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Archive of the Microphones Category

HARMAN’s JBL 3 Series Studio Monitors and AKG Microphones Improve Greater Media NJ’s Statewide Broadcasts

NORTHRIDGE, California – Finalizing a station-wide renovation, Greater Media, Inc.’s New Jersey-market facility WRAT-FM (The RAT) recently installed two pairs of HARMAN’s JBL LSR studio monitors. With a pair of LSR305 studio monitors in a small production room and LSR308 studio monitors in the main production room, the creative department now has a more accurate reference for the commercials, music programs, and promotional announcements they produce. Regional manufacturer’s representative Sigmet Corporation provided the JBL equipment.

“We had what I like to call a ‘snowflake collection’ in our studios in that building – no two pairs of anything were the same,” stated Keith Smeal, Director of Technical Operations, Greater Media New Jersey. “We’re currently working on getting every station on the same platform and the initial installation of the LSR’s has been a very successful starting point. The LSR monitors are a major improvement from our legacy equipment. They produce a nice, crisp and clear high end and remarkably full bottom.”

Leveraging new technology developed for JBL’s flagship M2 Master Reference Monitor, the 3 Series studio monitors feature JBL’s patent-pending Image Control Waveguide, which enables the listener to hear greater depth and ambience in recordings.

An additional pair of LSR305’s is installed in the home studio of the program manager of WJRZ, New Jersey’s Greatest Hits-another Greater Media New Jersey station.

Sigmet also delivered three pairs of JBL Control 5 loudspeakers for portable use during radio station-sponsored events. The loudspeakers’ rugged construction and high-performance capabilities provide a clear sound for event participants, whether Greater Media sets up its portable broadcast station on a boardwalk or in a parking lot for a store opening.

During the renovation, Smeal demoed numerous AKG microphones to help improve the sound of the station. A set of microphones provided by Sigmet consisting of C414s, C214s, 4500 BCs, C3000s and a D12 VR was delivered to the broadcast facility. According to Smeal, the AKG microphones were a hit at the station—a nice in-between solution for the DJs while the renovation continues. “We want to ensure we’re sending out the best sound, whether our listeners are in the car or in front of a hi-fi system,” he said

Smeal has plans to use 60 AKG C414s in his studios for a full microphone upgrade in 2014.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

Media Vision Ranked Fastest-Growing Company in Pro-AV Products in 2013

December 23, 2013 – With a 3-year growth rate of 853%, Media Vision has received much recognition in 2013 bringing the tremendous value of conferencing microphone systems to light.

Media Vision ranked #39 on Inc. 5000 list of Top 100 Business Products and Services Companies, higher than any other player in the pro-AV industry. They also ranked #535 for overall Fastest Growing Private Companies in America and were awarded the 31st position in the Bay Area by the San Francisco Business Times, a much sought-after prize for this Silicon Valley-founded company.

The team is sharing some of the secrets of this growth and how they are steadily bringing a niche technology to the mainstream. “It is about the product, the people and most of all about fostering a mindset that embraces challenges, innovation, service and continuous improvement” says Fardad Zabetian, Media Vision’s Founder and CEO, “Within our team and similarly for our manufacturing partner TAIDEN, we are all driven with a goal and a passion for reaching it.”

Media Vision is well positioned to experience further growth in 2014 beyond North America. The company has recently expanded into Europe with offices in Switzerland and France.

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Professional Wireless Systems (PWS) Frequency Coordination Scores Touchdown with Arena Football League Spectators

When Action Audio Apps helped put spectators on the field by enabling them to listen to the comments of the Arena Football League’s Orlando Predators players and coaches, Professional Wireless Systems (PWS) was on the sidelines providing frequency coordination for this game-changing experience.

The technology behind this new media application is a partnership between Q5X’s innovative player mics and transmitters, the only PlayerMic® solution approved by the NBA, and PWS’ expert RF coordination. The system was deployed at all Orlando Predators home games this season and was also used at this year’s Arena Bowl.

The app from Action Audio not only allows users to dial into a particular player or coach but also offers several combined channels, such as the offense or defense channel. Typically four or five players from the offense and four or five players from the defense, along with the coaches and select referees, are mic’d for the games. The free app can be pre-installed or downloaded once the user arrives at the venue. Within a few simple clicks, fans can access the interactive app’s multi-channel keypad and select specific channels for continuous action. In addition, if a user is unable to attend the game, he or she can tune into the “locker,” which offers replay clips from the previous week’s game.

