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Professional Wireless Systems’ Frequency Coordination Hits the Right Note for Telemundo’s Popular Singing Competition, la Voz Kids

ORLANDO, FL, JUNE 30, 2014 – When Telemundo’s highly rated singing competition La Voz Kids kicked off its second season at Universal Studios Orlando, 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 popular show.

La Voz Kids features approximately 140 young vocalists between ages 7 and 15 who are competing for a recording contract and a cash prize to support their education. The second season premiered with over three million viewers on Telemundo.

PWS supplied a range of wireless gear for the show and managed frequencies across the three sound stages, each which were approximately 500 to 1000 feet apart. The main stage, Stage 21, was home to the talent’s performances in front of a live audience and was where the majority of the competition took place. Subsequently, Stage 20 was used as the greenroom and Stage 19, sponsored by State Farm Insurance Company, was where the one-on-one coaching between the judges and talent took place.

PWS provided nearly 50 Shure wireless microphones for the performers throughout the show’s duration. In addition, PWS supplied the show with 40 Telex BTR-800 wireless beltpacks, 32 of which were used on the main stage by the lighting, audio and production crews, camera operators and stage managers. The other eight were kept stationary at Stages 20 and 19 to ensure that the crew had them available for any unanticipated occurrences. To streamline workflow operations, PWS also tied the intercoms into the main PA system, so that the stage announcers’ audio could be projected through the sound system to efficiently communicate with everyone on-location. This proved particularly essential during rehearsals.

In providing its wireless services for the three-phase entertainment show, PWS coordinated and managed a total of 200 frequencies, which included all the performances as well as additional ENG gear that was used to wire up the families to have them reflect on their son/daughter’s most recent performance. PWS’ main RF Coordinator John Garrido faced two main challenges while on set. One of the biggest hurdles centered on the show’s three-phase approach. Each phase or round of the competition was hosted on an entirely new set in order to give the show a fresh look as it progressed. “In between each phase and subsequent rebuild, all of the wiring and equipment had to be reconfigured,” says Garrido. “It was a big task for us, but one that we were happy to take on.”

The location of the show itself also presented PWS with quite a challenge in terms of managing and coordinating neighboring frequencies. “The show was filmed in the middle of Universal Studios, with other shows taping all around La Voz Kids on different, close-by stages,” adds Garrido. “Universal Studios manages approximately 400 frequencies, on a regular basis, and though we were coordinating and managing approximately 200 for La Voz Kids, we always had to be on guard to ensure that surrounding shows’ frequencies were not causing interference. This was particularly difficult to manage, because right behind Stage 21, there was a designated concert stage that hosted multiple live acts during the taping of La Voz Kids, creating the potential for interference. Fortunately, our crew was well prepared, and our expertise allowed us to stay on top of any potential issues.”

To ensure all frequencies were well managed for the duration of the competition, PWS supplied and deployed a majority of its own RF equipment, including a combination of its Domed and Helical Antennas. All in-ear monitors, as well as the Telex BTR outputs were run through GX-8 Combiners for transmission. In addition, PWS utilized its DB Series Multicouplers for all microphone and Telex BTR zoning and distribution. Throughout the show, PWS relied on its own Intermodulation Analysis Software System (IAS), a complete frequency management tool that helps coordinators quickly choose the clear frequencies for each specific wireless system and tuning range.

La Voz Kids proved to be a very successful show for PWS,” says Jim Van Winkle, general manager of PWS. “Working on a competition of this magnitude for such a long duration can be a cumbersome task, but our crew was well prepared to take on the challenge and did a fantastic job in ensuring that there were no frequency or signal interference problems during the show’s tapings.”

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 live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, 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,” “Mama Mia,” “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, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. 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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Newly Formed Boy Band Cre5cendo Achieves Modern Sounds with HARMAN’s AKG Microphones

MILAN, Italy – Formed around the 15-year old guitar prodigy Gianluca Gentilesca, boy band Cre5cendo ambitiously offers a modern interpretation of Classic Rock, with help from HARMAN’s AKG microphones in one of Milan’s historic studios. While working with producers, KNAGUI of 7:06PM Entertainment Group and Massimo Caso, who also serves as studio engineer, Cre5cendo has found its voice as a band that respects the works of original artists while adding its own unique flavor to the mix.

