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Archive of the Microphones Category

First Electronic Nameplate Solution for Efficient Meeting Environments

With the new product HCS-1030U Electronic Nameplate, TAIDEN has taken one more significant step towards achieving paperless meetings and leading innovation in the conferencing field. Media Vision, the point of contact for TAIDEN sales and support, is proud to offer this new solution already installed at the United Nations Headquarters in New York and featured at major events such as for Malala Yousafzai’s address to the UN Youth Assembly in July view video.

“It is hard to believe how much dedicated time and personnel organizations use solely to print and place individual nameplates prior to each meeting.” Says Fardad Zabetian, CEO of Media Vision, “The Electronic Nameplate is making meeting management more efficient and convenient while representing a significant source of cost savings”.

Available as a standalone solution or as part of a conferencing system installation, the electronic nameplate can display information such as the name and title of participants, the conference name/logo, the company name/logo, the country name, the participant’s seat and more flexible options. Meeting attendees see their information displayed electronically upon sign-in. Sign-in can be done remotely by the operator or by the participant itself using personal IC cards.

The soft display on the front and rear of the unit, with white text on a black background, prevents the nameplate from emitting too much light and delivers great results for photographs and video recordings. With a low power consumption design the energy and environment are also well thought off.

The TAIDEN HCS-1030U is the ultimate solution for modern meeting environments, especially recommended for installation in legislative assembly rooms, interactive training facilities or international conference centers.

DPA Microphones is the Talk of Evergreen Community Church

Northwest House of Worship Relies on Company’s d:fine™ Headset and d:vote™ Instrument Mics to Provide Natural Sound for its Main Campus

OLYMPIA, WA, DECEMBER 5, 2013 ― Evergreen Community Church has multiple campuses throughout Washington, but it is the house of worship’s main campus in Black Lake that hosts the largest Sunday Morning gatherings, with two services in their 1,500-seat auditorium. As more than half of the service is dedicated to the spoken word, Evergreen relies on the precision of DPA Microphones’ d:fine™ Single-Ear Omnidirectional Headset Microphones, d:fine 4066 Headset Microphones, d:vote™ 4099 Instrument Microphones and d:screet™ 4061 Miniature Microphones to project the clear, natural sound of the Pastor’s voice and the supporting instruments of the Evergreen Community Church worship band.

As one of the key FOH volunteers at the Church, Duke DeJong is responsible for everything from ensuring the clarity of Lead Pastor Jim Ladd’s spoken message to mixing the worship band. Also playing a dual role as Church Relations Director for CCI Solutions, an audio dealer specializing in HOW audio, DeJong was able to work with both groups to provide all of the gear necessary for the Black Lake Campus to have an ideal mic solution after the church upgraded its PA system. While providing excellent audio, the new speakers also highlighted the noise of the church’s former mic setup, prompting DeJong to turn to the always natural-sounding DPA Microphones for a solution.

“My number one requirement for any microphone is always going to be clarity and intelligibility, along with a reasonable cost factor as well,” says DeJong. “DPA is especially incredible for speech, orchestra and acoustical instruments, filling all the needs of a house of worship. We primarily use the d:fine as our go-to speaking mic, the d:vote for our grand piano and the d:screet for our stringed instruments, most often violin. The spoken word is over half the service, and the church has a long history of great orchestra instrumentation, so the audio quality has to be great.”

The clarity of spoken word at Evergreen Community Church is achieved through a combination of a d:fine™ Omnidirectional Headset Microphone and a d:fine 4066 Omnidirectional Headset Microphone. Aside from accurate audio, both models are extremely comfortable for extended use, an important factor Evergreen Church looks for in a headset mic for the Pastor.

“I have a personal d:fine that I use when I go to speak at conferences,” adds DeJong. “I forgot it for a recent conference I spoke at, and I had to use a competitor’s headset microphone. I ended up finally taking that off and not wearing a mic at all. The other mic just wouldn’t fit right on my ear or stay put once I got it situated. I also find that competitor mics may not hold up over a long duration. Durability, stability and comfort are critical if our pastor is going to be up there speaking for 30 minutes. I need him not to be fussing over the ear piece the entire time.”

