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Archive of the Microphones Category

ST. JUDE THE APOSTLE CATHOLIC CHURCH THRIVES WITH LECTROSONICS

** Photo: Jason Martin, TSG’s Aspen system programmer **

Baton Rouge, LA – September 2013… In the fall of 2009, St. Jude the Apostle Catholic Church embarked on an ambitious campaign “To Build a Future of Hope!” Among its various directives was the complete renovation of the church. Recognizing the importance of delivering a high level of speech intelligibility and music reproduction to the congregation, the church recently completed installation of a new sound reinforcement system—and at the heart of that system is audio processing and wireless microphone technology from Rio Rancho, NM-based Lectrosonics. more

PROFESSIONAL WIRELESS SYSTEMS PROVIDES INSPIRATION AT MEGAFEST 2013

When an estimated 75,000 people converged on downtown Dallas from August 29-31 for MegaFest, the nation’s largest inspirational family festival, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on hand to provide all wireless equipment and frequency coordination for the multi-venue festival.

Produced by MegaFest Incorporated in conjunction with Mike Walker Creative, MegaFest is a family-friendly festival that brings together the best of T.D. Jakes Ministries, with conferences including Woman Thou Art Loosed, Manpower, MegaKidz and the Mega-Youth Experience. The festival featured inspiration, music, entertainment and seminars, along with appearances by Oprah Winfrey, Babyface, Joel and Victoria Osteen, Jennifer Hudson, Kerry Washington, Steve Harvey, Brandy, Ray Chew and other celebrity guests.

Oprah Winfrey’s Life Class kicked off the three-day festival, which took place at the American Airlines Center (AAC). The main program was broadcast from the AAC, with several other large events held at the Dallas Convention Center. PWS supplied all the wireless ENG gear as well, including Lectrosonics microphones and IFBs, to coordinate this multi-venue festival.

The package that was supplied by PWS included Shure Axient microphone systems and PSM1000 In Ear Monitor systems, as well as Telex BTR800 wireless communications for all events, at both locations surrounding the festival. In addition, PWS provided several of its own products, including its GX-8 Combiners, DB-8 Distribution Systems, and its Helical and Domed Helical Antennas.

While PWS provided all the wireless gear and coordination, the company worked closely with both Spectrum Sound and Crossroads Audio, who provided PA and monitor gear to the American Airlines Center and the Dallas Convention Center. PWS was responsible for coordinating nearly 400 frequencies between the two separate venues including eight performance spaces set up in the Dallas Convention Center, the constantly changing needs for media coverage, and the high level of DTV congestion throughout the Dallas area. PWS’s five-man crew worked closely with the festival’s main production company and the local sound companies at each venue to ensure the coordination of all wireless microphones, in-ear monitors and show communications were flawless.

“Having worked with Mike Walker in the past at Fellowship Church in Grapevine, Texas, we were glad that he decided to contact us for our wireless gear and expertise for an event of this scale,” says Jim Van Winkle, general manager of PWS. “Being able to provide the equipment and services for an event of this size and scope is what we do best, and the fact that the event went as smoothly as it did is a testament to the hard work and dedication of the PWS team.”

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 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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DPA Brings Out The ‘Wood’ and ‘Air’ In Dave Swift’s Bass

The first time bassist Dave Swift used a DPA d:vote™ 4099 Instrument Microphone to amplify his double bass, he was so blown away by the sound that he decided to make the d:vote his only microphone.

“The sound coming out of my bass monitor was simply incredible,” he says. “The d:vote captured every little nuance of my playing and I could really hear the “wood” and “air” in the notes. I was so impressed that I decided to buy one and it is now the only microphone I would consider using. What’s interesting is that everyone has commented on how brilliantly it performs. Sound engineers have the biggest smile on their faces when they discover I have a DPA and they all say the same thing: ‘well done for using the best clip-on mic on the market’. Every engineer tells me it is now the industry standard mic, particularly for amplified strings, and it makes me very happy and extremely confident to know that I’m using the best product available for my needs.”