“Signal interference has the potential to be a huge disruption for our apps, so having the frequency coordination experience and expert knowledge of Jim Van Winkle and the PWS team is a huge asset to us,” says Sebastian Failla, Action Audio Apps president. “As we see and envision our company growing into different sports and leagues and arenas around the country, it’s nice to have partners like PWS and Q5X working with us.”

At the heart of the system is Q5X’s QT-5000 RemoteMic. The QT-5000 is a rubberized, flexible, water and sweat resistant body pack that will not injure the wearer even if the player falls on it or takes a direct hit. The QT-5000 RemoteMic is part of the Remote Control Audio System (RCAS), a revolutionary way to control transmitter settings. All aspects of transmitter operation (audio level, change the frequency, etc.) can be remotely monitored and controlled from a computer interface, which allows the transmitter to be adjusted remotely without the need to contact the player. This is a stand-out feature for Action Audio Apps since once the game starts, the company typically does not have access to the players to make adjustments.

With a lot more radio devices in use these days, congestion and competition for the RF spectrum is at an all-time high, and PWS has frequency coordination down to an art form, so we always enjoy working with them,” says Q5X CEO, Paul Johnson. “PWS is really unparalleled in its ability to manage wireless frequencies and keep everything running without interference.”

For more information, visit www.professionalwireless.com.

About Action Audio Apps
Action Audio Apps’ founder, Sebastian Failla, first invented this system in 1999. Through further years of development, their new proprietary technology can now deliver this long awaited enhancement to every single seat in the venue. No matter where you are seated or what the event, from live sports to behind the scenes interviews, you the fan get to be a part of it all! For more information, visit Action Audio Apps at www.actionaudioapps.net.

About Quantum5X Systems Inc.
Quantum5X Systems Inc. (Q5X®) is an award-winning London, Ontario, Canada corporation that specializes in the creation of leading edge, wireless audio solutions for the broadcast, sports and entertainment sectors. Breakthrough products include the QT-256® the world’s smallest wireless microphone, the QT-1000 PlayerMic® the world’s only rubber wireless microphone, and the QT-5000™ the world’s first RF remote-controlled wireless microphone transmitter. Q5X clients include ESPN, FOX, Comcast, Turner, Disney, TSN, CTV, ABC and CBS, as well as MLB, the NHL and the NBA. For more information visit www.q5x.com

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

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Masque Sound Welcomes Blockbuster Musical MAMMA MIA! to New Broadway Home with Custom Audio Equipment Package

When the blockbuster musical MAMMA MIA! recently moved six blocks south to its new Broadway home at the Broadhurst Theatre, Masque Sound, a leading theatrical sound reinforcement, installation and design company, welcomed the smash hit show to its new digs with a custom audio equipment package.

MAMMA MIA! 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. MAMMA MIA! spent the past 12 years on Broadway at the Winter Garden Theatre, and for the show’s veteran Sound Designers Bobby Aitken and Andrew Bruce and Associate Sound Designer David Patridge, the move was not without its challenges.

The Broadhurst Theatre’s design itself was one of the biggest challenges that the team faced. Although many Broadway theaters share this situation, the box seating on the left and right near the proscenium extends out quite far into the sight line and therefore, slightly overshadows the speakers for some of the seats.

“In order to provide the best listening experience we could for every seat, we used a fairly substantial speaker package,” says Patridge. “We placed d&b audiotechnik E8 loudspeakers both near the proscenium and further back along the sides of the room to give the audience complete coverage. The d&b speakers compliment a main left and right line array of Meyer Sound MINA’s, and extends the coverage to the shadowed areas. It’s very smooth as you go from one side of the house to the other and something we really worked hard to achieve. It’s a smaller house, and in many ways it’s more pleasing. You don’t have as big of a room to fill with a speaker system. That was our biggest challenge, and Masque Sound was once again able to provide us with the gear we needed.”

The move to Broadhurst Theatre also provided an opportunity for the team to upgrade to a digital console and strengthen the front of house mix. “At the Winter Garden Theatre, we were using a Cadac console, one of the last analog consoles left doing Broadway musicals,” adds Patridge. “Although the Cadac has been a reliable workhorse for us, we felt it was time to retire the console and modernize the show, in that sense. Masque Sound provided us with a DiGiCo SD7 digital console for the Broadhurst production. The digital console allows us to eliminate the monitor desk, and with the SD7, we actually mix the monitors to an Aviom system directly through the console. We now have one console mixing both front of house and monitors. In addition, the SD7 takes up only about six seats as opposed to the Cadac, which took up 15 seats in the orchestra.”

