DPA newsletter issue 730-06-2014
Choosing a cardioid or omnidirectional headset
We get this question almost daily: when to use an omni or directional headset?
The correct answer is: it depends. In most situations, we think an omni is the better choice. Since there's no proximity effect, the sound doesn't change a lot whenever the boom moves from its ideal position. Omni's have a very natural sound, and since they can be positioned very close to the sound source feedback and bleed from other sources shouldn't be a problem. Contact noise is also a lot less on a pressure microphone (omni) compared to a pressure gradient (cardioid, etc.).
Have a listen to this recording in a decent acoustic environment, comparing a 4066 omni capsule to a 4088 cardio capsule:
But sometimes, less than ideal situations are what we have to deal with. Bad room acoustics, standing in front of a loud PA system or monitors, several microphones positioned close to each other,...
In these cases, a cardioid headset like the DPA d:fine 88 might just be the solution. In the video below, the worst case scenario is highly exaggerated. The test person is standing in a 6 second reverb chamber, with an omnidirectional speaker blasting pink noise at a pretty high level, making it for himself impossible to hear himself anymore. The advantage of using a cardioid microphone becomes very apparent now.
Also, some engineers use a cardioid’s microphone proximity effect to their advantage. E.g., the bass boost might be exactly what you need to make a shrill sounding singing voice sound a bit fuller.
Amptec booth IBC 2014
DPA will be a major contributor to the Amptec booth at IBC 2014, which takes place September 11-16 at RAI Amsterdam. Other brands on display at our booth will include DiGiCo, 10EaZy, Adam, etc.
DPA no longer has their own booth at IBC, so product specialists will be present at all time on the Amptec booth (8.D70).
For those who like to plan ahead, we can already help you with entrance tickets, contact us for more info.
Kyteman backstage event
Wednesday 28th of May, Amptec had a backstage event in Tivoli Oudegracht in Utrecht. This was in close collaboration with Kyteman Orchestras front of house engineer Sjoerd Terpstra. The event was in the afternoon in the final week of Tivoli Oudegracht. Kyteman did the last shows in this legendary pop temple in Utrecht, and we had a couple of hours to take a close look behind the scenes. Sjoerd talked about how he had used different microphones for the different instruments that are part of this unique orchestra. He explained about the use of old and new microphones and the way he was able to get the best isolation from the different instruments. This way he had total control over the mix. He also took us back stage to the recording room, because the JAM was recorded completely, and there will be an album afterwards, compiled out all the different shows.
The recording is done by a large rack with vintage preamps, giving a rich and full sound to the recording. For the microphones a lot of DPA 4099, 4061, 2011 and more were used. The two drum kits are miked up one with "old microphones" in Glyn Johns microphone technique, and one with modern sounding setup. Sjoerd recorded the shows before, and that way he was able to play back a show, and do the mix again on the spot on the PA. The Venue system, with connected Pro Tools HD rig, made this possible. This way the visitors could play around themselves with the mix, and listen closely to all the separate instruments. After running a few hours longer then we were supposed to, a number of guest stayed for the sound check as well.
New packaging for d:dicate range and new clip for active cable types
As of today, DPA will ship all complete d:dicate microphones in new zip cases with new white cardboard boxes around them. The modular foam inlays stay the same, just with rounded corners. Modular components (capsules, pre-amps and accessories) are still delivered in brown cardboard boxes. Stereo Kits (STxxxxx) are still delivered in PeliCase 1170 cases. For all complete microphones with the MMP-E modular active cable pre-amp DPA is as of today also delivering the new MC4001 microphone clip as standard. Also a new shorter windscreen, the DUA0041, is supplied instead of the former DUA0020.
May 26th Amptec organized a workshop at the conservatoire of Tilburg.
The workshop was given by Bo Brinck (Global Sales Support Manager) of DPA.
The first part of the workshop was a theoretical part, about microphone types and techniques, differences between dynamic and condenser and about polar patterns and frequency responses.
The second part was more practical, with students participating. A number of microphone techniques for live and recording were covered and tested. There was a grand piano which was miked with the d:vote 4099 for piano, a pair of the d:dicate 4015 and 4006. The d:facto vocal microphone was used by a singer, and also while she was playing the piano. Then a cello was miked with a d:vote 4099 and a 4061. Also a trumpet was tested with a d:vote 4099, and to compare the d:facto vocal microphone was placed in front of the trumpet, because of the high sound pressure level it can handle. All examples were recorded using the Venue console, so it could all be played back. This way the instrumentalist could also listen to themselves, and it made it easy to compare the different techniques and microphones.
DPA partner conference June 11-13 2014
Once again, DPA invited distributors, dealers, clients and press over to Denmark to get an in-depth training in the DNA of DPA, with some exclusive behind-the-scenes moments.
Visitors got a chance to have a look at the handmade process and the individual attention each microphone gets, and listen to the products in good to very bad conditions during workshops, shootouts with wireless systems, comparisons to other brands, etc.
DPA also used the opportunity to get a feeling on what the market needs based on client feedback, and we have a feeling they will continue to innovate and come up with exciting new products in the near future.
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