Dave Swift has been the bassist for Jools Holland’s Rhythm & Blues Orchestra since 1991 and during this time he has played with an enormous range of artists including Al Jarreau, George Benson, Chaka Khan, Eric Clapton, Paul Weller, BB King and many more. Swift has also toured across the globe with Jools Holland, as well as performing on his hugely popular ‘Later…with Jools Holland’ TV show, which attracts millions of viewers on BBC2. Swift is also the bassist on ‘The Jools Holland Show’ on BBC Radio 2 and has recorded several multi-platinum selling albums and DVDs with Jools and his band.

When Swift is not playing with Jools Holland he works as a freelance session musician. Over the summer he is touring with comedian, game show host and singer Alexander Armstrong, but he will be back with Jools Holland by the end of the year for a tour that will feature guests such as Roland Gift and former Spice Girl Melanie C.

Dave Swift believes his DPA d:vote 4099 Instrument Microphone has made an enormous difference to both his live and his recorded sessions. He was introduced to the microphone by DPA’s UK distributor Sound Network while he was recording ‘Later….With Jools Holland’. At the time he was using Fishman pickups, but he wanted a microphone that could capture more of the acoustic quality of his double bass so he decided to try a DPA because he had heard such good things about the brand.

“I’m really impressed with this microphone, especially with the way it fits so easily and simply onto the strings beyond the tailpiece,” Swift says. “It doesn’t involve any ‘clamping’ to the actual body of the bass, so it allows the instrument to resonate to its full potential. It is also very quick and easy to remove the mic without causing any damage whatsoever to the instrument – and another feature I really like is the extension gooseneck attachment. This allows even greater placement range for the mic itself, giving many options of where to position it, which is very useful as players tend to have different ideas about where best to position a mic on a Double Bass for their particular requirements. In my case, for example, I tend to position my DPA an inch or so from the central ‘belly’ of the bass, but I’ve seen other players have the DPA mic above the bridge, hovering over the strings themselves. That’s what is so great about this mic and its mounting system. It’s just so flexible and accommodating.”

Fellow musicians, including Jools Holland, have been equally impressed with Dave Swift’s DPA microphone.

“Jools is very particular when it comes to the sound of a double bass – he loves the true, vintage ‘old school’ sound of the instrument, which is why I use Pirastro gut and synthetic strings on my Double Bass,” Swift says. “However, it was only when I started using the DPA mic that Jools’ eyes lit up because he was finally hearing the full potential of the bass, and could really hear the ‘gut’ in those strings. He loves my DPA mic and on every gig and session he asks if I’ve brought it with me. I always tell him not to worry because the DPA never leaves my bass under any circumstances – I couldn’t play without it now.”

Swift adds that the DPA d:vote 4099 microphone has not only transformed his amplified sound, but has also significantly enhanced the whole process of performing and recording.

“Any musician who needs to amplify their instrument should check out DPA microphones,” he says. “They really are the industry standard and I have never encountered a better product.”

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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 on DPA Microphones, please visit www.dpamicrophones.com

DPA Diversifies Its Highly Directional Microphone Palette

Broadcasters and film makers who are searching for a high quality boom microphone capable of capturing audio in challenging locations need to look no further than DPA Microphones’ IBC 2013 booth (8:D76).

On show for the first time at IBC is the new DPA MMC4018 – a modular supercardioid condenser capsule that is an integral part of the company’s d:dicate™ Recording Microphone range. Thanks to its directional pattern, the MMC4018 has an extremely controlled off-axis response and very uniform directional shape (independent of frequency), thus ensuring exceptionally smooth and controlled sound.

Unlike the DPA d:dicate 4017 Shotgun, which includes an interference tube and is therefore more directional at the sides, this new variant offers more consistent rear rejection making it an interesting alternative to a conventional shotgun. While the MMC4017 is exceedingly directional, especially at higher frequencies, the sleek and compact MMC4018 focuses on low noise and high sensitivity, making it more suited to long-distance voice capture.

