Old Production Takes From an Old Guy

Month: December 2011 (Page 2 of 2)

Rehab for Mic Stands

It happens to all of us; we put a mic in a boom stand, set it to the right height, tighten the clutch and set off to the next task. When we turn around and look, the mic drooped down toward the floor like a limp noodle. We head back, tighten the clutch some more, only to find the mic will not stay put. I have been so frustrated by this phenomenon that I’ve placed orders for new mic stands on Saturday afternoon during set up. 

However, brothers (and sisters), I can now tell you this need not be so. I have seen the light. I have learned that these lazy, wayward mic stands can be rehabilitated. And it’s easier than you might think.

It turns out the problem part in these mic stands is an easily replaceable part. A simple pair of fiber/rubber discs act as a clutch pack. Over time, these discs wear out (a process accelerated by booming the mic stand up and down without loosening the clutch first). The good news is that the parts are cheap, and the process takes about 2 minutes. 

I ordered my discs from my audio dealer (they were under 50¢ each). I use primarily K&M mic stands, though it appears that most mic stands use the same size disc. In case your dealer can’t find the part, it’s K&M part number 03.21.160.55.

To change them out, I raised the mic stand up to a comfortable working height and began to unscrew the locking knob. Pull the screw out and the top of the boom comes off the mount. The discs will fall right out. Put it back together with new discs and enjoy mic stands that stay put. 

After changing all the discs on all the mic stands I had in stock, I went ahead and ordered another 24 discs to keep on hand. I know I’m guilty of beating up the boom stands and trying to use them long after the clutch discs are shot. So I figure, if I keep them on hand, when a boom won’t stay put, I can simply swap discs and be back in business in no time. Here’s a great “before and after” picture illustrating what a worn disc looks like compared to a new one. I’ll let you figure out which is which. 

Like Monday’s post, this is not a new or super-exciting product. However, we all use mic stands on a daily or at least weekly basis and a boom stand that won’t stay put will frustrate you and your musicians. Chances are, you can fix every boom stand in your inventory for under $15, including shipping. Again, these might make great stocking stuffers for the sound guy in your life!

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. 

Personal Mixer Headphone Extensions

Headphone extensions have been the bane of many a sound engineer’s existence. The cables on IEMs are never long enough to get from the musician’s head to the Aviom or M-48, which means we need to provide some sort of extension cable. In the past, I’ve tried buying 1/4” headphone extensions and used 1/4” to 1/8” adapters, but those cheap, off-the-shelf adapters are very stiff and the adapters don’t always work.

Recently, we’ve tried making our own. I found some super-thin cable and put a 1/4” TRS on one end with an 1/8” cable end on the other. Those worked well; at least until the 1/8” ends started failing—which was about week 3. We then switched to regular cable (Mogami 2792) with a TRS on the PM end, and a locking 1/4” cable end with 1/4” to 1/8” adapter on the other. We even zip tied a carabiner to the musician’s end so they could clip to to their belt loops. Those work OK, but we’ve still had issues with the adapters (usually the left side cuts in and out).

While walking the trade show floor at WFX, I was tipped off to a possible solution. My friend, John David and I had just been talking a few weeks earlier about building a small belt pack with a locking 1/4” panel mount connector on the bottom and 1/8” panel mount connector on the top. With some type of belt clip, this would be a perfect solution. We’ve both found panel mount connectors tend to be a whole lot more reliable than cable end connectors. 

John David pointed me to the Elite Core booth and said they had made exactly what we had talked about. Sure enough there it was.

It’s a model of simplicity; a roughly 1” square box about 3” long with a XLRF on the bottom and a 1/8” panel mount on the top. A simple spring steel clip attaches the box to your belt. It’s made from an aluminum extrusion with metal end caps and lists for $20. Sold. 

You can also buy cables to go with them; they stock 10’ and 18’ with a right angle 1/4” on one end and the necessary XLRM on the other. I was told by Chris Ward of Elite Core they went with an XLRM on the cable because you can’t accidentally plug anything into it. That’s good thinking; you don’t want to have to troubleshoot a mic that’s plugged into a headphone output. 