To ensure full comfort, the d:fine is adjustable to any ear or head size and shape, and is easily customizable by swapping from dual-ear to single-ear modes. In addition to the d:fine, the main venue uses two d:votes with piano attachments and a d:screet for the violin to solve the church’s need for accurate instrumental audio.

“After we installed a new PA system, it also quickly became important to improve our instrumental microphones,” continues DeJong. “We tried many different microphones on the grand piano, and it just never sounded good. Once we set up the DPA d:vote 4099 Instrument Microphones on the grand piano, we were in love with the clarity and fullness of the sound. We then added the d:screet 4061 Miniature Microphone on our violin. The instrument sounded so beautiful and natural that it was like I was standing right next to it. I also love the versatility that DPA mics offer, so occasionally I borrow them from the instruments to serve other purposes as our needs at the church change from time to time.”

The d:vote 4099 Instrument Microphone is a unique, lightweight, microphone that has mounting options for almost all acoustic and woodwind instruments, solving the needs of the worship band’s musicians during service. The 4061 Omnidirectional Microphone is designed for theater, live and studio applications, boosting the natural sound of acoustic string instruments. Both the d:vote and d:screet are easy to modify to fit multiple needs.

“To say it simply, I’ve used DPA Microphones for almost a decade now because they are one of the clearest, most natural and best sounding microphones,” says DeJong.

Evergreen Community Church has two locations in Olympia, Washington in addition to the Black Lake campus. On Sunday nights, the church holds an outreach program at the Evergreen Community Center, combining music with discussions about challenges and faith.

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.

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Masque Sound Celebrates the Spirit of the Holiday Season with Christmas Live! 2013 at GraceWay Bible Church

As GraceWay Bible Church gets ready to stage its annual holiday program, Christmas Live!, Masque Sound, a leading theatrical sound reinforcement, installation and design company, returns with a custom audio equipment package to support Sound Designer Nathan Schmalbach and Technical Director Kevin Webb’s production.

Now in its fifth year, Christmas Live! is an immersive experience transporting visitors back 2,000 years to the very first Christmas. An hour-long guided walking tour, it features 11 interactive scenes with actors and animals located in and around the church grounds. The cast and crew total 300 people, with 15 involved directly in its technical aspects.

This is Masque Sound’s third year providing rental gear for Christmas Live!. As the program has grown over the past three years, so has the company’s support. In 2011, Masque Sound supplied a large wireless rig to distribute audio throughout the show. Last year, the rental package grew to include a semi-centralized system, and this year, Masque Sound provided a system that will allow the entire program to be centralized.

“Our goal over the past few years has been to centralize all of the controls for the entire program, which is no easy task when you are talking about remotely mixing and controlling 11 different shows, all of which are active at the same time,” says Schmalbach. “We have been working with Masque Sound for months to make sure we have the necessary equipment to execute this. It’s been a challenge, but Masque Sound has done a great job in giving us the gear and support to make our vision a reality.”

In order to mix the show from one central point, Schmalbach and his team will utilize a binaural audio (3D Audio) remote listening system. The system is composed of AKG C414 B-ULS and Earthworks M30 microphones, Genelec 1032A and 8030A monitors, XTA DP448s and Meyer Sound Galileo 616s for processing, XTA DS8000/D splitters, Rational Acoustics Smaart software and a Midas Venice 240 console. Audio is distributed from the control center with a Riedel RockNet 300 digital audio network. The speaker package consists of L-Acoustics MTD108As, 115XTs, SB218 and dB-SUB subwoofers, and Meyer Sound UPM-1Ps, UPA-1Ps and UPJ-1Ps. All of the L-Acoustics speakers are powered via Lab.gruppen fP Series amplifiers.