The DPA MMC4018 is the counterpart to the MMC4018V capsule, which is used in DPA’s popular d:facto™ Vocal Microphone. This means it offers extremely good isolation and feedback rejection, making it ideally suited to applications where clarity and audio quality are critical.

Christian Poulsen, CEO of DPA Microphones, says: “Our new MMC4018 supercardioid condenser capsule expands the flexibility of DPA’s d:dicate range by offering the broadcast, film and music recording industries the perfect microphone for long-distance boom miking, spot miking in orchestras, foley and speech recording. Due to its shorter length, it is very easy to boom in low-ceilinged rooms or to mount in challenging film recording sets such as the inside of cars.”

The modular nature of DPA’s d:dicate Recording Microphone range has enabled the company to expand its remit by entering the installation market. To this end it has introduced new desktop and podium microphones that give AV installers and conference organisers the clear, transparent and precise sound they demand.

DPA’s new MMC4018 capsule is the standard recommendation for the d:dicate podium microphone. By combining the capsule with different active booms and cables, installers can specify the exact microphone for their needs. For example, an MMC4018 capsule combined with an MMP-C compact pre-amp makes an ideal desktop microphone, while the same capsule combined with an MMP-E modular active cable is perfect for applications where the microphone needs to be hung from the ceiling because the preamp only adds 12mm to the capsule – and thanks to its integrated cable it is very inconspicuous.

“Given the flexibility of our d:dicate range, creating a microphone for the installation and conference markets was an obvious step,” Christian Poulsen adds. “We already had the high-end capsule and pre-amplifier technology needed to fulfil the brief, so all we had to do was employ some ingenious mechanical solutions. By doing this, we have been able to adapt our boom and cable technology so that we can deliver installation solutions for a wide variety of applications. Whether this is for a podium, a desk top, a stage stand or even suspended from the ceiling, we have it covered with visually elegant and sonically superior products that boast all the robustness inherent in DPA’s ingenious engineering techniques.”

For more information about DPA’s microphone range, please visit DPA’s IBC stand – Hall 8, D76. Visitors to the booth will also have the opportunity to win a DPA microphone by having their badge scanned and entering a free draw, which will be drawn each day at five pm throughout the show.

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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 on DPA Microphones, please visit
www.dpamicrophones.com

Foreigner Tours with Earthworks WL40V Wireless Capsule

September 3, 2013, Milford, NH – With nearly three and a half decades of singing under his belt, Kelly Hansen, lead vocalist of Foreigner, is no stranger to vocal microphones. As the band geared up for their latest tour, the Earthworks WL40V wireless capsule came along for the ride to deliver Hansen’s vocals to audiences around the globe.

Hansen explains, “Regarding microphones for live performance, I realized early on, that the natural profile of my voice didn’t really match with the Shure family of vocal mics. I started using an SM57, then moved on to an SM58. These Shure mics have a peak in the midrange which accentuated the midrange peak my own natural voice, resulting in a shrill sound. I needed a microphone with a smoother response that did not accentuate the midrange in my own voice. So I stopped using the Shure mics and started using a Sennheiser M421 and a variety of Beyerdynamic microphones from the M88 all the way up to their Opus line of wireless microphone systems, some of which had interchangeable mic capsules. As time went on, I was always looking for a better solution in a wireless handheld vocal microphone that would really make me happy and give me a condenser microphone sound on stage.”

After trying out several different wireless microphones capsules and wireless systems to no avail, Lorenzo Banda, monitor engineer for Foreigner, and Hansen were introduced to the Earthworks WL40V. Banda explains, “I had never used any Earthworks microphones until being endorsed by Lectrosonics, who introduced us to Earthworks and the WL40V microphone capsule. Earthworks sent us the WL40V, and when we tried it on the Lectrosonics wireless system we loved it.”

