Old Production Takes From an Old Guy

Month: December 2011 (Page 1 of 2)

Simply Christmas Set Design

As our theme for Christmas this year was Simply Christmas, it stood to reason that we should make the set fairly simple. Last time, I wrote up our plan for the hanging lighting. This time, we’ll take a look at the rest of the set. 

Last year for Gunch!, we built a wall upstage, and cut a cool shape in it. We decided we liked the wall enough to keep it, so in March, we squared it off and painted it black. For Simply Christmas, we wanted to go a little more rustic. So we took a field trip to Home Depot to see what they had for siding options. We settled on 1/2” OSB for two reasons; first it had a nice warm, woodsy look to it, and second, it was cheap. We sided the wall with the OSB, running the sheets long ways to give us a 24’ wide upstage wall. To save material, we did the first 8’ completely, then did 2’ up each side of the wall.

We wanted to use some muslin for a screen. The idea was to create a setting that looked like some kids found a big sheet in a barn, then tacked it up to show movies on or something. To help create that allusion, we tacked some 2×6 and 2x4s to tie the screen off to. The screen was tied in the corners, then pulled taught to the 2x with clothesline. To finish it off, we strung some globe lights along the top. 

The screen has some natural low and high points in it, we didn’t want it completely flat. In the end, it looked pretty much like we wanted; simple, homemade and warm. 

As we had 8 people lined up to read the prophecy and birth stories of Jesus during the program, we needed something for them to read from. I had in mind a really simple, rustic podium, that would again looked like it was tacked together from some spare pieces of wood found in a barn.

It’s almost done; I eventually used cable staples to clean up the wiring.

I used a 4×4 piece of redwood for the main upright, and a simple 2×4 wooden base. The top was a scrap of the OSB we used for the wall. I found a cool porcelain lamp socket at a hardware store in Palm Springs while I was there with my wife for our anniversary (that’s a long story…), and planned on mounting an old-looking Shure 55SH mic to the podium.

The 55SH is a fine mic, but would make a terrible podium mic. So I gaff taped a DPA 4098 to the upstage side and used that. The 55 just looks cool. The old-fashioned bare bulb in the porcelain socket completed the look.

This was the first cable groove. I soon cut another on the other side for power for the light. The hole held the short mic pole.

I could have let the cables hang out the back, but that seemed crude (I was going for rustic, not sloppy). So I took a chunk of the redwood 4×4, plumb cut it, then routed a few grooves in it for the cable to chase through. The cables came out on the upstage side of the main upright, and I cable-stapled them in place. When it was done, the audience didn’t see any cables, and the light was a great touch.

The four of these created a crazy amount of fake snow.

The final piece of the puzzle was to make it snow. My boss has this idea that we needed to make it snow for the program, so I rented four Little Blizzards from our local rental house. After playing around with hang points, we decided to hang them from our backlight pipe, which is pretty far downstage in the center, right below our main valance. 

We backed it off a little bit for the actual service.

We pointed them toward the audience in a fan pattern and fired them up. The name “Little Blizzard” is an apt one, it snowed like crazy! When I posted pictures on Twitter, everyone commented that they didn’t want to clean all that up. But that’s the great news; you don’t have to! It uses a special, extra-dry fluid that simply evaporates after about 3-5 minutes. 

The machines are loud, however, so we had to time the cue carefully. We made it snow during the build of The Earth Stood Still, and it worked just wonderfully. There was an audible gasp from the audience every time and everyone loved it.

Did you try any cool special effects for Christmas this year?

Today’s post is brought to you by DPA Microphones. DPA’s range of microphones have earned their reputation  for exceptional clarity,  high resolution, above all, pure, uncolored accurate sound. Whether recording or sound reinforcement, theatrical or broadcast, DPA’s miking solutions have become the choice of professionals with uncompromising demands for sonic excellence.

Church Tech Weekly: Live Call In Jan. 1, 2012

'ON THE AIR' photo (c) 2004, rochelle hartman - license: http://creativecommons.org/licenses/by/2.0/

If you are a regular listener to the show, you know we’ve been planning a live call in version of Church Tech Weekly for this coming Sunday, January 1, 2012. Since it’s the first show of the new year, we thought we’d go all out and try something new. It could go spectacularly, or be a spectacular failure—it’s anyone’s guess! But we’re going for it anyway. Here’s how it’s going to (hopefully!) work.