Figure53 QLab software running on Mac Minis with RME Fireface 800 interfaces handles the show’s effects and music playback. Masque Sound also provided a large wireless rig consisting of a Sennheiser 2000 Series 24-channel kit. To accompany the Sennheiser wireless package, Masque Sound supplied four Domed Helical Antennas from its sister company, Professional Wireless Systems (PWS).

“Masque Sound is always there for whatever we need. The program would not be as technically advanced as it is without their first-class equipment and support,” adds Schmalbach. “They do a wonderful job, and we can’t imagine working with anyone else.”

Christmas Live! will take place Friday, December 6 and Friday, December 13, starting at 5:30 p.m., and Sunday, December 8 and Sunday, December 15, starting at 4:30 p.m. For more information and to get free tickets, visit www.gracewaybc.org.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

Earthworks Microphones Capture Singing Christmas Tree Performances

Highland Baptist Church utilizes 22 Earthworks High Definition Microphones™ for Singing Christmas Tree Performance

Milford, NH – Franklin Denham, Minister of Music at Highland Baptist Church in Meridian, Mississippi, has been conducting Singing Christmas Tree performances since 1985. The history of singing trees goes back to the outdoor presentations in 1933 at Belhaven College, Jackson, MS, which is considered the first and oldest outdoor Singing Christmas Tree event in America. At the time, indoor performances were rare, as it required a rather large church to accommodate this type of performance. All of the tree performances at Highland Baptist Church have been continually held indoors and are performed 6 times each year. Over the past 29 years, there have been approximately 2,800 attendees per season. Depending upon the year, there will be from 65 to over 100 singers on the tree. It stands 35 feet high, with nine rows of singers and weighs 21,000 pounds fully loaded.

“Over the years we had used conventional condenser microphones for sound reinforcement on the tree,” explains Denham. “About four years ago we converted to Earthworks® and placed 16 SR30 High Definition Microphones™ on the tree. The Earthworks microphones make 60 singers sound more like a hundred. We are able to get more gain-before-feedback. This allows us to bring the choir sound up to a level that will balance well with our 21-piece orchestra and organ. An immediate bonus of the Earthworks microphones is a dramatic improvement in intelligibility. If a choir can be heard and understood, what can be better than that?”

The choir begins each program singing on risers directly behind the orchestra. For these selections, Denham utilizes 4 Earthworks FW730 Flexwands™. “The Flexwands provide us excellent coverage of the choir, more gain-before-feedback and more intelligibility,” says Denham. “The rear rejection of the Flexwands keeps the leakage of the orchestra into the choir microphones at a bare minimum. The Flexwands are almost invisible from the congregation when the house lights are up. When house lights are dimmed, the Flexwands become completely unnoticeable. One of my favorite features of the Flexwands is that the microphone connector is in the base and there are no visible wires above floor level. The Flexwands are light years ahead of our previous microphones.”

“I would also like to mention that we have an Earthworks PM40 PianoMic, which is just stellar. We use a few extra SR30s for solo instruments. The recent addition of an Earthworks podium microphone allows us to hear the spoken word with incredible detail and clarity either on, or off-axis. The use of Earthworks High Definition Microphones™ has made an incredible improvement in our church services and music performances.”

earthworksaudio.com

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Related Topics: Houses of Worship, Microphones, News |

DPA Microphones Bring Quality Sound to Studio and Small Screen

Audio engineer Richard Gough is the latest in a roster of high profile Front-of-House engineers who are investing in DPA d:facto™ II Vocal Microphones for use with big name recording clients.

Gough has been using d:facto Vocal Microphones supplied by DPA’s UK distributor Sound Network with a number of artists. One of these is Conor Maynard who has tried the microphone in the studio for small live recordings, and in a broadcast setting for live TV performances including one for SBTV and another for ITV2′s Xtra Factor.

“Maynard is still quite fresh and new to the music industry,” Gough explains, “so I didn’t really expect him to notice using different mics on his own vocal. But after using the d:facto for about ten shows in a row, there were a couple of TV performances where we had to use another brand of wireless mic and he instantly noticed the difference. He wasn’t happy with the amount of ‘pop’ or the ‘booming’ in the low end that these other microphones were giving. It was a noticeable difference for him.”