As the full time vendor for MAMMA MIA!, Masque Sound also provided a wireless package of Sennheiser SK5212 transmitters and EM3532 receivers, coordinated by Eric Rivera and the Masque Sound wireless department. Since Broadhurst Theatre is sandwiched in between the show Matilda to the east, Phantom of the Opera to the west and a block of theaters just to the north, Masque Sound’s expert frequency coordination team worked hard to ensure there were no signal interference issues between the shows, as theatre walls are not enough to cut off the transmission.

“The spatial considerations in the venue dictate, to a large extent, what equipment you are able to use, and asking Masque Sound to discard the existing rental system and provide us with all new equipment was quite a tall order,” adds Patridge. “They were extremely generous and offered us new gear for the show without having to incur a ton of extra cost. It’s this type of service and support that gives Masque Sound the longevity it has experienced with MAMMA MIA!. The show continues to sound wonderful, and we are now excited to be in our new home.”

In addition to Masque Sound’s equipment, Patridge also credits his talented team with making the move such a success. Production Sound Engineer Kevin Kennedy and longtime original Broadway show Mixer Craig Cassidy were instrumental in ensuring that the move went smoothly. The show brought the same crew over from the Winter Garden, which, according to Patridge, was a godsend in terms of making sure that the move was glitch free.

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 more than 6,000 performances in London and the international tour has visited more than 74 foreign cities in 35 countries and been seen by more than 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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Funky Junk Supplies Royer Mics For The Stereophonics Latest Tour

The Stereophonics, one of Britain’s most instantly recognisable bands, have just completed a major UK arena tour to promote their new album Graffiti On The Train.

The equipment list for the tour included three Royer R-121L ribbon microphones, which were supplied by Royer’s UK distributor Funky Junk.

Royer’s R-121 Ribbon Microphone is renowned for its ability to bring an extremely natural and realistic analogue sound to digital recording and live stages. The TEC Award winning R-121L, the ruggedized and more road-worthy ‘live’ version of the microphone, has been specifically designed to withstand the rigours of live touring. Royer won the prestigious 2013 Technical Grammy partly for their R-121, the first ribbon microphone suitable for close-miking electric guitar and other high SPL sound sources.

The microphones were chosen for the Stereophonics tour by FOH engineer Dave Roden who wanted to continue with their ongoing ethos of constant improvement of the overall sound quality at their live gigs.

“I haven’t used Royer R-121 microphones in a live situation before, but the band have used them in the studio and been very happy with the results they have achieved,” Roden says. “I have also heard them being used by other FOH engineers whom I greatly admire, (Jim Ebdon and Marc Carolan for example) and have always been really impressed with the results. I decided to use them, too, in order to up our game.”

Dave Roden was confident that incorporating Royer R-121 ribbon microphones into his live equipment arsenal would help him capture lead vocalist/guitarist Kelly Jones and lead backing vocalist/guitarist Adam Zindani’s individual guitar tones, as well as the raw energy for which the Stereophonics are famous.

“The band members have all moved on to IEM’s (in ear monitors) and they were hearing things completely differently to the way they’ve been used to with wedges,” Dave Roden explains. “In order to adapt, some of the on-stage sources required a more hi-fi approach. This was a challenge for everyone involved, but was a very positive and necessary step in respect to the future performance capabilities of the band, and gave our Monitor Engineer Dave Retson and myself the perfect opportunity to significantly upgrade our mic stock. Both the band on stage and the audience in the arenas were very happy with the guitar sounds they were hearing when we used the R-121L’s on the tour.”

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Vigo and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

DPA Microphones and Steinway Pianos in Perfect Harmony for ‘Keyboards at Christmas’ Event

Southwestern Baptist Theological Seminary teams up with DPA and Steinway for large-scale holiday performance featuring 17 grand pianos

FORT WORTH, DECEMBER 12, 2013 – The School of Church Music at Southwestern Baptist Theological Seminary recently enlisted the help of DPA Microphones and Steinway Hall of Dallas, Plano and Fort Worth to put on Keyboards at Christmas — a performance of “grand” proportions. With 17 Steinway Grand Pianos on stage, student and professional musicians performed holiday songs for the packed house at the 3,500-seat venue.