Sometime between now and Sunday night at 7 PM PST, add ChurchTechWeekly to your list of Skype contacts. Around 7 PM PST, log into Skype. Once you’re online, send a chat message to us, and our producer, Katie, will add you to the group call & chat. If you can’t make it right at 7, don’t fret, join in when you can. 

Katie will manage the queue of callers and hand you off to the panel. Since we’re not a big-time radio show or anything, we’ll be merging the two Skype calls during the question asking process, so my only real request is that if you’re not the one asking the question at the moment, please mute your mic. We reserve the right to bump someone off the call if they abuse it. Not that anyone would…

As a further disclaimer, we’ve never done this before, so much like the webinars, we’ll be figuring it out as we go. We plan to test the set up in the afternoon, so hopefully things will be ironed out and working by evening. But you never know…

We have a great panel lined up for the show, and I know it’s giong to be a fun time. If it goes well, we’ll consider doing it again occasionally. 

So remember, this Sunday, Jan. 1, 2012 at 7 PM PST. Connect with ChurchTechWeekly on Skype and see what happens!

Simply Christmas Lighting

This year, the theme for our Christmas Eve services was Simply Christmas. In the past two years, we’ve done really big, Broadway-style productions, and we really wanted to change it up. We wanted to go more traditional, down-home and rustic. The service was more similar to a typical weekend service, though it had several additional key elements. I’ll talk more about the production side and set construction in other posts; for this one, I want to focus on the lighting design.

We started our idea generation by basically ripping off the hanging bare lightbulb look that has become popular at the moment (great artists steal, remember?). I found some really cool, retro incandescent bulbs at a site called 1000bulbs.com. We used three different styles for the set, the T-9, the T-14 and the S21 (view all three bulbs at 1000bulbs.com). I chose these bulbs because they looked cool and were reasonably affordable. 

We ordered 78 of them (30 T-9, 30 T-14, 18 S21) and started figuring out how to hang them. I looked to Ikea, which stocks a hanging lamp cord. They sell them for over $7 here in CA, and since we needed a lot, that started getting expensive. So I searched the Google and came up with a company in the Chicago area called MyLampParts.com. I ordered up a simple 10’ lamp cord with an Edison plug on one end and bare wires on the other, which mated to a simple lamp socket. A volunteer and I put them together in under an hour, and the whole thing cost less than $200, including the black electrical tape I wrapped them in. 

It’s not quite “back of napkin” layout, but it’s close. Click to enlarge.

My super-awesome lighting guy, Thomas and I decided to hang them in a grid pattern, since we have truss in the air. We plotted out a pattern that would keep them out of the center screen throw (from most seats anyway), and figured out how to circuit them. The plan was to put 24 bulbs on each side of the stage, in 6 circuits, 4 bulbs to a circuit. I bought black power strips and a small truckload of 16 gauge power cords from Monoprice.com and we set to work.

We hung each cord at a different height, each determined on the fly and chosen kind of at random. We made no effort to make the two sides match, though each side is a mirror image of each other when you look at the hang points and circuiting. When we put the bulbs, in, we decided to keep like bulbs together on the same circuits. This proved to be a great decision as the S21 was considerably brighter than the other two. 

If you look really closely, you can see the pattern. But most never will. Click to enlarge.

When we did the plot, each lamp was assigned a color (one of six). We marked the hang point on the truss with marking tape. When we ran the cords back to the power strips (which were also colored-coded and zip tied to the truss), we color-coded the extension cords. Once we got to plugging it all in, we simply matched colors. 

The result looked fantastic. From the view of the congregation, it appears completely random—you’d never know there was a pattern. The three different kind of bulbs is harder to spot; if I were doing it again, I might just go with all T-9s (they’re the cheapest), as it’s tough to see the differences once you get into the seating area. Up close it looks really cool, though.

Photo (and great lighting) courtesy of Thomas Pendergrass.

Having the lights on different circuits might seem like overkill (they’re 30 and 60 watts each, after all), but it gave us tremendous flexibility in creating various looks. As I mentioned, the S21s were about twice as bright as the other two, so we simply turned those channels down to about 50%. For the message, Thomas ran those a little higher, which gave a cool, bright light, dim light look. We also had the ability to do random intensity chases with them.