Also impressive for Gough has been the way DPA’s d:facto Vocal Microphone performs, even d when used in an unconventional way.

“Conor ‘cups’ the mic, like a rapper,” he explains, “and this distorts the polar pattern of the mic. But noticeably with the d:facto, this doesn’t seem to matter too much. I still get plenty of gain before feedback in my side fills, so his vocal is there if his ears fail. This is one of the most impressive things about the mic. It has such a smooth response and gives lovely warm lows without ‘popping’ and ‘booming’.”

Gough’s criteria for an ideal mic are build quality, sound quality, gain before feedback, and adaptability. DPA’s d:facto vocal Microphone possesses all of these attributes, he says, and is adaptable too, with the ability to change the capsule with just a few turns.

“The d:facto Vocal Microphone makes my job so easy: previously I was always using the parametric EQ to get rid of little things I didn’t like the sound of, which I now realize were down to the old mic. Now I’m leaving it completely flat, just high-passing to about 125Hz. It couldn’t be simpler: I add a compressor to the channel, with a nice reverb and I’m done.”

Gough has been using DPA d:facto Vocal Microphones in several tiny venues recently and says its performance “was amazing”. Artists he has used it with include Conor Maynard, Sivu and the band Kowalski – with Lauryn Hill possibly next in line.

“She is such a stickler for her IEMs and wedges sounding great but also being very loud,” he explains, “so that’s going to be my next d:facto challenge.”

Equally at home in sound reinforcement and recording applications, DPA’s high quality d:facto II Vocal Microphone is designed to offer extraordinary natural sound, high separation from nearby sound sources and extreme sound level handling. Its supercardioid pattern and superb definition gives high separation and true sound colour on stage. A three-stage pop protection grid built into the microphone removes unwanted noise.

The d:facto Vocal Microphone provides improved audio performance as it is linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly. The flexibility of its adapter system gives the user simple and affordable possibilities of choosing either a wired DPA handle or the professional wireless system of their choosing, with no loss in sound quality.

-ends-

About Richard Gough
Originally from Northern Ireland, Gough has toured with the likes of Muse, Radiohead, Van Morrison and Sigur Ros. He runs his own company, Noiseboi, and has recently worked with Lauryn Hill as Production Manager and Monitor Engineer and Conor Maynard as Monitor Engineer.

For more information, please visit www.noiseboi.com

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

DPA Microphones At The Top Of The Class

Children are lovely, but they do have a habit of breaking things, which is why any piece of equipment used in a school environment needs to be very tough.

According to Matthew Talks, founder of educational equipment specialists Podboffin, DPA’s versatile d:fine™ Headset Microphones certainly fit the bill because they are virtually unbreakable, even in the hands of kids.

“Usually, radio mics in schools have a short lifespan due to cables breaking,” Talks says. “However, I have yet to use the spare DPA mics that I bought recently because the first set I acquired are still going strong. Even if the cable were to break, the modular construction of DPA’s d:fine Headset Microphones means I can replace just the cable at a fraction of the cost of the initial outlay.”

Established in 2010, Podboffin provides recording, sound installation and live production services to schools and also offers advice on choosing the right audio equipment, setting it up and operating it. The company recently invested in a dozen omnidirectional single-ear DPA d:fine Headset Microphones, supplied by DPA’s UK distributor Sound Network, which are now being hired out to UK schools.

“I was familiar with DPA microphones having previously sub-hired d:fine units, so I decided to purchase my own,” Talks says. “In schools, the number one requirement is always for radio mics because the biggest sound problem school productions have is hearing students singing over a live band. The d:fine Headset Microphones completely solve this because I can get the capsule in really close to the singer with no plosive issues and with crystal clear sound.”

Talks admits that, in the educational market, cost is inevitably an issue.