Already DPA Microphones enthusiasts for the ability of its mics to reproduce the natural beauty of a Steinway, the music staff at Southwestern Baptist knew it wanted to equip all 17 pianos with three d:vote™ 4099 Instrument Mics each, for a total of 51 mics. A clear, pristine sound was the school’s primary requirement when searching for a mic, and it was obvious that the DPA d:vote was the only choice.

“The Steinway instruments have a very beautiful, very unique sound that other instruments can’t touch, so we didn’t want to recreate the sound, but rather amplify it for the audience to hear in this very large hall,” says Luke Byford, Assistant Director of Musical Productions for the school. “We had experimented for a while with how to mic the piano in this hall and we knew it had to be the DPA d:votes. We previously tried a pickup system, but it just didn’t provide the live sound of the piano. It actually sounded pretty dead. Then we tried a variety of other mics and positions. Nothing seemed right, until our sound techs presented the idea to try the d:votes we had for string instruments in the piano. We were very pleased with the natural reproduction of the DPA mics as they gave us a much more accurate picture of how the pianos sound and the beauty that they put out.”

While this is the second year of the event, the school’s 2012 performance was held in a smaller, more acoustically tuned venue, so the staff did not require microphones. For this year’s Keyboards at Christmas, the school increased the number of pianos. To ensure that audience members had a clear view of every musician, the stage had three elevated platforms, which allowed them to place five pianos at the top, six in the center and six in the front.

“For a great deal of the program, all of the pianos were played at the same time,” says Jerry Aultman, Professor of Music Theory, who worked with Byford on the event. “Sometimes there were two pianists per piano, so a total of 34 pianists playing simultaneously. Bottom line, it was imperative in this hall, as you can imagine with this many instruments and musicians, for the artists to hear each other separately and without delay. From an audience perspective, I noticed that the DPA d:votes just made the Steinways sound the way they are supposed to sound. It was a true representation of the pianos. They don’t need improvement, they’re wonderful the way they are, we just wanted to amplify them and reproduce an accurate sound. With a program of this magnitude, using this many pianos in a hall this large, it is impossible to overemphasize the importance of this requirement.”

It wasn’t just the microphones that drew Byford and Aultman to the DPA d:vote. As the microphone is designed to be heard and not seen, the tiny capsule size enabled the mics to be positioned where the staff wanted them, without any visible signs of a mic being in place.

“We like that you can’t see them,” adds Byford. “They were in the pianos and we ran the lines out of the back, so the audience did not even know they were there. The magnetic piano mounts were great because once they were attached to the brass, they didn’t bounce or rattle. They stayed exactly where we put them, and the fact that they are on goosenecks allowed us to get the mounts in the proper spot on the piano, but then move the microphone to get them in the best position to pick up the exact area of sound we wanted to highlight. They were so hidden and so natural that many of our audience members later told us they didn’t even realize the pianos were being amplified until we mentioned it to them.”

The school had only one day of prep time to mic up the pianos and do an audio run through with students to ensure the EQ was perfect, so the size and maneuverability of the d:votes also afforded the quick setup that was needed. With only a limited in-house supply of d:votes, the school sought to rent an additional 35 microphones to fulfill their need for 51 d:votes. A tall order for any rental house, Byford found himself in direct contact with Eric Mayer, President of DPA Microphones, Inc.

“I think it’s great that a company that makes this kind of product would want to get behind a production like ours and help out the way they did,” adds Byford. “Everyone we worked with at DPA, seemed really excited to help us and support this project.”

In addition to the large supply of d:votes, the company loaned the school two d:facto™ Vocal Microphones for the soloists who accompanied the pianists. DPA’s Sales and Marketing rep, James Capparelle, also attended the event to help with setup and make certain everything ran smoothly.

The Keyboards at Christmas event hosted Southwestern Baptist students and faculty, as well as school-aged children who played three songs, including excerpts from the classic “A Charlie Brown Christmas.” Guest artists Becky Lombard, professor of music at Truett-McConnell College, and T. Bob Davis, a former Southwestern Seminary trustee also performed. In addition to Byford, Aultman and Capparelle, the event was also run by Matthew Bennett, Will Schaefer, Caleb Wallace and Cody Meuer, who are student employees of the school’s A/V Communications department and were key players in making sure the program operated effortlessly.