At only a few hundred lumens per lamp, these bulbs won’t stand up to a really bright stage. But since we’re all black drape upstage, and we intentionally went for a darker look overall, these worked great. We’ll be keeping them up until Easter as part of our set look for the new series we’re starting in January.

What did you do differently for lighting your Christmas services?

This post is brought to you by Horizon Battery, distributor of Ansmann rechargeable batteries and battery chargers. Used worldwide by Cirque du Soleil and over 25,000 schools, churches, theaters, and broadcast companies. We offer a free rechargeable evaluation for any church desiring to switch to money-saving,  planet-saving rechargeables. Tested and recommended by leading wireless mic manufacturers and tech directors. 

The End of the Moving Sidewalk

I love moving sidewalks. Whenever I’m trucking through an airport trying to get from A13 to B47 as quickly as possible, I always take the moving sidewalk when possible. I love the feel of the wind at my face and that sense of superior speed and time management I feel as I blow past others walking on the stationary ground. I normally walk quickly, and I always walk on the moving sidewalk (stand right when I’m coming, OK?), so I can really make some tracks. 

But, like all good things, the moving sidewalk eventually ends. Dismounting the moving sidewalk requires skill and balance, lest you face plant into the now stationary terra firma. Christmas week (or the few weeks leading up to Christmas, depending on your church) is a lot like walking quickly on a moving sidewalk; especially for church techs. We move pretty quickly all the time, but come Christmastime (and Easter, for that matter), we really get up a head of steam.

Then, just like the end of the moving sidewalk, it all comes to a halt. Today is Monday, the day after Christmas, and I suspect most of you feel a bit like me—face planted into the no-longer-moving ground. As an experienced church tech, I’ve lived through this before; and I’d like to share some survival tips for you. 

First, however, I want to give you permission to feel tired, used up and generally spent. I also want you to feel free to not do anything productive for a few days. I know that goes against your very nature, and you’ve been running so hard over the last few weeks that doing nothing, yes, nothing, feels entirely wrong today. It’s OK. Sit down, relax, and don’t try to do anything. It’s harder than it sounds, but completely necessary.

To help with this, I want to give you a list of things I enjoy doing (well, technically while not doing anything) the week after a big push at church. You don’t have to do (or not do) all of these things, but consider this a starter list to give you some ideas. Here goes: The Top Ten Things To Do (or Not Do) During Christmas Break.

1. Sit on the couch and watch TV.

This is one of my favorites. I’ve been watching Flying Wild Alaska on Netflix. It’s fantastic.

2. Lounge around and listen to music.

Yesterday I spent a few hours laying down listening to Norah Jones. So peaceful.

3. Take a nap.

Sure, it’s only 9:30. AM. But take a nap anyway.

4. Go see a movie.

We always get movie tickets for Christmas. It’s nice to actually go every once in a while.

5. Take your wife out to dinner.

You don’t want to cook, and she could use the break. And you probably haven’t seen each other in two weeks anyway. It doesn’t have to be fancy…

6. Go to the beach.

OK, if you’re in the midwest, this can be tough. But there’s something about the action of the waves that’s very calming.

7. Take a nap.

It doesn’t matter that you just woke up from your 9:30 nap. Take another.

8. Have lunch with friends.

There is something restorative about sharing a meal with friends. I’m going to lunch with some fellow TDs later this week. It will be wonderful.

9. Go shooting.

Almost every year between Christmas and New Year’s I head to the range with the pistols. It’s both exhilarating and relaxing. 

10. Take a nap.

Hey, we’re tired. Get some rest.

Consider this post official permission to not do much of anything productive this week. Rest up, get recharged and you’ll be in better shape to thrive in the New Year. 

What do you do to relax this week?

This post is brought to you by CCI Solutions. With a reputation for excellence, technical expertise and competitive pricing, CCI Solutions has served churches across the US in their media, equipment, design and installation needs for over 35 years.

Microphone Sleight of Hand

This will be brief since I’m in the final stages of prepping for a weekend full of Christmas services. With all the rehearsals and set building going on, I’ve not had as much time to write this week. The other night I came up with something that I think is kind of clever, and I thought I’d share it with you.