Working out of Caso’s studio Il Cortile, the producers, who together call themselves GUIMAX Productions, recently cut a cover of “Happy” by Pharrell Williams as one of Cre5cendo’s first songs. Two AKG C12A and two D12 microphones, plus a few 414 and D112 microphones, were used to record the drums, guitar amps and room acoustics for the song.

“What I love about the AKG microphones is that they give a certain life to the recording,” said KNAGUI. “They have a distinct flavor when they pick up the sound, but unlike microphones from some other brands, it’s not so dominant that the microphones only have specific uses. Therefore, the placement is flexible and allows us to bring out the unique qualities of the band.”

The drummer enjoyed a setup of three microphones that covered the overhead, kick and bass, thanks to a cardioid configuration with AKG C12A microphones, which according to KNAGUI is a “modern and realistic approach to the sound. Rather than providing a microphone for each drum, this setup allows the drummer to “be the drummer” and showcase his finesse and proficiency.”

The C12A were the favorite microphones of Caso’s inventory, and also his first choice for the acoustic guitars, providing certain “softness without the dullness. Also, they are able to capture the sounds of electric guitars effectively, which are usually notoriously difficult to record with condenser microphones,” Caso said. “So far, only the AKG C12A and 414 microphones were able to do so!”

While recording the band’s EP this past January, the D12 and D112 microphones were used on the kick drum, while the C12A and 414 were used on the hi-hat and cymbals, providing excellent balance and a natural reproduction of sound in the studio.

“When Cre5cendo was looking for a modern sound with a rock-centric and open approach, I knew the choice and use of microphones would be essential,” said Caso. “This is why AKG’s established heritage in sound is greatly appreciated by me and the band.”

For more information on Cre5cendo, please visit www.facebook.com/cre5cendo

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Professional Performance Meets Affordability with HARMAN’s AKG Project Studio Microphone Line

AKG Perception P120

VIENNA, Austria – Building on almost 70 years of experience in developing world-class microphone technology, HARMAN’s AKG is adding five new models to its Project Studio line of microphones. The new models are designed for enthusiasts and professionals alike, meeting the needs of makeshift project studios as well as professional environments.

The Project Studio line was built on AKG’s heritage of technical excellence and was developed in collaboration with some of the audio industry’s top professionals. The new Project Studio microphones deliver historical premium AKG sound quality in a classically designed series. “As more and more manufacturers continue to enter the marketplace, it’s becoming increasingly difficult for end-users to identify the best microphones for their needs,” said Erich Gaertner, Product Line Manager, AKG. “Therefore, we chose to update the Project Studio line with professional-grade microphones at accessible prices, thereby making it easier for our customers to find the perfect microphone to meet their demands. Thanks to AKG’s depth of research and development resources, the new Project Studio line of microphones are both high-quality and affordable.”

The new additions to the Project Studio line include: the P120 general purpose recording microphone; the P170 general purpose instrument microphone; the P220 large-diaphragm true condenser microphone; the P420 large-diaphragm dual-capsule true condenser microphone; and the P820 dual-capsule tube microphone.

The P120 is a 2/3-inch diaphragm true condenser microphone that offers durability, outstanding performance and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail for vocals, speech and instrument recording in project studios and for home recording.

The P170 is a small-diaphragm condenser microphone for recording of overheads, percussions, acoustic guitars and other strings. Its lightweight half-inch true condenser transducer diaphragm delivers outstanding clarity and transient response. The P170 utilizes the experience of sound engineers from around the world and is considered an affordable alternative to the legendary AKG C451 B.

The P220 is a large-diaphragm true condenser microphone offering a warm and clear sound for lead vocals, acoustic guitar and brass instruments. A switchable bass-cut filter and attenuation pad make it perfectly suited for use on loud sound sources with sound pressure levels up to 155dB SPL. The rugged and roadworthy design also makes the P220 a perfect choice for on-stage applications. The P220 represents the most popular and successful microphone within the actual Project Studio Line. It comes complete with a spider-type shock mount in an aluminum carrying case.

