DPA Microphones’ recently launched 4097 CORE Supercardioid Choir Microphone was used to great effect in Kuala Lumpur when a choir of 12 men and women gathered in Independence Square to mark the 50th anniversary of the Department of Enforcement, Kuala Lumpur City Hall. The event, entitled Hari Penguatkuasa DBKL, featured a parade in conjunction with the Golden Jubilee Celebration of Enforcement Day. It culminated in a live performance by the DBKL City Hall Choir who performed in front of an audience of approximately 2,000 people.

Mr Ajun Mubari, head of Malaysian audio rental company Mubari, says DPA’s 4097 CORE Supercardioid Choir Microphones were chosen to amplify the choir because their integrated shock mount and wind screen made them ideally suited to outdoor use. “The 4097 microphone is awesome and very easy to work with,” he says. “We used one pair to cover the choir group and positioned them on either side of the choir who were standing in a semi-circle. The concert generated very high sound pressure levels – in excess of 90dB – but, thanks to the 4097’s high isolation, the sound coming from the stage monitors (which were placed in front of the choir and behind the microphones) did not affect the available gain during the performance. This was a huge advantage as it meant we could capture the true sound of the choir without picking up any other sound.”

DPA Microphones’ recently launched 4097 CORE Supercardioid Choir Microphone was used to great effect in Kuala Lumpur when a choir of 12 men and women gathered in Independence Square to mark the 50th anniversary of the Department of Enforcement, Kuala Lumpur City Hall.

The event, entitled Hari Penguatkuasa DBKL, featured a parade in conjunction with the Golden Jubilee Celebration of Enforcement Day. It culminated in a live performance by the DBKL City Hall Choir who performed in front of an audience of approximately 2,000 people.

Mr Ajun Mubari, head of Malaysian audio rental company Mubari, says DPA’s 4097 CORE Supercardioid Choir Microphones were chosen to amplify the choir because their integrated shock mount and wind screen made them ideally suited to outdoor use.

“The 4097 microphone is awesome and very easy to work with,” he says. “We used one pair to cover the choir group and positioned them on either side of the choir who were standing in a semi-circle. The concert generated very high sound pressure levels – in excess of 90dB – but thanks to the 4097’s high isolation, the sound coming from the stage monitors (which were placed in front of the choir and behind the microphones) did not affect the available gain during the performance. This was a huge advantage as it meant we could capture the true sound of the choir without picking up any other sound.”

When musician and sound designer Paolo Principi was asked to record the authentic sound of a Fazioli Grand Piano for a new silent system and virtual instrument multi-sample, there was only one microphone brand that he felt could do the task justice – and that was DPA.

“I wanted to capture the rich and complex sounds of this piano in the most natural way,” Principi explains. “For this, it was important that I used the best solution for each element of the audio path. I chose DPA for the microphones, Vovox for the cables and Apogee for the converter because each of these brands is renowned for delivering high-quality audio without coloring the sound in any way.”

Principi, whose company, PSound, specializes in sampling and creating virtual instruments, says he was delighted when Fazioli asked him to record its flagship piano – the F278 Gran Coda. To accomplish this task, Principi chose two matched pairs of DPA 4006 Omnidirectional Microphones (including one pair with nose cones for a perfect response across the whole audio frequency range) and a pair of 4015 Wide Cardioid Microphones. These were supplied by DPA’s Italian distributor, M Casale Bauer, and used to record ‘binaural,’ ‘close’ and ‘side’ sounds respectively.

“I was really delighted by the naturalness, precision and detail that all the DPA microphones delivered,” adds Principi. “I was also very surprised by the linearity of their frequency response, especially for the off-axis sounds – thanks to the incredible nose cones.”

Principi recorded the piano note-by-note (all 88 keys) and across numerous dynamic levels (12 main levels, plus noises and different articulation levels), so that he could accurately capture its entire range of sounds. He also used a special machine to play each key with the same dynamic level and spent a great deal of time working out the best microphone position for each of the three sounds (binaural, close, side) that he was recording. He then listened to the audio in his own studio until he was sure he was obtaining the real sound of the instrument.

Sadler's Wells Theatre in London has adopted Riedel's Bolero wireless intercom to ensure reliable and flexible communications across the 10,000-square-meter building and the adjacent Lilian Baylis Studio. Located on London's iconic Rosebery Avenue, the theatre is renowned as one of the world's leading dance venues, staging contemporary dance and ballet performances in its 1,560-seat main auditorium. The theatre also has a unique link to Riedel's home city of Wuppertal through an ongoing residency with the Tanztheater Wuppertal Pina Bausch, a partnership that spans more than 35 years.

As well providing a stage for visiting companies, the Sadler's Wells Theatre is a producing house with a number of associated artists and companies creating original works for the theatre, and many locally produced shows are also recorded for cinema. Visiting OB trucks that are also equipped with Riedel Artist systems can easily interface with the theatre's systems, creating smoothly integrated workflows and tremendous convenience.

When musician and sound designer Paolo Principi was asked to record the authentic sound of a Fazioli Grand Piano for a new Silent System and Virtual Instrument multisample, there was only one microphone brand that he felt could do the task justice – and that was DPA.

“I wanted to capture the rich and complex sounds of this piano in the most natural way,” he explains. “For this it was important that I used the best solution for each element of the audio path. I chose DPA for the microphones, Vovox for the cables and Apogee for the converter because each of these brands is renowned for delivering very high quality audio without colouring the sound in any way.”

Principi, whose company PSound specialises in sampling and creating virtual instruments, says he was delighted when Fazioli asked him to record its flagship piano – the F278 Gran Coda. To accomplish this task he chose two matched pairs of DPA 4006 Omnidirectional Microphones (including one pair with nose cones for a perfect omnidirectional response across the whole audio frequency range) and a pair of 4015 Wide Cardioid Microphones. These were supplied by DPA’s Italian distributor M Casale Bauer and used to record ‘binaural’, ‘close’ and ‘side’ sounds respectively.

