hear a performance using their mics, I’ve been impressed. I want to thank the crew at DPA for being so wonderful to work with. Natalie was also very appreciative and she plans on crediting the company on her next record.”

Cowan additionally expressed interest in trying out more of DPA’s mics for future applications. With more than 30 years of experience in the music business, Cowan has toured the world live-mixing for the likes of Joe Jackson, Joan Baez, Aimee Mann and Todd Rundgren. In addition to his work as a FOH engineer, Cowan served as a studio engineer for many years.

Merchant released her sixth solo album (also recorded with Cowan and Walker, using DPA microphones) in May, a self-titled and self-produced collection of 10 new and original songs, named Album of the Week by The Daily Telegraph, along with a debut at number 20 on Billboard’s Top 200. Additional albums include Tigerlily (1995), Ophelia (1998), Motherland (2001), The House Carpenter’s Daughter (2003) and Leave Your Sleep (2010). The 20th anniversary release of Tigerlily, due out next year, will also be accompanied by a live concert video that was filmed over two days at the Tarrytown Music Hall.

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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Dr. John Strikes a Chord with DPA Microphones

Dr. John Strikes a Chord with DPA Microphones
Monitor Engineer turns to company’s d:vote 4099 Instrument Mics for the legendary jazz musician’s piano

DPA dvote_Dr. John Piano1NEW ORLEANS, MARCH 4, 2015 – Following suit with many other legendary jazz musicians, Dr. John now uses a stereo pair of DPA Microphones’ d:vote™ 4099P Instrument Microphones for his grand piano. Whether he’s performing with the Night Trippers, a six-piece band in his hometown of New Orleans, or taking the stage at a jazz festival in Europe with a complete brass ensemble, the DPA mics provide the ideal amount of gain and clarity for the musician.

In addition to being situated within the closed-lid of Dr. John’s grand pianos, the horn section of his larger accompanying band also use the mics. “We only carry the stereo pair of d:vote 4099s for Dr. John’s piano, but when I have the full horn section I always rent additional ones,” says Briand Parenteau, monitor engineer for Dr. John. “DPA is my first choice for microphones because their products have all of the obvious qualities you would expect, and then some. They have greater gain before feedback than most mics and the off-axis rejection is also superior, so less EQ is required overall.”

The off-axis rejection is especially important for instances when Dr. John is performing in smaller jazz clubs as it removes the bleed of sound from the other instruments. For times when Dr. John is with the larger format band, Parenteau is happy to have all of the mounting accessories that come with the d:vote 4099.

“Before you even have a chance to listen to the d:vote 4099s, the first thing you notice is all of the available mounts for the mic,” adds Parenteau. “There is no other manufacturer that has so many high-quality mounting options. Whether you’re trying to mount it to a horn, piano or string instrument, the quality of the workmanship shines through. The high integrity they use in manufacturing each piece really makes a huge difference in the life of an engineer. Not only do we need great-sounding mics, but we need them to attach quickly, stay in the same position and not be obtrusive to the artist. The DPA d:vote series certainly accomplishes all of those things.”

DPA dvote_Dr. John Piano2As a monitor engineer, Parenteau has also taken notice of the other benefits the mic provides directly for the musicians. “It’s not just Dr. John who needs to hear the piano, but every other person in the band as well,” he explains. “The piano is the lead instrument and it’s what everyone follows. If they lose the piano or it doesn’t sound clear to them, it makes their job very difficult. The DPA d:vote 4099 mics have enabled me to achieve a better quality and a more natural sound, which is my ultimate goal.”

Parenteau joined Dr. John’s audio team in 2013 and began using the DPA d:vote 4099s earlier this year. Prior to his time with the legendary musician, Parenteau owned a regional sound company providing audio for everyone from Grammy Award-winning artists and Fortune 500 companies to state and national politicians. He also spent three years as a house of worship audio director and continues to freelance today serving an assortment of clients worldwide.

Sometimes also known as John Creaux, or Dr. John the Night Tripper, Dr. John is a singer-songwriter, pianist and guitar player whose unique style combines blues, funk, jazz and rock and roll. A six-time Grammy winner, he was inducted into the Rock and Roll Hall of Fame in 2011.

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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AV Concepts Pushes Envelope with Dante Media Networking for Live Event Production

PORTLAND, OR – February 26, 2015 – AV Concepts, an experiential marketing partner focused on delivering creative and technical event solutions, has integrated Dante networking into its production and event systems to cost-effectively migrate its audio infrastructure to a networked routing and distribution environment. The transition to Audinate’s Dante solution, in combination with AV Concepts’ investment in fiber optic systems, enables AV Concepts to set up its networked audio architecture in 30 to 45 minutes, compared to the six-to-eight hours typically spent deploying a legacy audio system.