The P420 is a multi-pattern large diaphragm true condenser microphone for demanding project studio recording applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound quality perfectly suited for ensemble recording, grand piano, woodwind and brass instruments, as well as drums and percussion. With three selectable polar patterns—cardioid, omnidirectional or figure 8—it is an ideal tool for stereo miking techniques and ambient recording.

The P820 Tube high-performance multi-pattern tube microphone is an excellent tool for highlighting lead vocals, brass instruments, electric guitars and drums. With its dual one-inch diaphragm capsule and the advanced ECC83 dual-triode circuitry, the P820 Tube delivers real tube sound and raises the bar in its class of affordable tube microphones.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

CAD/Astatic Debuts 1600 Series UHF Wireless At InfoComm

Las Vegas, NV––CAD Audio/Astatic Commercial introduced its high performance 1600 Series UHF wireless system at InfoComm 2014.

Versatile and designed to ensure exceptionally reliable reception in a variety of installation settings, the new 1600 Series system provides 100-channel frequency agile UHF operation for maximum operating range. It also features proprietary CAD ScanLink™ technology to precisely scan, select and link to the optimum channel in any RF environment.

Other features include True Diversity operation to minimize multipath interference along with CADLock™ Automatic Tone Encoded Squelch that eliminates unauthorized transmissions in the signal path.

Ideal for Corporate, House of Worship and Broadcast use, the WX1610 Bodypack System features the Equitek E19 miniature condenser earworn mic, a Cardioid Lavalier and guitar cable.

The TX1600 handheld and TX1610 body pack transmitters have SoftTouch™ multi-function On-Off/Mute/Low Battery/ScanLink status switches with multi-color LED indicators. High quality alkaline double AA batteries provide more than 15 hours of transmitter battery life.

The WX1600 receiver is housed in a durable metal chassis with ¼” and XLR outputs for additional flexibility. System specs include a Frequency Response of 40Hz–15KHz, and Dynamic Range >105dB.

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

Masque Sound Brings the Powerful and Influential Lyrics of Tupac Shakur to the Stage in Holler if ya Hear Me

Custom Audio Equipment Package Keeps the Beat for First Hip-Hop Musical in Broadway History

NEW YORK, JUNE 23, 2014 – As the curtain rose and the beat dropped on Broadway, the rhymes of Tupac Shakur engulfed the Palace Theatre during the highly anticipated hip-hop musical Holler If Ya Hear Me. Sound Designers David Patridge and John Shivers turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the riveting new production.

Holler If Ya Hear Me transports audiences to the world inside Tupac Shakur’s lyrics, and blazes to life in a non-biographical story about friendship, family, revenge, change and hope. The production brings to light the struggles for peace against the daily challenges of inner city life in this entertaining and original musical. Through the poetry of one of the 20th century’s most influential and culturally prominent voices, audiences are given a window into realities of the street, which are still relevant today.

Unlike a typical musical, which focuses mainly on reinforcing the audio coming off the stage, Patridge and Shivers’ goal in designing the sound for Holler If Ya Hear Me was to not only reinforce but amplify the audio to bring it to a level that was much more impactful. To do so, they worked with Masque Sound to obtain a custom equipment package, which included a DiGiCo SD7T Live Digital Console, d&b audiotechnik V-Series line array system, d&b D80 amplifiers and a Yamaha PM5D-EX digital console. The performers were outfitted with Sennheiser SK5212-II radios and EM 3732-II receivers, as well as DPA d:fine microphone booms fitted with a 4066 element.

“This was the first time that we used the d&b V-Series and D80 amplifiers and we were very impressed. The PA system needed to have more volume than a typical Broadway show in order to adhere to the punchy, hip hop score,” says Patridge. “The capacity and quality of the d&b D80 amplifiers was excellent. Working in an older theater also presented its challenges, architecturally speaking. We needed a line array system that was compact enough to fit the space, not block sight lines and not weigh too much; the V-Series was the perfect choice. Masque Sound went above and beyond in purchasing an abundance of high-end equipment for us, because the team knew that it was necessary for a show of this caliber. We are very appreciative that they were willing to go that extra mile to help bring our vision to life.”