“I was really delighted by the naturalness, precision and detail that all the DPA microphones delivered. I was also very surprised by the linearity of their frequency response, especially for the off axis sounds (thanks to the incredible nose cones).”

Principi recorded the piano note by note (all 88 keys) and across numerous dynamic levels (12 main levels, plus noises and different articulation levels), so that he could accurately realise its entire range of sounds. He also used a special machine to play each key with the same dynamic level and spent a great deal of time working out the best microphone position for each of the three sounds (binaural, close, side) that he was recording. He then listened to the audio in his own studio until he was sure he was obtaining the real sound of the instrument.

DPA Microphones’ 6066 Subminiature Headset Microphone is a nominee for the 35th Annual NAMM Technical Excellence & Creativity (TEC) Awards in the Microphones – Sound Reinforcement Category. Products that are nominated for a TEC Award have made a significant impact on modern sound and music. With a capsule measuring in at just three millimeters in diameter, the 6066 microphones may be small, but they are powerful in terms of performance – making this solution an ideal candidate for a TEC Award.

Featuring CORE by DPA technology, the mic reduces distortion, increases dynamic range and features a frequency range of 20Hz-20kHz along with a noise floor of only 24dB(A). The 6066 also benefits from a completely redesigned, lightweight, one-size-fits-all headset that attaches over the ears for maximum comfort and includes a spring mechanism that grips below the head/ears for added security. It even received a Red Dot design award for its innovative and user-friendly design.

“We put a great deal of time and energy into designing a headset microphone that is elegant and implements all of the features we wanted in a small package,” says René Mørch, product manager, DPA Microphones. “The 6000 series capsule is the smallest we have ever designed. It required working on the edge of what is physically possible in order to get the renowned sound of the five-millimeter capsule of the 4066 into the new three-millimeter capsule of the 6066. The goal behind this microphone was to develop a solution that would be nearly invisible, to both live and broadcast audiences, while providing crystal-clear sound. The 6066 is discreet and visually appealing, and does not compromise on sound quality.”

Since its launch, the 6066 Subminiature Headset Microphone has received rave reviews. Its secure, lightweight, unobtrusive and comfortable design, coupled with DPA’s renowned natural and pristine sound-quality, has led to significant sales around the world and across various market sectors, including broadcast, theatre and live sound.

Through broadcast and online digital channels, First Baptist Dallas’ reach expands beyond its in-house attendance. With a following that spans tens of thousands of worshippers, the megachurch takes its audio and video capabilities very seriously, looking to Lead Audio Engineer Brad Roberts to choose just the right gear. Most recently, Roberts became one of the first U.S. users of DPA Microphones’ new 6066 CORE Subminiature Headset Microphone, relying on its capabilities to provide a discreet, high-quality sound for the church’s lead pastor, Dr. Robert Jeffress.

“I chose to upgrade the lead pastor’s microphone to DPA’s 6066 because of its impressively small capsule and redesigned headset—for such an unobtrusive solution, the sound quality is impeccable,” explains Roberts. “The 6066 is completely hidden from close-up HD camera shots and its non-reflective boom further improves the aesthetic, as it does not catch undesirable stage light.”

The church’s arsenal of DPA microphones also includes numerous 4061 Omnidirectional Microphones for acoustic pianos and violins in the band, a 4098 Supercardioid Gooseneck Microphone at the podium, the 4018VL Vocal Microphone when a handheld mic is needed and a wide array of 4066 Omnidirectional Headset Microphones in all 12 of its worship venues. Roberts relies on the headset mics most often during speaking/teaching presentations, baptisms and drama productions, including the church’s annual Christmas concert. Together, these solutions provide Roberts with the audio quality he desires for these large services, where all eyes—and ears—are tuned in closely.

Through trial and error with other manufacturers, David Glenn, director of technology and design for the Samford University theatre, finally found the communications solution he was searching for with Pliant Technologies’ CrewCom wireless intercom system. For the 288-seat university theatre, it is crucial to deploy a reliable intercom system that never compromises on quality, and has a small learning curve – ideal for students working in live production for the first time.

“We had planned to upgrade our wireless system for a long time now,” explains Glenn. “We were previously working with a failing two-channel wireless system, and its poor quality left me frustrated and seeking other options. When it comes to live performances, it is a top priority for us to have a dependable coms solution – this way all directions and cues are heard, and we can put on a smooth show.”

Samford University upgraded to Pliant’s 900MHz CrewCom, which provides the theatre with a strong signal and a range large enough to cover the space. “The CrewCom integrates well with our two-channel hardwired system and gives us the flexibility that was lacking with other solutions we’ve tried,” adds Glenn. “Something that stood out to me about CrewCom is its ability to increase user counts down the road. Other manufacturers’ systems would cap out at four wireless coms, but with CrewCom, we can deploy up to six Radio Packs at a time, and we have the ability to add more, if needed.”

When Glenn took a first look at CrewCom, he was immediately impressed by the rigidity of the Radio Packs (RP) – especially after finding other manufacturers’ packs to be frustratingly fragile. “They are a great size – not too big or too small,” adds Glenn. “The ability for these packs to take a beating is especially important when working with students. If they drop a pack, I know it’s going to hold up, and I won’t have to tape them back together, like I used to. They are durable, lightweight, compact, and well-constructed.”

At AES 2019 and NAB NY 2019, Clear-Com® will demonstrate its ground-breaking advanced wireless intercom system FreeSpeak Edge™ for the first time in the U.S., and will also present a broad range of IP-based products and professional intercom communication tools, including support for SMPTE 2110-30.