Our theme for Christmas this year is “Simply Christmas.” For our stage look, we’re going for sort of an “inside the barn, rustic, down-home, simple with a touch of retro-country” kind of thing. Maybe it would be easier to show you…

It’s a bit hard to see from the iPhone shot, but hopefully you get the idea. During our program, we are going to have a handful of readers tell the Christmas story. They will come to a podium that looks pretty rustic and a bit retro. All the bulbs hanging int he air are old-fashioned style bulbs, with huge filaments and cool orange colors. 

As I was thinking of how to mic the readers, I ran through a variety of options. At first I was going to mount a C414 on the podium as I knew it would sound great and pick up well. However, the shock mount is pretty ungainly, and the mic looks very modern. 

Then I remembered I have a few Shure 55SH’s lying around from a Christmas program a few years ago. The look is right on the money; very retro, big and shiny. However, those are close-proximity mics; standing back a few feet from them just doesn’t sound right (not to mention the gain before feedback issues I’d have). 

After having an think on this for a while, it occurred to me that I could use the 55SH as a prop. A carefully gaff taped DPA 4098 would be invisible to the audience, yet would pick up the readers perfectly. Gain before feedback would be well within acceptable limits, and the sound would be fantastic. Here is what that looks like.

The 4098 is on the upstage side of the 55SH, so it will be pretty much invisible to the audience. Since the cable of the 4098 is so small, it was easy to conceal. Because the boom of the mic is so flexible, I simply bent it match the shape of the 55SH and gaffed it in place. 

Now, I could have taken the 55 apart and mounted the 4098 inside somehow, but I’m short on time and help this week, so this will have to do. And it’s much easier to un-do as well. 

What are some of your last-minute tricks that you’ve pulled off for your Christmas production?

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Inconvenienced by Christmas

If I’m honest, I often feel quite inconvenienced at Christmastime, especially when Christmas falls on the weekend. While most get to spend the day with family and friends, we church techs will spend it in the tech booth, or preparing for the next service. While our church enjoys a morning with their family at home, opening presents and having breakfast, I’ll be at church rehearsing for the service. And after everyone else is home, I’ll be tearing out rental gear. My family will get the short shrift (again) this year. 

And if I’m really honest, I get a little tweaked that most of the church staff will be off over Christmas weekend, while I’ll be there from early in the morning until late at night. The week leading up to Christmas, rather than being filled with last-minute shopping and getting all the final details set for my family’s Christmas, will be filled with hundreds of last minute details as I prepare for the services of the weekend.

As I was praying—well, if I’m still being honest, I was complaining—to the Lord about this the other day he reminded me of something. And while it was a gentle, heartfelt reminder, it hit me more like a splash of ice cold water on a hot day. The reminder was this: It wasn’t really terribly convenient for Jesus to come here, being born as a baby, growing up in our sin-infested world and ultimately dying on the cross for my sin. 

Oh, right…

That’s one of those perspective changers that I really need during Christmas. You see, while I am at heart a servant, I very much prefer to serve others on my own terms. When I have to serve people on their terms, I tend to get annoyed. But it’s the words of the Apostle Paul that snap me back to a better reality. 

Your attitude should be the same as that of Christ Jesus: Who, being in very nature God, did not consider equality with God something to be grasped, but made himself nothing, taking the very nature of a servant, being made in human likeness. And being found in appearance as a man, he humbled himself and became obedient to death–even death on a cross! 

Philipians 2:5-8

After that little attitude re-adjustment, the Lord reminded me of a truth that I often forget: It is not what you get from life that brings joy, but what you give. 

Now, I’m still a work-in-progress on this front. But I’m trying to remind myself of those truths this week as the days get long, the work is hard and I sometimes feel like I’m at this all alone. In just a few days, literally thousands of people will stream through our doors and hear the story of the birth of Jesus—perhaps the most amazing story ever told. And I get to be a big part of telling that story. 

Yes it’s a lot of work, yes my hand still hurts from that cut, and yes I go to bed sore every night. But I go to sleep in a warm, soft bed, not in a feeding trough. And I cut my hand because I wasn’t paying attention, not because someone whipped me with a cat of nine tails. 

So rather than focus on what a huge inconvenience Christmas is for me, I’m trying to focus on the reason we’re going through all this work in the first place. May Jesus be ever more clear, present and real in your celebration of Christmas this year. It is His name on the day, after all!