The designers called upon two different d&b models in order to more evenly disperse the audio throughout the theatre. “We put the 120 degree boxes at the bottom of the array and had the narrower pattern going further distances, so when the audio opens up, it keeps some of the energy off the walls of the room,” adds Patridge. “When designing for sonic signature, you have to look at everything—it has to sound good, be coherent, be able to control the pattern and it has to have power. The d&b PA that Masque Sound provided allowed us to do just that.”

The location of the mix position also presented a unique challenge for the designers. The seating of the Palace Theatre is configured with a continuous slope, which provides a stadium seating effect instead of the traditional separate levels (orchestra, mezzanine and balcony). As a result of the angle of the chairs, the FOH mixer cannot see the actors on stage, as he would have to look through the console.

“Not having a good line of sight can be quite a challenge, so we incorporated a video monitor system into the design,” says Patridge. “As a one-stop shop, Masque Sound was able to supply the video component that we needed to overcome this unexpected challenge.”

In addition to his praise of Masque Sound, Patridge also credits his long-time production engineer Kevin Kennedy for a job well done. “The sound turned out great, and we are really excited and thankful to be part of this history-making musical,” concludes Patridge.

Holler If Ya Hear Me opened on June 19, 2014 at the Palace Theatre. For more information and to purchase tickets, please visit: www.hollerifyahearme.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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Audio-Technica Announces Network Dante™ Microphone

— Audio-Technica’s ATND971 Network Microphone transmits audio and control data together over the Dante™ network protocol —

INFOCOMM, LAS VEGAS, NV, June 18, 2014 — Audio-Technica(Booth C10520), a leading innovator in transducer technology for over 50 years, announces its new Audio-Technica ATND971 Cardioid Condenser Boundary Network Microphone, bridging the gap between audio and IT as the first wired microphone that transmits audio and control data together over Audinate’s Dante™ network protocol. Dante has become a go-to method of networking for many audio professionals; a true plug-and-play solution, Dante uses standard Internet protocols to distribute digital audio and control data with very low latency. more

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HARMAN’s AKG Offers License-Free Operation and 128-Bit Encryption with DMSTetrad Digital Wireless Microphone System

LAS VEGAS, Nevada – At InfoComm 2014, HARMAN’s AKG is introducing the DMSTetrad digital wireless microphone system. Ideal for a variety of applications ranging from concerts and clubs, to conferences, this license-free wireless system offers uncompressed audio transmission, superior RF performance and 128-bit AES standard encryption.

The AKG DMSTetrad digital wireless microphone system features an integrated 4-channel mixer, and an antenna front mount kit. With 24bit, 48kHz audio coding, it provides uncompressed studio-quality transmission and a linear frequency response, for uncompromising vocal and instrumental performances. The DMSTetrad’s 128-bit AES standard encryption prevents tapping of the audio signal, which makes it a perfect companion for high-security conferences.

The entire DMSTetrad system features the DSRTetrad Digital Stationary Receiver, the DPTTetrad Digital Pocket Transmitter and the DHTTetrad Digital Handheld Transmitter, available with AKG’s patented D5 acoustics or as DHTTetrad P5 with standard dynamic capsule. Two sets are available, the DMSTetrad Vocal Set including the DHTTetrad P5 and the DMSTetrad Performer Set including the DPTTetrad together with a C111 L earhook microphone and the MKG L instrument cable.

The DMSTetrad can be quickly assembled and ready to use. The DSRTetrad receiver can work with up to four channels of audio in parallel which can be mixed down directly to its balanced XLR sum output. The dynamic frequency selection (DFS) ensures that only the cleanest frequency bands are selected for the connection between receivers and transmitters automatically.