“However, once schools hear the difference that pro mics make when compared to budget mics – and see how little effort is required to get superb results – they never go back,” he says. “I have yet to hire out d:fines and not get repeat business.”

DPA’s popular d:fine Headset Microphones are specifically designed for actors, public speakers, broadcast hosts, musicians and singers who want a lightweight, easy to wear headset microphone that leave them free to move around without compromising vocal quality. With their impressive gain before feedback and very stable construction, these unobtrusive microphones provide a discreet solution that can hardly be seen on the face. The range, which is renowned for its audio accuracy, is available in both directional and omnidirectional options and in single- or dual-ear designs with a choice of three lengths of microphone booms. They are also compatible with just about any wireless system.

Talks envisages his DPA d:fine Headset Microphones will be hired by “any school with a good business model for school productions”. Schools, he believes, can justify an increase in ticket prices and advertising when the production is good and is not let down by bad sound.

To date schools that have used DPA d:fine Headset Microphones for their concerts and drama performances include Dr. Challoner’s Grammar School, The Beacon School and Gerrards Cross Junior School.

-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

Professional Wireless Systems (PWS) Savors the Moment at Inaugural Life is Beautiful Festival

When the first-ever Life Is Beautiful music, art and food festival, took over 15 square blocks of downtown Las Vegas on Oct. 26th and 27th, Professional Wireless Systems (PWS) was on location providing frequency coordination for the more than 80 musical acts, performers and media outlets throughout the two-day celebration.

In its inaugural year, the Life is Beautiful festival featured a diverse lineup of musical acts from a variety of genres including The Killers, Kings of Leon, Beck, Vampire Weekend, Imagine Dragons, Janelle Monae, Passion Pit, Jurassic 5, Danny Brown, Childish Gambino Pretty Lights, STS9 and Empire of the Sun, to name a few.

“PWS was happy to be part of this new festival, and while we have extensive experience in providing frequency coordination for events of this size and scope, it was not without its challenges,” says Jim Van Winkle, general manager, PWS. “There was quite a bit to consider logistically, because the festival was situated over a large area right in the middle of downtown Las Vegas near Fremont Street.”

Jim Van Winkle and John Garrido from PWS arrived two days prior to the event in order to conduct a frequency sweep to identify all frequencies in the area. A total of four PWS staff members were onsite during the two-day celebration to monitor and ensure that any potential issues were kept to a minimum. With six stages and more than 520 frequencies, PWS utilized its proprietary Intermodulation Analysis Software (IAS) and spectrum analyzers to determine occupied bandwidth and track interference sources, ensuring that both the musical acts and attending media were on a safe frequency, once located.

PWS worked closely with Another Planet, the production company for the festival, and all the stage managers, before and during the event to have as much information as possible about the wireless requirements needed by all of the performers and media. PWS also established and coordinated frequencies for the PA companies, including VER Audio and Solotech, to use for the entire weekend.

“Whenever working on an event of this magnitude, there is always a media presence; making sure that they are on the correct frequency is crucial, so that there is no interference with the musical acts,” adds Van Winkle. “You always have to expect last minute changes to arise but our crew works really hard to address these as they come up. The final result turned out great and we look forward to being part of the festival next year.”

In addition to managing frequency coordination, PWS’ Domed Helicals as well as its original Helical Antennas, were onsite for the festival. The PWS Domed Helical Antenna boasts the highly successful circular polarization configuration, pioneered by the company’s original Helical, but with the unit sealed within a unique new compact “domed” design.

In addition to the GX-8 Combiners that are already a part of several of the bands’ rigs, PWS also had extra GX-8 Combiners on-hand in case the need arose. One of the musical acts was so impressed with the GX-8 that the group decided to use the product for its next show. PWS’ GX series of combiners, the GX-4 and GX-8, offer selectable high and low output settings as well as above unity gain on output. Helpful for very anemic transmitters, the combiners in the GX series are considered RF limiters because of their proprietary Automatic Level Control (ALC) circuitry.
For more information, visit www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “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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Masque Sound Helps Audiences Have the Time of their Lives at North American Tour of Smash Hit Musical, MAMMA MIA!