Video from the event can be found at: http://youtu.be/-D0JsLg2IDw.

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.

Masque Sound Makes Triumphant Return to Lincoln Center Theater for New Production of William Shakespeare’s Macbeth

When the curtain rose on William Shakespeare’s Macbeth at Lincoln Center Theater, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on-hand to provide Sound Designer Mark Bennett and Associate Sound Designer Charles Coes with a custom audio equipment package that would ensure complete and pristine audio surround sound and coverage throughout the venue for the famed scribe’s powerful and dark tragedy.

Macbeth tells the story of the title character and brave Scottish general who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. He is then wracked with guilt and paranoia, and he soon becomes a tyrannical ruler as he is forced to commit more and more murders to protect himself from enmity and suspicion. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of arrogance, madness and death. In this new production, Ethan Hawke plays Macbeth opposite Anne-Marie Duff as Lady Macbeth.

Bennett and Coes’ goal in designing the sound was to create a flexible system that was capable of delivering a surround sound experience, while also providing complete coverage for every seat in the large, extreme three-quarter Vivian Beaumont Theater. Since Macbeth is a play, and not a musical, Bennett and Coes wanted to create an environment that was as natural sounding as possible.

“The audio solutions that we were able to come up with in collaborating with Masque Sound were great,” says Bennett. “Masque Sound was always able to find alternative ways to achieve our vision, if they didn’t immediately have the ability to do that with their existing inventory. The quality of the equipment that Masque has provided is consistently excellent.”

The Vivian Beaumont Theater has one of the deepest stages in New York City, rivaled only by The Metropolitan Opera and Radio City Music Hall. As a result, Bennett and Coes were able to create tiers of sound in off-stage areas, giving them the ability and flexibility to pinpoint where they wanted the sound to source from in a very large environment.

Another important component of the sound was O’Brien’s desire to have the supernatural world play a large part in the play. O’Brien wanted the show’s “Three Witches” to be able to use the weather as a force to be reckoned with throughout the piece. In order to move the weather and other sound effects around the theater, Bennett and Coes used a combination of heavy Yamaha DME processing and a variety of Meyer Sound loudspeakers, as well as tapping into the Beaumont’s SIAP system, to create rings of surround throughout the theater.

At the heart of the custom equipment package, provided by Masque Sound, was a Yamaha PM5D digital mixing console with a DSP5D editing side car. According to Coes, “The PM5D gave us the most flexibility. It integrated very well with the Yamaha DME’s, which allowed us to accomplish the very transparent vocal reinforcement that we were shooting for. It also provided for a lot of deep control using the delay matrix.”

Bennett and Coes also utilized a 32-channel playback system to further move the sound fluidly around the surround channels as well as a Meyer Sound Matrix3 Audio Show Control unit. A Meyer Sound-based loudspeaker system was used for vocals including UPA-1P’s coupled with a USW-1P subwoofer, and an array of M1D orchestra and balcony delays. The music system consisted of an array of Meyer Sound UPA-1P’s, USW-1P’s and an additional Meyer 650-P effect subwoofer. For the fills, which were very close to the audience, a passive d&b E-Series array was used.

In deciding on microphone selection, Bennett and Coes began with the idea that they were going to use foot mics throughout with the occasional body mic. As the design progressed, they discovered that by using nearly equal amounts of both, they were able to provide that intimate feel needed for many of the scenes while also aiding in the final transparency of the piece. Masque Sound provided Sennheiser MKH 8040 cardioid microphones and AKG E460 pre amps for the foot mics. Sennheiser SK5012 transmitters and DPA 4061 lavalier elements were used for the body mics.

“We chose the gear we did because conceptually it allows us to work with the music by installing each cue with a variety of splits,” adds Coes. “This really allows us to separate out what the bass is doing, what the percussion is doing, what the mid-range fills are doing, and then where we are placing the solo instruments per cue. With 15 delayed individual foot mics to every speaker in the vocal reinforcement system and each of the RF mics existing in one of 12 zones on the stage, Mixer Marc Salzberg does a great deal of switching of zones, for individual mics, at any given moment to keep everybody in as accurate a zone as possible.”

Masque Sound also worked with the show’s RF Engineer Adam Smolenski to provide frequency coordination for the 20 channels of wireless plus 12 wireless intercoms that are utilized during each performance.