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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

DPA Microphones Unveils Latest d:screet™ Miniature Solutions at InfoComm 2014

LAS VEGAS, JUNE 18, 2014 – DPA Microphones is presenting its new d:screet™ Omnidirectional Miniature Necklace Microphone at InfoComm 2014 (Booth C11936). Also on display will be the company’s heavy-duty d:screet™ 4060 and 4061 Omnidirectional Miniature Microphones and d:screet Omnidirectional Miniature Mics with reinforced cable relief.

Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for quick costume changes. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.

“Our expansion of the d:screet Miniature Microphone Series is in direct response to increasing market demands for a large variety of solid workhorses that deliver superb sound under challenging conditions,” says Christian Poulsen, CEO of DPA Microphones. “We identified and meet a need with our new d:screet Necklace Microphone for a mic that can be mounted and removed quickly, and several times, by untrained talent without a sound expert nearby. Additionally, with the heavy-duty and reinforced cable relief solutions for our d:screet Omnidirectional Miniature Microphones, we’re fulfilling requests from users for high-quality sound with a highly-durable housing and cable.”

During the show, the company is presenting at is booth two options that address these needs. Incorporated on all d:screet Miniature Microphones, the robust strain relief version ensures that people who are not used to handling miniatures can feel reassured by the increased reliability. The heavy-duty 4060 and 4061 microphones, which are ideal for people who require even more enhanced security and for whom the visual appeal is of less importance, are perfect for placement in rigorous production situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. It features a stainless steel housing, sturdy cable relief and a thicker .08-inch cable. Both enhanced versions are exceptionally durable and ideally suited to the rigors of various productions.

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

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

DPA Microphones is Newest Member of the Jersey Boys Big-Screen Quartet

Company’s d:vote™ 4099 and d:screet™ 4061 played a key role in the audio quality for Clint Eastwood’s Film Adaptation of the Broadway production

LOS ANGELES, JUNE 17, 2014 – When production started on the film adaptation of the Tony Award-winning musical Jersey Boys, set to hit the big screen this Friday, June 20, crew members knew they would need to capture all audio, music and vocals live without any pre-recordings. As instrument miking was not available during the 1950s to 1970s era of the film, the production team also needed to conceal the musicians’ mics on set. To address these unique challenges, they turned to DPA Microphones.

Tim Boot, production music mixer for Jersey Boys, relied primarily on DPA’s d:vote™ 4099 Instrument Microphones and d:screet™ 4061 Omnidirectional Miniature Microphones to capture the live instruments on set. Easy to conceal during filming, these mics provided a very natural sound quality and proved to be the perfect complement to the era of the film. Further keeping with the film’s theme, the crew used vintage instruments, such as Fender guitars and Ludwig drums, to maintain a classic sound, while the mics allowed them to record discreetly.

“You always have to be prepared when you have live music on set,” says Boot. “DPA was my hero when it came to miking the drums. I couldn’t use prop mics, so I bought myself a kit of DPA d:vote 4099 and d:screet 4061 mics. Depending on the setup, we buried five to 12 microphones on the drum kit. You don’t see the mics on camera, but each element of the kit was individually miked, just as you would do in the studio.”

Boot achieved the studio-recording results by placing the d:screet 4061 under the cymbals and in other areas that were more challenging to conceal. He relied on the d:vote for the snare and kick drums. “When you’re looking to hide a microphone, you need a lot of options,” he continues. “The d:vote’s ability to handle the kick and snare drums is absolutely amazing. It has no distortion and is very natural. The type of sound we were looking for is not a produced rock sound; it’s a natural sound. We were trying to capture the sound of the instrument, not over-produce it. The d:vote achieves that.”

In one of the film’s biggest musical numbers, featuring Frankie Valli (played by John Lloyd Young) and The Four Seasons, the audio crew faced their biggest miking challenge. The performance employed a live guitar, bass, drums and a keyboard, accompanied by a big band of five saxophones, trumpets and trombones, an acrylic drum set, a grand piano and an upright bass, which were revealed behind the curtain on stage where the group was performing.

“The whole reveal was done live and everybody was miked,” continues Boot. “If you look at performances from the 1970s, there were only a few mics on stage and they were usually for the vocalists. It’s only been in the last 20 years or so that we’ve been able to mic everything individually. This production was such a stickler for accuracy that we couldn’t violate that.”