When the 2013/2014 North American touring production of the smash hit musical MAMMA MIA! kicked off at Clemson University’s Brooks Center on September 30th, Associate Sound Designer David Patridge turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package to bring Sound Designers Bobby Aitken and Andrew Bruce’s vision to the stage.

Since 1999, the musical MAMMA MIA! has been captivating audiences in London, Toronto, Broadway and all over the world, as it tells the story of the dynamic relationship between a carefree mother and her daughter. The daughter, hoping to build a bond with the father she’s never known, decides to invite him to her upcoming wedding, only to discover that her father could be one of her mother’s three past suitors. A story full of laughs, love and lust, MAMMA MIA! features the hit songs of the Swedish pop group ABBA.

This mark’s Patridge’s 12th MAMMA MIA! production in 14 years, as associate sound designer, and although he is intimately familiar with the show, the 2013/2014 North American tour was not without its obstacles.

“The challenge for this incarnation of the musical was to take the signature MAMMA MIA! sound and put it into a more compact, fast-moving production without cutting the things you need to make the show sound big,” says Patridge. “Just because the show is moving from city to city quickly doesn’t mean the size of the venue is going to be small. It was important that we did not downscale the brand or incur any kind of loss of feel for the amazing show that MAMMA MIA! is. Thanks to the help of the talented professionals at Masque Sound, we didn’t compromise on anything. The show looks and sounds great.”

In order to keep that big sound Patridge was looking for, Masque Sound provided Meyer M’elodie speakers, the largest speakers that could feasibly be put in a tower footprint, yet still fit in all of the smaller theatres on the tour. “We took the footprint that we were allowed based on the technical director’s specs and then we looked at speaker choices,” adds Patridge. “We went with self-powered M’elodie speakers, so we wouldn’t need amplifier racks, which take up extra room in the truck and extra time to connect. We used the M’elodie and Meyer 500HP powered speakers in a tower arrangement, giving us a lot of impact for the size of the footprint. Whether we need to figure out the sizes of trussing needed, engineering concerns, dolly selection, etc., Masque Sound has always been fantastic with figuring out all of the details and on a traveling production that is extremely important.”

In addition to the Meyer M’elodie and 500HP speakers, Patridge also used Meyer 700HP subs, as well as Meyer UPM-1Ps for front fills and under the balconies. Masque Sound provided a DiGiCo SD10 digital console, because the compact size and powerful features of the console make it ideal for a traveling production. In addition, the actors are outfitted with DPA 4060-61 omnidirectional mics. Masque Sound also provided Sennheiser 5212 radios with Sennheiser EM3532 receivers.
“One of the things about Masque Sound that I like is that there is a valuable brain trust of people,” says Patridge. “Professionals like Gary Stocker are not afraid to help partner with us as designers and invent solutions, so I don’t have to be on my own when I’m trying to figure out how to support these speakers and towers, especially on a production that moves from city to city. I know I can ask Gary what we can do to facilitate my vision, and the people at Masque Sound will design and fabricate whatever I need. In addition, Eric Rivera at Masque Sound does an excellent job of coordinating the frequencies from stop to stop. He has the itinerary in hand and is constantly forwarding the list of frequencies to our road personnel. Fortunately, Masque Sound uses all the tools at hand, including FCC charts and intermod study programs, and if there is a problem with anything, I know that they will pick up the phone or answer an email to get us out of a bind.”

Seen by over 54 million people around the world, MAMMA MIA! is celebrating 5,000 performances on Broadway and is the 10th longest running show in Broadway history. The original West End production of MAMMA MIA! is now in its fifteenth year and has celebrated over 6,000 performances in London and the international tour has visited more than 74 foreign cities in 35 countries and been seen by over 4.3 million people. The blockbuster feature film adaptation of MAMMA MIA! is the most successful movie musical of all time grossing $600 million worldwide. Seen in 38 productions in 14 different languages globally and with a worldwide gross of over $2 Billion, MAMMA MIA! is acclaimed by the Associated Press as “quite simply, a phenomenon.”