This is not a flashy, exciting product. But we’ve been using one on our stage for a few weeks now and the guys love it. The belt clip holds the pack securely, the cable is flexible and the RA 1/4” is neater than the straight ones we used. If you are using Avioms, M-48s, MyMix’s, Momentums, or headphone amps, this is something your musicians will really appreciate. The cost is reasonable, and they are well made. I just ordered 3 more sets. 

You can find them at your favorite Elite Core Audio dealer such as ChurchAudioGear—I got mine from Gear Techs. CCI Solutions will also be a dealer very soon. They would make great stocking stuffers…

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.

SD11 CD Release Party Workflow

Last time I wrote about the SD11, what it can do and how it sounded. In this post, I’m going to give you a behind the scenes look at how I mixed it. As with many things in life, there is more than one way to get at the same result. What worked for me might not work for you, and this is certainly not a prescription of how you should build your shows. But it is an example of how you could build your show if you are ever faced with mixing on a small-format digital console. 

The first thing I did (and I always start this way) was to build an input list. My input list for this show looked like this:

As you can see, I had 21 actual inputs (actually 23, as we added an iPad for walk-in music at the last minute). When the stereo channels are taken into account, I had 16 channels, plus one Aux that I sent back down a MADI channel to the M-48s. The astute reader will recall that the SD11 only has 12 faders, and some quick math tells us that 16 is more than 12. What’s an engineer to do?

First of all, I took advantage of the great layout flexibility of the SD11 and built several similar-looking fader banks. Here is what my main fader bank looked like. 

As you can see, I collapsed my 3 drum mics into a VCA. That saved me faders. You’ll also notice that I have a group on the right side labeled Tracks. In the version of the software that I had when I mixed the show, the SD11 could only do 8 stereo channels. They just updated it so all channels can be mono or stereo. But for that night, I was out of stereo inputs. So I put the Tracks L&R input faders on another page, ganged them together, and then routed them to that stereo group. That group then fed the Main L&R. Since groups have full processing on them, I was able to do all my EQ and dynamics right on my main fader page. Clever, huh?

I also condensed all my vocal effects into a VCA. Those individual faders were available a few pages away, so I could adjust them if needed. What I’ve found is that I’ll get my effects set up during rehearsal, save them in the snapshot, then not really touch them except to tweak levels; and for that the VCA works perfectly. Right below this bank, I have another bank called, “Band Expanded.”

The main difference here is that the drums are broken out of the VCA. I did this so I could quickly adjust the relative levels of the three drum channels on the fly. In practice, I didn’t drop down to this page often, but I did tweak the levels a few times during the show. I also had one more page that got some use that night.

I often use an effect that I affectionately call “Monster Guitar.” It’s a double-patched version of my worship leader’s guitar with the Audio Enhancer effect inserted into it. I use this channel to really fatten up guitar solos and the like. On this page, Monster Guitar swaps out with Vocal Effects. I had another page that I used more during rehearsal as well.

On this page reside many of the individual channels I was remotely controlling on other pages: vocal effects, the monster guitar and tracks. I also dropped my audience mics in here (these only went to the M-48s) so I could reach them quickly.

I built a few macros to quickly get me to a “sends on fader” mode for both monitor mixes, as well as creating and updating snapshots. 

One of the things I love about the SD series is that you can quickly re-arrange the order of entire banks with a few touch-screen presses. I swapped banks around about 3-4 times during rehearsal as I figured out what I needed where and when. By quickly changing the order around, it was easy to make the desk work hard for me, instead of me working harder. 

When the lights when down and the sound came up, I found the SD11 very fast to mix on. Despite the limited number of dedicated controls (at least compared to my SD8), thinking through a few set up issues made it quick to navigate. If the band was bigger than it was, I would probably have done more work on VCAs and built pages that were dedicated to the channels contained in each VCA (sort of like VCA Spill on a Venue, or POP Groups on a Midas). 

The point of this exercise is not to say one method is better than the other, but to encourage you to think through the unique traits of your console and how it can work better for you. Even analog consoles can be set up efficiently so you’re not moving all over the place to get to critical channels. A little planning will go a long way toward making a perfect mix easier to achieve.