This post is brought to you by Horizon Battery, distributor of Ansmann rechargeable batteries and battery chargers. Used worldwide by Cirque du Soleil and over 25,000 schools, churches, theaters, and broadcast companies. We offer a free rechargeable evaluation for any church desiring to switch to money-saving,  planet-saving rechargeables. Tested and recommended by leading wireless mic manufacturers and tech directors. 

The Downside of Making it Look Easy, Pt. 2

One of the very first posts I wrote for this blog was titled, “The Downside of Making it Look Easy.” Recently, my friend Dennis Choy said something that made me think of that post. His comment came at the CTL Retreat at WFX a few weeks ago. Dennis said (and I’m paraphrasing from memory here…) “Being a church tech is tough. Because for us, normal is excellence. If we do our jobs right, everything goes smoothly and no one knows we’re here. It’s not until something goes wrong that people take notice of tech.” 

I talk to techs who rarely get any encouragement from their worship leaders or pastors; indeed, if they do hear anything, it is criticism because something went wrong. This is a real shame, because everyone, even us introverted techs need encouragement. 

Now to a certain extent, we do this to ourselves. When a good tech is in the house, things do tend to run smoothly. That’s because we’ve spent hours fine tuning our systems, fixing broken stuff, planning for the weekend and pre-setting as much as we can. The band shows up, plays and the congregation worships. The pastor walks up to speak, and is heard by all. It’s a beautiful thing, really.

We really do make it look easy. I was once standing in the green room before a service talking to one of our vocalists. He asked me, “So where else do you work?” I replied, “What do you mean?” “Where else do you work during the week when you’re not here?” I said, “Um, I’m full-time here. I work at the church during the week.” He asked, “Oh, really? What do you do all week?” 

This conversation is possibly familiar to you. I wish I had the presence of mind to respond, “You know how you show up at 2:30, pick up the mic, sing and you hear yourself in the monitor and everyone in the house hears you, too? I work all week so that can happen.” 

I know I’d be preaching to the choir if I detailed exactly what goes into pulling off an average church service every 6-7 days. Different band set ups mean different input lists, monitor configurations, lighting positions and monitor mixes. The song words need to be generated and ordered. Sermon notes need to be created. Lights are programmed, video shots are chosen. And this doesn’t even take into account the steady stream of equipment that needs repair, maintenance, or adjustment. 

And of course, we’re all always planning for the next big event; whether it’s Christmas (as we are gearing up for now), Easter, VBS, Fall Launch, Thanksgiving or any other big event. They just keep coming. 

Because most TDs and church techs are introverted, workaholic, people pleasers with a bent toward perfectionism, we do all this work without fanfare or expectation of being noticed. 

The downside of all this (getting back to the title of this post) is that people can—often wrongly—assume that all the work we do magically happens. Perhaps by elves. They can mistake our service in the shadows for, well, nothing—because it all just happens. 

I know a lot of TDs and church techs, and few of them go out of their way to call attention to themselves. But I think we perhaps do a disservice to ourselves and to our team when we don’t occasionally know how much work something was. 

Not that we should do this in a complaining, “Woe is me,” kind of way, but just pointing out occasionally that what we do takes a lot of effort. A good friend of mine was once asked by his pastor to edit a video for the weekend. This request came on Friday afternoon. Sound familiar? Because he’s a great TD, he agreed to edit the video. What makes him a really great TD is that he agreed on one condition; that his pastor join him in the edit process. 

Eight hours later, at 10 PM, after waiting hours for the video to import, be edited, render and QC’d, his pastor had a whole new appreciation for the process. He even vowed to never ask for a video on Friday afternoon again. My friend is pretty smart.

Now, we might not all be able to get our pastor to sit in on an edit with us, but perhaps we can find creative ways to help our leaders understand what we do. I recently walked our Executive Pastor though the tech booth and explained—somewhat briefly—how the stuff works, how many people we need to run the gear and the process for making it work. His mind was sufficiently blown and admitted he had no idea.

You see, when we keep pulling rabbits out of our hats every week, our leadership—perhaps rightly so—begin to believe it really is that easy. By taking some time to explain to them what really goes into all this, we do ourselves, our successors and the church a big favor.

How have you creatively shared what you do with your leadership?