According to Coes, “With more than 1700 lines of code in QLab, around 300 cues taken for content-only and an additional 30-40 taken for reinforcement, there is an incredible intricacy of the musical and playback content of the show. Masque Sound understood the needs of the project and provided us with gear that can deliver night after night with reliability and stability; that is one of the great aspects of working with them.”

Macbeth opened to rave reviews on Thursday, November 21 at the Vivian Beaumont Theater. The limited engagement of Macbeth is scheduled to run through January 12, 2014.

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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DPA Microphones Win Popolski Family Approval

Members of the popular German cabaret act The Popolski Family are so delighted with their recently acquired DPA microphones that they have made a short video extolling their virtues for DPA’s German distributor, Mega Audio.

The comedy-music show is currently using three DPA d:vote™ 4099 Instrument Microphones to capture the sound of its accordion and brass section.

Sound engineer Hans Wollrath, who is also CEO of The Popolski Family company, says: “The performance of these microphones has been outstanding and the hardware, cables and connectors appear to be virtually unbreakable. We have been really pleased with the sound they have delivered. They are very reliable in a touring environment because they are so tough, and they are equally good for video and television appearances because they are so small and unobtrusive.”

Founded in 2008 by Achim Hagemann under the pseudonym Pavel Popolski, The Popolski Family plays 70 live dates a year in Germany and is seen annually by more than 100,000 people. The show revolved around a pseudo-Polish family of musicians who weave popular rock classics into a comedy framework.

To see the Popolski DPA Microphones video, please follow this link:

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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

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DPA’s d:facto™ Vocal Mics Hit the Road on MKS Tour


DPA’s d:facto™ II Vocal Microphones have been proving their flexibility and giving great performances on tour with MKS, the original Sugababes line-up.

The mics have also been at work in the prestigious setting of the world-famous Ronnie Scott’s Jazz Club in London. Charlie Dale, in-house engineer at Ronnie Scott’s and Front of House engineer for the band MKS and US rapper Angel Haze, is using DPA d:facto II Vocal Microphones across all these very different setups.

It was at Ronnie Scott’s that Dale first came across the microphones. DPA’s UK distributor Sound Network lent the club a unit to try out and Dale was immediately impressed.

“They instantly became my mic of choice for lead vocals, surpassing two big brands I had been using previously,” he says. “‘The d:facto’s mostly flat frequency response until its soft boost at 10 kHz gave me the ability to sculpt a very true representation of the performer’s voice with clear highs so that I don’t have to fight against feedback to pull out, and with all the warm tone one would expect from many jazz vocals.”

Dale decided that for the same reasons he wanted to use it on his pop gigs, again allowing him to easily create vocal sounds on a par with the studio-quality vocals of the artists’ records. And it’s not just the engineers who delight in the sound of the d:facto II Vocal Microphones.

“With performers, the clarity of the mic is often commented on,” Dale adds. “It allows a vocalist to hear the nuances of their vocal and gives them more control, even through loud stage wedges.”


Dale has had the opportunity to work with many big-name microphone brands in his career but, after hearing the d:facto, he believes that none of them offer the clarity and tone he wants from a live vocal.

“With MKS, all three of the girls have very different and distinct-sounding voices, and the d:facto II Vocal Microphone handled all of them with ease,” he says.

Dale’s work with rapper Angel Haze could hardly be more different.

“She rarely sings on a gig,” Dale explains. “Instead, she spends most of the time rapping hard and fast into the capsule at close proximity, often cupping the mic as many rap artists do. But the d:facto II handles all this well, making it much easier for me to pick up every syllable she spits out without loss of tonal quality on her vocal.”

Dale’s criteria for an excellent microphone are, he says, clarity, tone, excellent feedback rejection and low off-axis noise. To date, artists who Dale has used DPA’s d:facto with have all been very positive about the microphone, as have other engineers.

“Having a great vocal sound is often the hardest part of the mix, especially on noisy stages, and the d:facto helps on that front by offering a very clear and clean initial signal,” he says. “Its linear off-axis response means that what little bleed there is from wedges and back line is very clear, un-distorted and, most importantly, low-level, allowing me to get a great vocal sound every time, no matter how big or small the room, what the musical style is and how loud the band are. Studio-quality vocal tone on every gig – how could I say no to that?”

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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

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.

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Related Topics: Government, Microphones, New Products, News, Video |

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