DiGiCo SD11 Hands On Review

We first saw it at NAB last spring, and ever since then I’ve been anxious to get my hands on one, but not for the reason that you might think. I really wondered if 12 faders would be enough to do show. You probably know I’m a huge fan of DiGiCo consoles, and I love how easily customizable they are. But mixing a full band on just 12 faders? I was skeptical. 

The scenario was this: Our worship leader, Mark Cullen, was releasing a new EP and was having a release party. It would be held in our community room (the one we recently intalled the EV LiveX speakers and Symetrix Jupiter processor), and feature some top-notch musicians. I didn’t want to mix it on the room’s Yamaha MG32, so I asked DiGiCo for an SD11 to evaluate. 

The band consisted of Mark on electric guitar and vocals, a second electric/acoustic, keys, bass, drums and 3 backing vocals. Since I’ve mixed all the musicians in our main room before, I was easily able to export my chanel presets from the SD8 and import them into the SD11 as starting points. That saved me some time in sound check.

To jump to the end, the concert sounded great! I had a ton of positive feedback from people in the audience as well as the band on how clean and good it sounded. My initial impressions were confirmed; the SD11 has the same great sound as the SD8. You simply have fewer faders, dedicated controls and channels available. So how did it work during the show? In a word, great.

It took me a little bit of time to figure out how to maximize the 12 faders, and I’ll do a full post on that process later this week. For this post, I want to look more closely at the SD11 itself, what it can and can’t do and how it functions. 

The SD11 is a 32 channel console, but 8 as of Nov. 11, all of those channels can be stereo, so it’s possible to get 40 64 physical inputs into the mix. You also have 12 of what DiGiCo calls Flexi-busses. Similar to the bus structure in the SD8, you can configure the busses as mono or stereo auxes or groups. So you could have 12 stereo auxes and no groups, or 6 stereo auxes, 3 mono auxes, 2 mono groups and 1 stereo group. The SD11 doesn’t care what the configuration is, as long as the total number of auxes and groups doesn’t exceed 12. I’ve gotten so spoiled with this flexibility I can’t imagine being stuck with fixed architecture. UPDATE: As part of the Nov. 11 firmware update, they have added additional Dynamic EQs, Multiband comps and the Tube Emulation from the SD7. END UPDATE

You also get an additional stereo or LCR bus for the master, and an 8×8 matrix. Matrix inputs can be just about anything; inputs, auxes or groups, making them very flexible for broadcast feeds or mix-minus sends. Also included are 12 insertable graphics and 4 FX chains using the good-sounding DiGiCo standard effects. 

The power supply is easily field swappable.

Physical connections include 16 mic pre’s on the surface, 8 line outs, two mono AES ins and outs, a MADI I/O, Word Clock I/O, a Cat5 connection for a D-Rack, plus connections for keyboard, mouse, monitor, network and USB. 

For my set up, I used a 32×8 D-Rack, which connects via Cat5. I dropped the D-Rack on the stage and had plenty of inputs for this set up. I also used the MADI output to feed our S-MADI Bridge which drove our M-48s for the musicians (the BGVs were on wedges). 

On the surface, you are presented with the aforementioned 12 faders, 12 encoders, and the 15” touchscreen, making up your channel strips. Unlike the SD8 where the encoders are freely assignable to dedicated functions, the encoders on the SD11 are multi-mode. The modes are selected by a series of red buttons to the left of the screen. Options are Gain, HPF, LPF, Comp, Gate, Aux and Pan. If there are multiple controls in a section (eg. Gain consists of Gain and Trim, or multiple auxes), using a set of up/down buttons will move you through the various virtual pots. It sounds harder than it is; in practice, it was very quick to navigate, and I quickly adapted to it. 

As on the rest of the SD series, there is a complete set of EQ controls, which applies to the currently selected channel. To tweak all the settings of a comp or gate, simply touch the comp of the channel you want to adjust, and it expands and maps the controls to the rotary encoders at the bottom of the screen (just like the SD8 or 10). 

Also following SD convention, there are 8 pages of faders available on two layers of four banks. Any fader can be anything on any bank; there are no restrictions. It’s easy to mix inputs, auxes, groups and matrixes as needed. I found this very helpful for working around stereo channel limitations (I’ll detail this more in the next post). 