Hansen continues, “When it comes to wireless microphone capsules, it is really all about the sound. And that is what is really great about the Earthworks capsule. It has an open top, a flatter response and a nice bottom end that really sounds like a studio condenser microphone on stage (in a wireless form). The WL40V isn’t rolled off in a weird place that doesn’t give you any bottom support and it’s not peaky in the midrange like a Shure. It just has that flat warm sound with a natural openness in the top.”

Banda also put the SR40V, the wired predecessor to the WL40V, through its paces at sound check. Banda says, “In most stage situations, you get cymbal bleed like crazy, especially when you have a drummer who plays fairly hard. Even though the vocal mics were about 18 feet away from the drums, cymbal leakage was a problem. As soon as we switched to the Earthworks SR40V and WL40V the cymbal leakage almost went away. The rear rejection capabilities of the Earthworks microphones, in addition to their excellent vocal quality and the rich sound, just floored me.”

While touring, Hansen requires a studio quality mix in his headphones while he performs. “If you have an in-ear monitor system, you need a microphone to be way more precise, way more accurate and way more user friendly as far as proximity goes,” Hansen explains.

“Because I have an in-ear system like this, it really makes me feel like I’m in the studio, even when I am on stage,” Hansen continues. “I get all of the expressiveness I desire. In addition, I can sing close to the microphone or back away from it without using any compression, because I can hear every detail and every nuance of the microphone. This is really important to me as a vocalist. I have been singing for a long time, and I know how to use a microphone. I know what to do to get what I want out of a good microphone. But if the microphone is not willing to give it to me, then I can’t use it.”

Banda explains how the WL40V works with Hansen’s vocal style. “The confidence Kelly has with the Earthworks WL40V capsule allows him to do whatever he requires of it, and the capsule just puts it out for him. It becomes effortless for him to sing into the microphone,” Banda says. “With most microphones, you have to work harder or project harder to get what you want to come out of the microphone. In comparison, with the WL40V or other Earthworks vocal mics, you can whisper and be able to clearly hear your breath. This capsule is airy and transparent and so natural sounding that it makes it effortless to sing. When Kelly goes into the lower registers, you can hear the soft low end and every breath he takes on songs like “I Want to Know What Love Is.” Going from the low-mids up into the midrange, it is just amazing how clean the transition is. The EQ we use with the WL40V is very subtle as the microphone doesn’t need much help with respect to signal processing. The WL40V is just a sweet sounding microphone.”

Another major concern when going wireless is contending with RFI rich environments. “The WL40V is excellent with the Lectrosonics HH wireless microphone system,” says Hansen. “We have a lot of wireless on stage, vocals, guitars, etc. and sometimes we play in places with very heavy media environments with all sorts of radio frequency interference and other types of interference. Even in these very trying environments with a lot of RFI floating around, the combination of the WL40V and the Lectrosonics wireless system has been flawless.”

“The microphone capsule has to be able to put up with high SPL and I have to be able to drop the mic a few times without knocking it out” Hansen said. “I don’t drop a microphone on purpose, but sometimes it happens and the WL40V seems to be pretty bullet-proof in this respect.”

Hansen describes his most recent experience with the WL40V on stage. “We just got back from Germany, where we did a live acoustic show, which we recorded for SWR2 in Germany. On this recording, I use my Earthworks WL40V capsule for my vocals. I could have used a Telefunken M251 for this recording, but instead, I chose to use my Earthworks WL40V microphone capsule. Maybe the sound would have been really cool on the M251, but when you put the Earthworks capsule on a good wireless system, that makes it portable. So even though we are sitting down, doing an acoustic show, I could stand up and walk to the audience and say, come on, everybody sing along. There is no way this could have happened if I was using a Telefunken M251 studio microphone. I want to thank Earthworks for giving me such a great mic to work with!”