To achieve the big stage number, Boot placed a d:screet 4061 on the stand of every sax, trombone and reed instrument. The drum set, which for this scene had a transparent body, posed an even bigger challenge for masking the mics, which again included a combination of d:votes and d:screets. The scene was recorded with a total of 47 inputs, each of which was concealed.

“We pushed the limits of hiding the mics,” explains Boot. “It just goes back to the d:vote and d:screet being such tiny mics with even tinier capsules and just being so amazingly musical sounding. You just don’t get that with other brands. No one else can do it. I’ve used DPA for years and I think the d:screet 4061 is especially the most musical lavalier microphone ever made. I think it’s the only lav mic I would ever feel comfortable putting on an instrument to get a musical sound. It was a no-brainer to put it on the musical instruments that required masked microphones.”

In addition to using the d:screets for the main band members during the big band number, Boot also relied on the mics to complement the flute for that scene. “We had a flautist playing live and, even though it looked liked it was miked through a vocal mic, we used the d:screet, which made it much more musical.”

In addition to Boot, production sound mixer Walt Martin and music playback mixer Mark Agostino played vital roles in the audio production of the film. “Between the three of us, we created this totally new way of doing music,” says Boot. “It was amazing to be on the set of Jersey Boys, because even great session players perform a little bit differently every time. Even though the guitarist may have been off camera at times, it felt as if he was right there. They were all in the space playing together, and that’s the way this music was recorded back in the 1950s, so it was really cool.”

Tim Boot has recorded and edited music for film for over 20 years. Additionally, he has recorded and mixed live music in some of the world’s greatest venues with world-renowned artists. He also operates a consulting firm at which he designs high-end audio and video systems for performing arts venues around the world.

Directed by Clint Eastwood, Jersey Boys is based on the true-life story of The Four Seasons, comprised of Frankie Valli (John Lloyd Young), Bob Gaudio (Erich Bergen), Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda). The group rose to fame in the 1960s, known for hit songs including “Sherry”, “Big Girls Don’t Cry” and “Walk Like a Man.” Young previously earned a Tony Award for his depiction of Valli on Broadway. Christopher Walken also stars in the film as Angelo “Gyp” DeCarlo, a mobster and friend of Frank Sinatra, who played a big role in helping The Four Seasons achieve fame.

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

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

DPA Microphones Goes on a Musical Journey with The Walk to Fisterra

Company supplies array of microphones for a unique recording and musical documentary about a U.S. cellist’s 600-Mile Trek through France and Spain

NEW YORK, JUNE 11, 2014 – New York-based Cellist Dane Johansen is embarking on The Walk to Fisterra, a 600-mile musical/walking journey along the Camino de Santiago, a popular pilgrimage route through France and Spain. Over the course of his six-week journey, which began May 14, Johansen will stop at several of the 36 historic churches along the Ancient Roman footpath, where he will perform Bach’s Six Suites for Unaccompanied Cello, while a team of filmmakers and music producers capture content for a stunning documentary about the pilgrimage. To ensure the highest quality audio, sound engineer, Kyle Pyke, and Grammy® Award-winner, Jesse Lewis, who is the music producer and co-sound engineer on the project, are using several pieces from DPA Microphones’ product line.

Included in their audio arsenal are d:dicate™ 4007A Omnidirectional mics for location recording and a combination of d:dicate 4011F Cardioid Podium and d:vote™ 4099 Instrument mics for close-pickup of the cello. A variety of d:mension™ 5100 Mobile Surround and d:dicate 4017B Shotgun mics are being used to capture ambience along the trail, while d:screet™ 4061 Miniature mics pick up dialogue.

“DPA was our top choice for microphones to record the audio for this journey,” shares Pyke. “When we were spec’ing out what we might need for the project, we enlisted DPA Microphones to be our exclusive mic partner. The reason is pretty simple, not only does the company’s catalog offer everything we could hope for, and more, in terms of microphone quality and detail, but DPA itself embodies an open, adventurous approach to pushing the industry forward, which is an intrinsic quality of The Walk to Fisterra.”