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Related Topics: Large Venue, Microphones |

Amerisports Bar’s Live Entertainment Relies on HARMAN Professional Solution with AKG Wireless In-Ear Monitoring System and Mics

VIENNA, Austria – With live entertainment every weekend ranging from legendary classic rock to top 40 covers by local bands, Ameristar Casino’s Amerisports Bar located in Council Bluffs, Iowa, recently added HARMAN’s AKG IVM4500 IEM in-ear-monitors to improve sound for every act in its uniquely shaped room. With a full HARMAN support system, including a Soundcraft digital console, Crown amplifiers and JBL Professional loudspeakers, FOH engineer Dan Allen ensures that casino patrons will enjoy their time eating, drinking and dancing in the bar.

With the multiple sets of AKG IVM4500 IEM’s and its room simulation program, Allen says the performing artists have become more comfortable in the large room, which is octagonally shaped at the stage and dance floor end. The remaining area of the room – approximately 150 feet long – is rectangular and contains an island bar about 100 feet back. The room’s technical staff had struggled with acoustical issues for years before the HARMAN audio overhaul and a sound-dampening renovation. With the internal processing selections of IVM4500 including 8 compression, 8 EQ and 8 room simulations settings, moving onstage acts to the AKG in-ear monitoring system has yielded positive results.

“AKG thought of everything when it developed the IVM4500’s,” stated Allen. “The in-ears are easy to set up and have very low signal latency. Even artists who have no previous experience with in-ear monitors are easily adjusting to them, allowing for their best performances every week.”

Within the casino, wireless communication signals are very dense, as security and other departments utilize numerous free frequency channels. Allen’s AKG WMS470 wireless mic systems are always clear and have never dropped signal during a performance.

The Amerisports Bar’s audio reinforcement system also includes an AKG Rhythm Pack with a D112 kick drum mic, C430 condensers for overheads and D40’s for toms. A Soundcraft Si Expression 3 digital console and JBL STX800 series loudspeakers powered by Crown XTI amplifiers round out the concert sound system.

“I’ve really grown fond of the Soundcraft Expression,” Allen continued. “The user levels, recall and scene setups work well and can be easily used by our IT personnel if I’m not there. It’s easy to train those engineers on the Expression who are used to analog boards. And, the JBL speakers are very honest, leaving the entire system quite transparent, especially in the atypical-shaped room. I have been a JBL fan for life and every time I see that orange sticker, I know we’ll have great sound.”

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

HARMAN Professional Enhances Coke Studio at MTV’s Live Performances with Audio Support from Flying Carpet Productions & SOUND.COM

MUMBAI, India – The Coke Studio at MTV India is a premier platform for showcasing a fusion of India’s best musical talent. Now in its third season, the popular television broadcast events bring together the country’s top independent, classical, folk and popular artists and their creative energies into one entertaining series. Sponsored by the Coca-Cola Company, the show invites musicians from different genres to jam together while recording the resulting collaboration on the spot. The series has gained massive popularity with more than 40 million viewers in the second season alone. This year, the season has pushed the envelope by providing leading-edge music that features world-renowned composer AR Rahman with top artists like Sivamani, Amit Trivedi, Clinton Cerejo and others for listeners across the globe. The iconic AR Rahman is a global endorsee for HARMAN’s JBL brand, and Sivamani is an AKG endorsee.

The show is being supported by India’s leading audio & music production company Flying Carpet Productions (FCP), the sonic architects and turnkey audio solutions provider. Led by Audio Director, Ashish Manchanda, the company has supported broadcast music formats like Coke Studio, MTV Unplugged and has mixed for movie soundtracks like Bhaag Milkha Bhaag and Dev D. In turn, the company collaborates with leading sound reinforcement provider SOUND.COM for The Coke Studio’s artist and production monitoring requirements at the shoot and during rehearsals. The MTV series also features Grammy™ Award winning engineer Stephen Fitzmaurice, who is leveraging his expertise from having worked with renowned artists like Seal and U2.