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Review: Barge Heights LED Bar 252

Last summer I reviewed the Barge Heights LED 36 fixture, and was quite impressed by it. After I sent that one back (wishing I had more budget for new fixtures), I asked for an LED Bar 252 to play with. I was thinking of getting some LED fixtures for our student/community room to use as wall washers. It’s pretty bland in there right now, and I wanted something that could throw color on the back walls of the stage. 

Now, one of the first things you need to know about the LED Bar is that it sells for $215. That’s right, $215. It’s a one meter long bar with 252 RGB LEDs. Now, for $215, you wouldn’t expect it to have the output, CRI or power of say, a ChromaQ bar. And it doesn’t. But it’s $215; which is less than the sales tax on a one meter ChromaQ. So keep that in mind.

In my application, I have a wall height of about 10’. I set the LED bar on the floor, ran DMX to it and positioned it so the light raked up the wall (which in this case was covered by some burlap). Once I navigated the menus and got the settings correct, it worked like a charm. Almost. 

With the build in Edison plug, you can also daisy chain power. A nice touch.

My biggest beef with this fixture is not the light output or quality, it’s the controller chip. I talked to the guys at Barge Heights (who are super-nice guys, by the way) and they told me they are using a stock, off the shelf controller chip. This is good for keeping the cost down, but because it’s generic, it’s not exactly what they want. 

The bar can operate in auto mode, cycling through colors on its own, or you can preset it to one of 32 colors and it will just sit there. Most of us are going to want to run in DMX mode, and it will do that as well. You can also set them to Master and Slave mode, so if you want to wash a big area, you really only need to “control” one; the rest will follow. Or you could address them all the same.

In DMX mode, it’s 14 channels of operation. The bar is broken up into three segments, so you could have chases running on the fixture, or three separate colors. This could be kind of cool if you wanted to create multiple color streaks on your walls. 

The 14-channel mode is where I ran into some issues. Channel 1 is really a control channel. Various values will select strobing, chases, segment chases and, oddly, full red. Channel 2 is the intensity channel. Unfortunately 0-64 is 0-100% intensity, and at 65 various strobing modes start. On a computerized lighting console, you could (and I would suggest this) park channel 1 at 0 and channel 2 at 255 (or 100% depending on the values you’re working with). Then you would use channels 3-5 to control color and intensity for the whole bar or 6-14 to control the 3 segments. 

However, the lighting board in that room is an ETC SmartFade 24/48. I can’t park channels. I tried patching channel 2 to a “hidden” channel and leaving it up, but if someone moved the master down just a little, the bar started strobing. That was a bit of an issue. 

Clifton suggested assigning channel 2 to the Independent channel and making Ind 1 a simple On/Off control. That way the LED Bar would either be on or off. After doing this, it worked fine. I just labeled Ind. 1 “LEDs ON/OFF” and everything was peachy. 

The purple in the center is coming from the LED Bar.

The lesson from this is threefold: First, if you’re trying to hit a price point, you must make compromises. They said they want to get to the point where they are doing enough volume and they can afford to get custom programmed controllers. But until then, this is what we have. Second, there is more than one way to work around an issue, and third, if you can’t figure it out, talk to the manufacturer—they often have really good ideas. 

As far as light output and dimming quality go, the LED Bar is fine. I don’t think I would try to wash a 60’ high cyc with it, but for our 10’ wall, it has more than enough power. I tried it on our 24’ high side walls in the main room (which are a weird peach color), and it started to run out of steam about 3/4 up the wall. But again, they’re $215. For smaller rooms that need some color on the back wall, they work just fine. I didn’t test them with video, but I’m told flicker is not an issue.

When it comes to long-term durability, it’s hard to tell. However, when I fell off the stage last week and jacked up my back, I was carrying the LED Bar. It smacked the edge of the stage almost as hard as I did and it powered up and worked just fine. So it survives the fall test. 

The bottom line for me is this: I plan to buy a few more of them early next year to use as wall washers in our student room. For the price, they can’t be beat, and they will do what we need them to do. And again, I like the guys at Barge Heights, and I prefer doing business with people I like. They may not be the right fixture for every situation, but for short throw color wash, they are a good choice.  

Today’s post is brought to you by DPA Microphones. DPA’s range of microphones have earned their reputation  for exceptional clarity,  high resolution, above all, pure, uncolored accurate sound. Whether recording or sound reinforcement, theatrical or broadcast, DPA’s miking solutions have become the choice of professionals with uncompromising demands for sonic excellence.

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