“DPA’s entire line of microphones is world class and the first I turn to for literally any situation,” adds Lewis. “Whether they are used for dialog, mobile-surround ambience or a solo cello, there isn’t another product line out there that can do everything that DPA’s mics can do. The accessories give us configurability, the vast microphone line gives us a freeing flexibility – which is something we especially need on this journey – and the capture of speech, ambience and music is lifelike and pristine. For a project like this, we need voices to be clear and the music has to be stunning, and that’s just what we get with DPA. Since DPA spares no expense in development and production, no matter the microphone or application, their mics are really a perfect fit for The Walk to Fisterra.”

As Johansen performs at churches along the route to Fisterra, his team will produce recordings and sound maps of each location, which Lewis can then use back in the studio to recreate the audio during film screenings or as background for Johansen’s live performances. “When we are on the road in often less-than-ideal acoustic environments, it’s important to make sure that nothing is lost due to noise or lack of detail,” continues Pyke. “We’re very happy with our selection of DPA mics, which ensure we keep the natural sound of the instrument intact during the recording process.”

To prepare for any unique audio challenges that they may encounter at the older venues, Pyke will rely on the cardioid pattern of the DPA d:dicate 4011F and d:vote 4099 mics, to capture sound directly off the instrument. The 4011F, superior for high sound levels and close pickup, will highlight the sound around the cello, while the d:vote 4099, much more natural sounding than any internal microphone or pickup, will be mounted directly on the cello to accurately record the instrument while removing any unwanted noise. Pyke also plans to use his DPA d:dicate 4007A Omni mics to capture in surround sound the reverberations produced by the instruments in the churches, which have an antique architecture that offers unique acoustics. The setup uses a decca tree in front, with two mics spaced at a variable distance and width, to give a sense of depth between venues.

“The 4007A’s flat response across the frequency spectrum is the perfect tool for capturing the true sound of the hall in both musical recording and impulse responses,” shares Pyke. “The 4011F offers a colorless pickup yet still retains its musicality, while the 4099 is conveniently small and unobtrusive without losing any detail. Additionally, the 5100, which we use to capture ambience in the venues, offers incredible audio quality in a rugged, easily mounted microphone design.”

In order to ensure the recordings offer listeners a true sense of the experience, Pyke must also capture dialogue and the ambience of journey along the Camino. To produce the best results, a combination of a d:mension 5100 Surround, 4017B Shotgun and several d:screet 4061 Miniature mics will be used. The d:mension 5100 comes conveniently packaged for recording surround on the road, as it can be mounted to a camera or boom, while the 4017B shotgun provides everything necessary for clear directional sound regardless of environmental conditions. The d:screet 4061s, though tiny, produce an accurate omnidirectional pattern without need to be aimed directly at the sound source.

The Walk to Fisterra was inspired by Johansen, who feels the voyage is symbolic to his relationship with music. The dedication needed to perfect the Bach Suites requires an artist to continuously pursue a singular goal and therefore is like a pilgrimage, endless and requiring extreme effort, daily commitment and absolute resolve. Johansen and his team hope the performances of Bach’s music and visits to mentor young cellists in schools along the Camino during The Walk to Fisterra, will inspire the communities as they speak through the universal language of music.

Johansen performs throughout the world as a soloist and chamber musician and he is a member of the Chamber Music Society of Lincoln Center. He made his Lincoln Center Debut performing Elliott Carter’s Cello Concerto with James Levine in celebration of the composer’s centennial and his Carnegie Hall debut in 2012, performing a program of his own design entitled Lightness, which explored philosophical lightness in music of the 20th century.

El Camino de Santiago, an ancient route to Santiago de Compostela and Fisterra on the western edge of Europe, was originally a Pagan footpath that was later appropriated by the Romans as part of their campaign to Christianize Spain. Still journeyed by those seeking to challenge their bodies and minds, the path features roads, monasteries and cathedrals along the route to provide pilgrims with areas of rest.

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

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

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