Commenting on the successful opening of Season 3 of Coke Studio at MTV, Ashish Manchanda, Audio Director & Engineer, FCP said, “With over 200 musicians and over 45 original songs, Season 3 of Coke Studio at MTV presents a plethora of musical flavors, enthralling audiences with unique combinations of music genres and versatile musicians. Thanks to the premium range of microphones & headphones by AKG and Soundcraft mixing consoles, we are able to capture life- like performances of the wonderful artists featured on the show- be it vocals or instruments. Considering the live nature of the program and the expectation for audio clarity, we are very pleased to collaborate with SOUND.COM. Their HARMAN Professional equipment deployed at the show has delivered flawless sound output, receiving very encouraging comments from the musicians and composers.”

SOUND.COM, with a track record of handling audio for some of the most illustrious live events in India, has provided the entire range of audio equipment and the backend support for the stage equipment setup along with RF technicians. For the demanding project, Ashish Manchanda along with Warren D’souza, Managing Director of SOUND.COM, decided upon the Soundcraft Vi 6 console for use at the audio mixing position along with a Soundcraft Vi1 as a sub-mixer for larger acts. JBL LSR 4328’s are in use for monitoring during recording. “Coke Studio at MTV is a testimonial to our company’s commitment to cult musical shows on television and the internet,” confirmed D’Souza. “We have the experience and equipment for the artists and producers to deliver successful productions that are enjoyed by the viewers. Our synergy with Flying Carpet Productions is a testimonial to our work on MTV Unplugged & Coke Studio and we will continue to deliver our best by exploiting technology to the limit.”

“The Vi6 console has a remarkably intuitive Vistonics interface which made it easy to handle almost 60 inputs on each episode of the show with relative ease,” noted Mark Thomas, Systems Engineer for the project. “We chose to work on the Soundcraft Vi6 this year due to its ViSi iPad app. During the recording sessions each musician in the house band was given control over his/her mix using the ViSi remote app on an iPad.This enabled them to tweak their mixes for every song, based on their individual requirements, while the engineer concentrated on handling the in-ear monitor mixes for the guest musicians and singers. The musicians were ecstatic about being able to control their own personal mixes with no learning curve. We used up to 12 iPads simultaneously on the Salim- Sulaiman episode, without a single re-sync issue or network glitch.”

“As far as monitoring is concerned for the series, the amount of inputs we had to cater to was challenging. The Soundcraft Vi6 definitely made life simple in terms of monitoring, having the flexibility to make all of the busses into auxiliaries as per the requirement of individual producers,” added Ezekiel Tyle, Monitoring Engineer for the show. “It was an absolute pleasure to work on this board.”

For microphone technology, the show is outfitted with an assortment of AKG models including AKG DSR 700 V2 wireless systems, D7 and D5 microphones for back-up vocals. Other microphones such as C414’s for drum overheads and piano, and C451’s for cymbals and guitars have been deployed at the show. Both mics have been favorites on this show, with the C451 being the permanent microphone on the hi-hats due of its excellent HF reproduction. C414’s are used on everything from Percussion/Drum overheads to shakers and piano, whereas the AKG D 112 was chosen for its excellent fit with the low end of the Cajon, the kick, and the duff. For consistency, all artists on the show are using the AKG K171 MK II headphones.

“This association exemplifies HARMAN’s commitment to quality and our ability to deliver on any stage,” said Prashant Govindan, Director – India Operations, Harman Professional. “HARMAN’s AKG, Soundcraft and JBL products combined with the experienced professionals from Flying Carpet Productions & SOUND.COM, provided perfect and reliable sound for yet another successful edition of Coke Studio at MTV India.”

“We are very excited to be a part of the Coke Studio at MTV, India’s unique exploration of India’s rich musical landscape,” concluded Ankush Agarwal, Director – Marketing & Business Development, HARMAN Professional India.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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