Before getting back on the road, Banda offered this closing thought on his experience working with Earthworks. “Earthworks as a company, has been amazing to work with,” Banda says. “We are so appreciative of everything they do for us. Everyone there really bends over backwards for us in providing what we need, whenever we need it.”

To learn more about Foreigner and their current tour, visit the band online at www.foreigneronline.com.

earthworksaudio.com

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DPA Ensures That ‘Sugar Man’ Is Heard Loud and Clear

US singer-songwriter Sixto Rodriguez, the subject of the Oscar Award-winning documentary Searching For Sugar Man, has switched to a DPA d:facto™ Vocal Microphone to ensure that his audiences hear every nuance of his complex voice.

Producer and Front of House engineer Russ Miller, who has been working with Rodriguez since he started his current tour in November 2012, says the DPA d:facto vocal microphone has proved ‘absolutely invaluable’.

“It is an incredible microphone that is perfect for Rodriguez’ voice,” Miller says. “It has worked brilliantly at every venue we have visited, including Glastonbury, and frankly I couldn’t have got through this tour without it.”

Now 71 years old, Sixto Rodriguez has been called ‘the greatest 1970′s music icon that never was’. The Mexican-American folk singer was hailed as the new Bob Dylan when he was first discovered in Detroit, Michigan, in the late 1960s. But after his first two albums, Cold Fact and Coming to Reality, were commercial flops he was dropped by his record label and disappeared. Although he was actually making a living as a manual labourer, there were rumours that Rodriguez had dramatically killed himself on stage. What he didn’t realise, however, was that a bootleg copy of Cold Fact had made its way to South Africa where it had become a huge success and had won him thousands of fans who saw his music as the unofficial soundtrack to youth protests against apartheid.

In the 1990s, determined South African fans managed to track him down and this led to a revival of his musical career. Further recognition came with the release of the Searching for Sugar Man documentary, which won an Academy Award in 2012.

For Russ Miller, capturing Rodriguez’ voice is a challenge because he sings very quietly.

“As a singer-songwriter in the tradition of artists like Bob Dylan and Joan Baez, it is really important that audiences can hear every word of every lyric Rodriguez sings,” Russ Miller explains. “However, when he’s accompanied by a powerful, up tempo band, it can be difficult to keep his vocal loud and clear. This isn’t a unique problem, but it was one I wanted to solve before we tackled some of the bigger venues on his tour, so I started casting around for a better microphone for him.”

After a conversation with live sound engineer Rik Dowding, who recently invested in DPA d:facto Vocal Microphones for The xx, Miller approached DPA’s UK distributor Sound Network, through Tour Supply Ltd, and asked if he could demo one.

“I’d also heard really great things about this microphone from Richard Nowell at RNSS who has been using them with various Jazz artists, so I thought it might work for Rodrigues,” Miller says. “The issue was actually demoing it because Rodrigues isn’t the sort of artist who will go into a studio and do an A/B comparison test. In fact, he doesn’t really do rehearsals – he just arrives at a gig and it’s ‘go’ time – there’s no real sound check or set list and he could start with any song. The first time we got to try out the d:facto was at La Zenith in Paris in front of a live audience of 7,500.”

Once Rodriguez began using the DPA d:facto Vocal Microphone, Russ Miller certainly noticed a difference.

“It was amazing,” he says. “The microphone is incredibly detailed in the upper mids, and as a result I was able to attenuate cymbal spill with just a low pass filter because his voice cut through really well, without having to add any air. I was also impressed with how well the microphone took EQ-ing. It was obvious to me that this was the right mic for Rodriguez so we immediately specified it for the rest of his live shows.”

Since his appearance at Glastonbury, Rodriguez has performed in various European cities including Copenhagen and Stockholm, and at another festival in the UK.

“We’ve used the DPA d:facto Vocal Microphone throughout and it hasn’t let us down,” Russ Miller adds. “I’m so relieved that we have finally found the right microphone for his voice as it has improved the sound of his concerts, as well as making my job as a live sound engineer much easier!”