At the top of the screen are dedicated controls for headphone level (and mute), talkback, Solo 1 and Solo 2 (yup, even at this size, they included two solo busses), and 8 assignable functions keys. I used these for firing off various macros that made my life easier. 

The SD11 also has the same snapshot system that the rest of the SD line has, which is to say it’s the best snapshot functionality out there. In addition to the incredible ease of use, it’s also insanely powerful, enabling you to automate just about every parameter on the console if you want (all at the same or different crossfade times, if you want). 

To save console space, the master fader is a rotary encoder at the bottom of the EQ controls. At first I found this odd, but during the show, it was never a problem. I realized I pretty much always leave my master at unity anyway, so it wasn’t a big deal. 

With an external monitor, you can select up to 12 channels for full metering.

Given the size of the SD11 (it fits in a 19” rack), it’s one heck of a console. It sounds fantastic, is super-fast to work on, and has plenty of capability to mix 5-6 piece bands. I was kind of wishing for one or two more effects, but I made it work. Unlike the SD8, you don’t get a full-length input meters on each fader, instead each fader sports a 7-segment LEDs. However, hook an external monitor up (as I did) and use the new large meter function and you choose up to 12 channels get nice, full motion meters. 

My only real complaint about the desk is the headphone amp. Just like the one in my SD8, it’s rather noisy. When the band is going, it’s not noticeable, but when they stop, there’s a good deal of hiss. I don’t recall the list price off-hand (and DiGiCo hasn’t yet responded to my inquiry) but I seem to recall you can get into an SD11 and a D-Rack for under $20K. The SD11 surface lists for $15,750 and you can get it with a D-Rack for $19,950 (these are list, your pricing should be better). An M7-CL 48 offers a few more channels and features for a similar price, but it doesn’t sound nearly as good, and the scenes suck. A Roland M-480 offers a few more channels, a digital snake, and a great price point, but again, the sound isn’t quite the same, and it’s not as portable. 

Whether the SD11 is the right console will depend on the application. If you are using an SD8, 10 or 7 in a big room and you need a small console for a student or ancillary room (and you value training people on one system), the SD11 is a great choice. It would be dead-simple to train someone on an SD11, then move them to any other SD console. Then again, I’m not sure I could justify the cost of the SD11 in my student room, as much as I personally like it. But I wouldn’t hesitate to mix another show on it, that much I can tell you for sure. 

Blackmagic ATEM: The Good, The Bad & The Ugly

Now that the review I wrote for Church Production Magazine is out, I feel I can write up a post about the switcher. Everything I said in the CPM review is still true and I’m not going to rehash that content here. Rather, I’m going to focus on the things I couldn’t say due to space limitations. 

The Good

The ATEM 1 M/E is a small switcher. It is only two rack spaces high, and about an inch deep (save for the 3” deep heat sink that occupies the center two thirds of the back). It should fit just about anywhere. The picture quality was more than acceptable, lag was so low as to be unnoticeable, and for the price point of the switch itself, it offers a good feature set. 

I liked the output section a lot; HD-SDI, a down-converted SD-SDI, analog component (HD or SD depending on the working resolution of the switcher) and down-converted SD analog composite. You also get three aux mixes, both SDI and HDMI multi-view outputs, plus a dedicated preview out on SDI. 

The software interface is clean, very usable and responsive. I like the fact that I could control the switch from my iPad if I wanted to; I can’t tell you how many times I’ve been setting up POV cameras on stage and wished I could switch to them without trudging back up to the booth. In software, you have access to every function—both set up and operational—of the switcher. That’s good. 

I also liked the inclusion of one analog component input; that’s nice for hooking up older high-end equipment that doesn’t have SDI out natively. On the other hand, that leads to some of the bad.

The Bad

While the switcher is marketed as an 8-input switch, inputs 1-4 are HDMI, 5 is analog component or SDI, while 6-8 are SDI. In current versions of the software, it’s not possible to re-assign the crosspoints on the surface, so if you are working in a live environment and using the SDI inputs (which is most likely), camera 1 is going to show up on input 5. I’m told re-assigning is in the pipeline and will be coming soon. 

The inclusion of HDMI inputs is a mystery to me. When I asked Blackmagic about it, they said they wanted to open up the world of inexpensive consumer cameras to live production. Their logic is that if you take a cheap camera, run HDMI out of it into the switcher, you’re getting the full resolution of the sensor without all that processing. Full 1080 i or p for a few hundred bucks! Well, that’s technically true.