Delivering best-in-class audio solutions continues to be a key focus for AV Concepts as the company evolves its strategy to effectively deliver cutting-edge creative and technical staging services. The need to deliver more audio channels at higher quality influenced the company to evaluate various media networking solutions available today. Seeking a solution to simplify infrastructure with flexibility to scale for event size, AV Concepts quickly focused on building a new system based on Dante. The company’s first Dante networking solution was such a success that they are in the process of building a second Dante production system.

“We are winning new business because of Dante,” said Jason Thiele, Audio Systems Engineer at AV Concepts. “Engineers want to work with innovative new technology, and our research and experience has proven Dante to be our best choice as a standard networking solution.”

On average, AV Concepts utilizes 180 routed channels per event. For Thiele, the headaches of the analog universe almost always tied to configuration and troubleshooting – headaches that quickly escalated and consumed far too much of their customers’ valuable time on show site. Thiele and his colleagues carefully compared Dante and several additional networking solutions but found the others underwhelming.

“We found that most of these systems were about putting a box on each end to move audio, and we wanted a more flexible system,” explained Thiele. “We wanted a turnkey system that could send as many channels as we wanted across a network and covered the entire chain, right up to the PA system. We recognized the benefits of Dante after Yamaha launched its CL console series, and we quickly redesigned our entire infrastructure to be Dante across the board. With fiber connections and Cisco layer 3 managed switches, we can easily route whatever we need to, wherever we need to go. And we can quickly make changes to scale the network for events of any size.”

That flexibility has been a major benefit of the Dante transition according to Thiele, given the drastic reduction in installation time, labor and complexity he and his team have experienced.

“With the new Dante Controller, we send the network template to the front of house (FOH) crew so they can pull up our configuration,” said Thiele. “The Dante channels automatically correspond to the devices on the network. Additionally, when they load a USB stick into their console, it readily
looks for the device and a specific Dante channel. Once everything is plugged in and turned on, the signals are automatically routed. There is no more worrying about a patch list from the FOH team.”

Today, an AV Concepts event experience incorporates multiple Shure ULXD4Q wireless microphones, five Extron DMP128 digital matrix systems, two Yamaha Rio I/O stageboxes, and a Yamaha CL5 console with two additional Yamaha MY16-AUD cards. The infrastructure also includes 45 Dante Virtual Soundcards to enable audio networking from computing platforms, giving the AV Concepts team additional flexibility with bringing audio signals onto the network.

Because of Dante’s flexibility, AV Concepts can take advantage of a number of improvements and benefits in preparation for and during events. The team can also easily add or drop microphones and stageboxes from their Dante network depending on event needs. And the days of having to pinpoint cable issues or address latency concerns during the show are in the past.

“We have the highest-quality standards for our customers,” said Thiele. “The noise floor and signal latency on all of our Dante devices is virtually non-existent. However, the flexibility and scalability are the main benefits. We see other companies that have a console and a couple of Rio racks, but we have found that there are much bigger possibilities with the power of Dante networking. In fact, we have had several competitor companies come to our shop to look at our setup and rig, and they’ve all been amazed at the sophistication and advantages of our system.” As for the true test adds Thiele, “You just need to look at our customer satisfaction to tell the story.”

About AV Concepts
AV Concepts partners with brands, their experiential marketing agencies, and production partners to deliver creative and technical event solutions. We offer a collaborative, in-house approach for general sessions, keynote productions and experiential marketing activations including creative, engineering, technology and staging. From intimate events to large user conferences, we grow and evolve with our clients as their needs adapt and change. And we’re always pushing the envelope, leveraging new technologies, or inventing our own, to ensure we’re creating immersive experiences that dazzle audiences and drive business results. Visit www.avconcepts.com to learn how we can partner with you on your next event or connect with us @avconceptsinc or on LinkedIn.

About Audinate
Audinate revolutionizes AV systems to enable our customers to thrive in a networked world. Audinate’s Dante media networking technology has been adopted by the leading OEM manufacturers and the dominant networking technology in the professional audio/visual industry. Dante is used extensively for live performance events, commercial installation, broadcast, recording and production, and communications systems. Audinate offices are located in US, United Kingdom and Australia. Visit www.audinate.com for the latest news and information on the company. Dante is Digital Media Networking Perfected.

Dante and Dante Via are trademarks of Audinate Pty Ltd, Audinate is a registered trademark of Audinate Pty Ltd.

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.”

-ends-

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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Related Topics: Microphones, New Products, News |

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

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