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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 on DPA Microphones, please visit www.dpamicrophones.com

Masque Sound Keeps the Laughs Coming for Bay Street Theatre’s Production of a Funny Thing Happened on the Way to the Forum

Custom Equipment Rental Package Takes Audience Back to Ancient Rome for Musical Farce

SAG HARBOR, NY, AUGUST 27, 2013 – The historic Bay Street Theatre is one of the country’s pre-eminent regional theatres, offering year-round entertainment and events. In anticipation of the theatre’s final production of the 2013 Mainstage Season, Sound Designer Tony Melfa turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company to provide a custom sound equipment package for the musical comedy A Funny Thing Happened on the Way to the Forum.

Directed and choreographed by Marcia Milgrom Dodge, A Funny Thing Happened on the Way to the Forum is a musical that tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The musical’s original 1963 Broadway run won several Tony Awards, including those for Best Musical and Best Book.

In designing the sound for A Funny Thing Happened on the Way to the Forum, Melfa’s goal was to keep acoustically true to the original production when it was written in the 1960s. “I wanted to provide the audience as authentic a feel as possible and not over-mic the stage,” he says. “In order to make that happen, equipment selection was key and Masque Sound did an amazing job of providing me everything I needed to bring my vision to the stage.”

For A Funny Thing Happened on the Way to the Forum, Masque Sound’s custom equipment package included a Yamaha M7CL 32 channel digital mixing console along with a selection of Meyer speakers, including UPA-1Ps, UPM-1Ps and a USW subwoofer. Melfa utilized a selection of microphones including AKG 414s, Shure SM57s, as well as a Shure Beta 52, Neumann U 89 and AKG D112. Masque Sound also provided Melfa five Aviom personal monitor systems, in addition to an HME wireless intercom system.

Since the Bay Street Theatre is a three-quarter round stage, Melfa’s biggest in challenge in designing the sound was to make sure the entire theatre was covered acoustically. According to Melfa, “The Bay Street Theatre has a unique layout and I wanted to make sure that all 299 seats in the house were capable of having a memorable experience sonically. It was important that the rental house I worked with was attentive to my needs, and that’s exactly what Masque Sound was for me. They are extremely easy to work with and my shop order is always right. It is a huge weight lifted off my shoulders knowing I can expect all the equipment I ordered to be delivered in full and in perfect working condition.”

In addition, Masque Sound worked with Melfa to provide frequency coordination to prevent signal interference from the crowded boating community. “With all of the boats in Sag Harbor there is a surprisingly large amount of frequencies in use, and Masque Sound is incredible in taking care of all the frequency coordination for me,” adds Melfa. “All I have to do is plug the equipment in and we are ready to go.”

Founded in 1991, Bay Street Theatre is a not-for-profit 299-seat professional regional theatre situated on Long Wharf, in Sag Harbor, NY. Many of the productions that premiered or were developed at Bay Street have moved to Broadway, Off-Broadway, regionally and abroad, including Nobody Don’t Like Yogi, Hedda Gabler, Love Janis, If Love Were All, Full Gallop, Swingtime Canteen and Three Hotels.

“We are a small theatre and Masque Sound provides us with as much support as they would give to a big budget Broadway production,” says Melfa. “It is great to know that I can pick up the phone and get an immediate response. They always keep it on a personal level and go the extra mile.”

A Funny Thing Happened on the Way to the Forum plays through September 1 at the Bay Street Theatre, at the foot of Main Street (and the corner of Bay Street) on the Long Wharf, opposite the windmill.

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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FOH Engineer Bruce Jones Gets Joe Cocker By With A Little Help From HARMAN’s AKG

VIENNA, Austria – Joe Cocker’s European tour stretched from France and Germany to Croatia and Monaco, as the band performed for sold-out crowds in numerous cities. On stage, FOH engineer Bruce Jones needed to ensure fans’ favorite songs of the band were clearly audible, in addition to maintaining a durable equipment rig. A complete HARMAN AKG microphone set traveled with the band, quickly deployed every night.