However, there isn’t a single camera that’s sold at Best Buy that’s suitable for IMAG. A 1/4” or 1/3” imager is not adequate, the lenses are going to be too short for all the but smallest rooms (that don’t need IMAG), rear controls are not available and forget about CCUs. In short, aside from producing a picture, there is nothing about consumer cameras that make them in any way suitable for live production. And sending an HDMI signal more than 20-30 feet is a bit of a crap shoot.

In my mind, those HDMI inputs are a waste of input space. Sure, you could always externally convert SDI to HDMI, but that adds delay. And in live production, delay is not good.

The ATEM has no up, down or cross conversion ability. That means that every single source you want to get into it has to be exactly the same. Don’t even think about feeding a computer into it via the HDMI inputs; they won’t scan at true ATSC rates and won’t be recognized. UPDATE: Sometimes you can get a computer to work. It will depend on your graphics card, and what adapters you are using. Brad Weston has had success with a Mini-Display Port to HDMI adapter, which would cause the Mac to output proper video rates. I was trying to go from DVI to HDMI, which did not work. Others have found similar issues; sometimes it works, sometimes it doesn’t. You can probably get it to work eventually, but it may take some trikery, such as DVI Doctor or similar. END UPDATE You’re likely going to need a stack of external mini-converters for an install of any size.

Tally is not included. I asked them about this at NAB and they seemed surprised that it was a big deal. To make tally work, you need to buy an external box ($600) that connects via Ethernet. I get that they’re trying to hit a price point, but tally is pretty much a requirement for live production, so why not just build it in?

While it’s very clever of them to have made the switch so small, I’m not sure why. In normal operation, it got really hot and I’m concerned about the long-term viability of all those components running that hot so close together. Every rack I’ve ever seen is at least 12” deep, so I’m not sure why the switcher is so tightly packaged.

The Ugly

There were some very interesting design decisions made here. While the densely populated switcher itself sports a USB-B connector (3.0 for streaming out or 2.0 for control), the surface has a mini-USB connector on it. Why? Why do I need to have two different cables to update the two components? 

The switcher, which does all the work, has a single power supply connector; while the surface, which is essentially an expensive keyboard has two. Since I have to have a computer connected to the switcher to do any configuration or management, that would be my backup surface should the main one fail. But if the power supply for the switcher goes out, well the party’s over.

Speaking of power supplies, neither the surface or the switch came with the required IEC cord. Now, we all probably have a pile of those lying around, but really? The surface feels rather cheap to me, though to be fair it’s in the same league as other small switchers from Panasonic, For-A and Sony. Those all feel cheap to me as well. When I unboxed the surface for the ATEM, all twelve of the menu buttons had popped out of their sockets and had to be re-seated. 

It wasn’t a big deal to re-seat these, but it’s telling that they arrived this way.

As previously mentioned, you have to have a computer connected to it to do any configuration or management. The menu structure on the surface doesn’t allow any resolution, set up, naming or clip store management at all. I’m all about networking equipment for remote control, but it’s nice to do basic set up on the surface. 

Conclusion

At the end of the day, the ATEM is a mystery to me. I’m not convinced that Blackmagic really understands our market based on the design decisions they made. If all you want is a 3-4 input switcher (to switch identical sources), and you don’t have a lot of money, there is really nothing else out there. At all. For $2,500 you could switch 3-4 SDI-based cameras with a computer and it would work just fine. Though I’m still concerned about heat dissipation.

If you need more than the 4 SDI inputs though, you’re really out of luck. And to do more than a small show, you really need a surface and tally, which means you’re looking at $8,100. Add in some mini-converters to get your SDI sources to HDMI and you’re getting dangerously close the price of a Ross CrossOver Solo, which is far, far more capable. 

So I suppose you could say they captured the bottom end of the market with the ATEM. But if you need (or plan on needing) more capability, I think you’re better off looking at other options. 

Today’s post is brought to you by the Roland R-1000. The R-1000 is a multi-channel recorder/player ideal for the V-Mixing System or any MADI equipped console or environment. Ideal for virtual sound checks, multi-channel recording, and playback.