“I was looking for a clean, crisp sound, but also a system that could handle high sound pressure levels and work in any weather condition,” stated Jones. “If the artists aren’t happy with their sound, you’re wasting everyone’s time. Since deploying AKG for our shows, the entire band has said the sound is better than ever before!”

Included in the rig are AKG D7 and D5 handheld microphones, D40’s, D212’s, D12 VR’s, C451’s and C519’s. The durability and reliability aspects are key in the continued use of AKG for Cocker, according to Jones, who hasn’t had one failure under in any situation.

“With today’s accurate sound systems, you have to have the best,” Jones continued. “The mics bring high fidelity sound to my mix – I can get the whispers of singers audible in even large arenas. Any weakness in the line will show up and AKG, without question, gives me the best sounding shows I’ve ever had.”

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.

CAD Wireless “Exceeds Expectations” At Park Inn Hotel In Costa Rica

Located in the heart of Costa Rica’s capital San Jose downtown near the bustling business district, the Park Inn Hotel already has seven expansive conference rooms and plans to add four more in the coming year.

Absolutely modern in design and implementation, the Park Inn features sophisticated A/V systems installed by Diseno Acustico (Acoustic Design), a leading local integrator. Besides providing background music and PA systems for the lobby, restaurants, ballrooms and bar/pool areas, these systems offer the latest audio and video conferencing capabilities for the expansive business center.

CAD Audio WX100 wireless systems are a technological centerpiece of the business center. As acoustic engineer and Diseno Acustico president Jose Torres Jimenez points out, “We used CAD Audio WX100 wireless microphone systems for all of the conference rooms, including the WX100A UHF receivers, WX155 belt packs, WX160 goosenecks and WX150 handheld transmitters. The wireless has to be flexible because all of the conference rooms have combining systems so they can be opened up into ballrooms for parties and dances.

“Over the years, we’ve tried other ‘leading’ brands,” Jose continues, “but after a test run in our own conference room, I found that CAD wireless systems work better and specified them for the Park Inn project. The CAD WX100 system is easy to use and install, lightweight and reliable, with good reception and sonic quality. I also really like the rugged and effective antennas.”

Besides CAD WX100 wireless, the Park Inn installation includes Bogen ceiling speakers and subwoofers; Atlas Sound amplification, Furman power conditioners; a NEC VideoWall, projectors and monitors; an FSR Pathfinder computer video & audio matrix switcher and intelligent plate systems; an Australian Monitor zone routing mixer; and Da-Lite recessed ceiling projection screens.

Founded four years ago, Diseno Acustico is fundamentally an acoustics consultancy with a core business of noise control, architectural acoustics, noise modeling and noise mapping. Recently, the company has created an integration and installation division to provide more tangible solutions for its clients. They currently have a mix of 60% commercial and 40% residential installations, with a marked preference for the former.

Summing up about the WX100 wireless systems at the Park Inn, Jose adds, “The hotel is very pleased and happy with the CAD systems. Everything is working just fine and, overall, the systems have exceeded our expectations.”

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

Revolabs InfoComm India 2013 Preview

Revolabs InfoComm India 2013 Preview
Stand C22

PR Link: www.ingearpr.com/Revolabs/130822.zip

Company Quote:

“We are very excited to be exhibiting our wide range of market-leading conferencing solutions at this year’s InfoComm India show. Our next-generation products continue to build on our reputation for developing forward-thinking unified communication products that combine simplicity, flexibility, and optimal performance. The event is also the perfect platform to showcase our new flagship product: the Revolabs Executive Elite wireless conferencing solution. Featuring an elegant Fortune 500 look and feel, the four- and eight-channel wireless microphone system includes several innovative enhancements to bring impeccable, secure audio to any of today’s boardroom and conference room settings.” — Roshan Gupta, regional director, India and Middle East, Revolabs more

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