Roland R-1000 Multi-Track Recorder Player Review

We first saw it at NAB in the spring, and have been anxious to get my hands on it ever since. The R-1000 is a 48-channel recorder/player that plugs right into a V-Mixing system using REAC. It can also be used in a MADI environment if you have an S-MADI Bridge—more on that in a moment. There a number of options for doing virtual soundcheck and multi-track recording out there, but the R-1000 has a few tricks up it’s sleeve.

First, we’ll consider it’s use in a V-Mixing environment. If you are familiar with REAC, you know it’s a 40-channel protocol. The R-1000 can record and play back up to 48 channels. It accomplishes this by having two sets of REAC ports. REAC A loops out to C, B loops out to D. Thus, if you have two stage boxes, the R-1000 drops into the system between the stage boxes and the mixer. You can easily pick off which channels get recorded up to a maximum of 48. 

Touching any of the banks of 8 meters brings up an expanded view for arming or soloing channels.

The built-in touch screen (yes that little screen is a touch screen!) makes the interface fairly easy to navigate. There is a full patchbay built-in, making it easy to route channels. To arm tracks, touch one of the banks of eight meters, which zooms that bank full screen. You can then arm and solo channels easily.

An upcoming version of firmware will enable recording to external USB drives.

The unit records to a removable drive sled that connects to the R-1000 via a standard mini-USB connector. That means it’s easy to pull the drive and connect to the computer for editing or archiving. You can also load tracks on it that way for multi-channel playback. 

Where the R-1000 really shines is in a virtual soundcheck role with a V-Mixing system (M-480, M-300, M-380 or M-400). To record, you arm your tracks and hit record. To play back the virtual band, you hit play. That’s it! Perhaps the best feature is that you can enable preamp control mode on the R-1000. This means if you realize your preamps were set too high or too low during rehearsal, you can make changes while working with the tracks, and those changes will be reflected in the preamps on the stage boxes. In my book, that’s money.

The R-1000 can also be remotely controlled via software. The software will run on a Mac or PC, and the interface is via a front-panel USB-B connector. I would have preferred an Ethernet connection, but I can live with USB. The software is responsive, looks really good, and makes it easy to set up the advanced features of the device. 

Physically, the R-1000 is a 3-rack space high device that doesn’t weight nearly as much as it looks like it does. The front panel is largely taken up with the 48 channels of status lights (record, play, solo), the touch screen and transport and menu controls. It records in the broadcast Wave file format, so it’s compatible with any editor out there. List price is $4,999, which makes it a bit pricey compared to a computer-based solution, but the R-1000 offers features a computer doesn’t. 

If you are using a V-Mixing system, it’s kind of a no-brainer to use for virtual soundcheck. There isn’t an easier solution, and while $5K isn’t peanuts, it’s not outrageous either, considering the relatively low cost of the V-mixers. If you are looking to use it in a MADI environment, it’s not as good of a value.

In my setting, I have an SD8 plus the S-MADI Bridge for interfacing with the M-48s. That works very well. And we were able to drop the R-1000 into that system and get it to work. However, for me to implement that system, I’m looking at $2,500 for the S-MADI, and $5,000 for the R-1000. I can buy a lot of external hard drives for my MacBook Pro/RME MADIFace system ($3,900 total) for the difference. 

However, as I was talking to some of the guys from Roland, we got to thinking that there was really no reason why the R-1000 had to be limited to REAC—that’s just the digital I/O. It wouldn’t be hard to make a version with MADI I/O, or Ethersound, or Dante for that matter. Will they do it? I don’t know, but they seemed intrigued. I figure it’s a way to extend the investment they may into R&D for this product and open it up to a wider audience of users.

The bottom line is pretty simple for me: If you have a V-Mixing system, there isn’t a better virtual soundcheck, multi-track recorder/player option out there at any price. If you don’t use a V-Mixer, there are a lot better options out there. And that’s OK. Roland is working hard to build a complete ecosystem for their products and they’re doing a great job. Sometimes it works to go outside the ecosystem, sometimes it doesn’t. The M-48s make perfect sense in a MADI environment; the R-1000? Less so. Still, it looked really good in my rack while it was there…

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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