Brand’s 4006 Omnidirectional Condenser Mic Offers Balance and Clarity for Recording Engineer Duo George and Geoff Hazelrigg.
Recording Engineer Duo George and Geoff Hazelrigg
Having grown up as musicians, it’s no wonder that George and Geoff Hazelrigg fully immersed themselves in the industry and every new opportunity it provides. Between being two-thirds of the Hazelrigg Brothers jazz trio, manufacturing the D.W. Fearn line of circuits and co-founding Hazelrigg Industries, the duo is familiar with every step of the musical process: from creation to production to performance. With 30 years of production experience and 15 years of high-definition recording knowledge under their belts, the Hazelrigg brothers are now tackling the newest force to take the music world by storm―immersive audio recording.
For these recording projects, the duo relies on DPA Microphones’ 4006A Omnidirectional Condenser Microphones and accompanying nose cones.
“These mics are just so quiet, when we record in DSD, an extremely high-detailed recording format, the DPAs are so quiet and capture the total dynamic. All the little nuances of the room are picked up without having excess noise getting in the way of anything.”
Geoff Hazelrigg
George agrees, adding, “the nose cones make the mics absolutely flat from top to bottom. There are no hotspots anywhere in any frequency range. These mics are sort of magical.”
When it comes to tackling an immersive project, George says, “the entire industry is thinking about how to remix tracks to fit an immersive format, but we start from the ground up and build tracks specifically for immersive. The 4006s are the standard of excellence for this.” The duo has implemented this concept for their recent co-production of LA-artist Tyler Smith’s new record. Produced in collaboration with Sweetwater Studios, George and Geoff worked alongside the iconic Mixing Engineer Mike Miller and Sweetwater Engineer Shawn Dealey.
“We hung six 4006s in the room ― corresponding with the right and left fronts, sides and rears ― to create a very realistic image,” George continues. “We even took the mics into different acoustic spaces and put single tracks through a speaker to capture the room reverb. This way, we weren’t relying on DSP reverb, but rather real acoustic spaces picked up by the DPAs.”
George also notes on the importance of audio quality in spatial audio as compared to in stereo. “In stereo, you can jigsaw puzzle things together if you’re working on a dense pop mix, but there’s no place to hide with spatial audio,” he explains. “The DPAs allowed us to record without phasing or sorting. They were easy and just worked. They also complement the close-source ribbon and tube mics that we use extremely well. The 4006s are just a higher quality. They’re more detailed and they offer a cleaner, quieter and better balance.”
The duo plans to continue implementing the 4006s into future immersive projects, including the Hazelrigg Brothers’ newest album, set to release this spring. “When you’re working in immersive, you can’t afford to go in and EQ or clean things up,” Geoff says. “The 4006s require absolutely no processing on the back end ― there’s no distortion, there’s head room for days and there’s no artifacts that come off it. We honestly believe that the 4006 is the best microphone for the job.”
FOH Engineer Kenny Kaiser and Monitor Engineer Marty Beath rely on DPA’s Live Sound Solutions
Always on the lookout for the newest audio solutions for the rock band, The Killers, FOH Engineer Kenny Kaiser and Monitor Engineer Marty Beath were immediately intrigued by DPA’s new 4055 Kick Drum Mic. Among the first to get their hands on the mic, the duo put it to the test at production rehearsals before heading out on the band’s “The Killing the Mirage” tour. After receiving universally positive feedback, the decision was made: DPA’s 4055 Kick Drum Mic was joining The Killers’ touring gear line-up alongside the group’s existing DPA solutions, such as the 4099 CORE Instrument Mics, 4011 Cardioid Condenser Mics and d:facto™ 4018 Vocal Microphone.
Before solidifying their kick drum mic of choice, Kaiser and Beath tested out three variations of a mic setup. “We had a plate mic, a ribbon mic and then the new DPA,” explains Beath, “and we were swapping between them, listening to what we could get out of each combination. Because the DPA is linear, you have to shape it, but that’s great because that’s what you want—to have control and not be dictated by the voicing of the mic. So, I think it’s fantastic for this drum, but it will also translate across multiple drum kits.”
Beath continues, saying, “It can handle the SPL, no problem whatsoever, and we’ve pretty much maintained our normal placement. We’ll probably experiment as we go along and get more comfortable with it, but so far, it’s mind-blowing.” Kaiser also notes that the mic’s voicing is one of the key standouts for the pair. “The overall design of this [mic] answers that famous line of optimize or compromise,” Kaiser explains. “The compromise for us is we have a very loud stage, so being able to design everything around that is huge.”
On the rest of the drum set, the pair utilizes DPA’s 4099 CORE Instrument Mics for tom toms and under the cymbals, along with 4011 Cardioid Condenser Mics on snare top and bottom, as well as on the hi-hat. “I’ve used the DPA CORE technology on lots of other acts and thought that it would be the greatest solution for [’The Killers’] kit because it is so small,” explains Beath. “We try to under-mic the cymbals because of the spill from the wedges, so we get a lot more isolation…and can control the stereo image more.”
The duo also notes that the 4011s provide the transient attack that people love without having to manage it too hard. “The previous mics we had, you had to do more finessing to get the tonality we wanted and lost a lot of that [transient sound],” explains Kaiser. The pair also loves the simplicity and subtlety of the DPA solutions, which allow for less mic stands and a neater stage presence without compromising on sound quality.
Also on stage are the d:facto 4018 Vocal Microphones, which Kaiser and Beath rely on for backing vocals. Working front of house, Kaiser’s main concern was loudness and trying to manage that volume. “I’m typically about 75 feet off from front of house,” he explains, “and I’m at 96 dB(A) with the PA off with just the wedges―it’s loud.” The d:facto makes this task a breeze, with Beath adding, “it’s simple to prove the rejection from a d:facto. You turn it 90 degrees, 180 degrees, and there’s nothing. You scream into the back and there’s nothing. It’s tightened everything up, and there’s no bleed―it’s amazing.”
The Killers closed out the U.S. leg of their tour on October 12. The band is now making stops throughout South America, New Zealand, and Australia to wrap up 2022.
ApexPro is the recognized distributor of DPA Microphones in Africa. Reach out to us to find out if DPA is the right solution for your installation or touring needs.
Q Up Arts Founder and Composer Douglas Morton Relies on Brand for Immersive Aquarium Exhibit
A journey into the depths of the ocean is out of grasp for most, but Q Up Arts Founder and Composer Douglas Morton has helped bring the sounds of the Earth’s waters to shore for a new immersive aquarium experience that takes visitors through galleries filled with deep sea animals, original music and ocean video footage. To craft compositions that transport and inspire listeners, Morton needed microphones that could keep his recordings as authentic and natural as possible and selected DPA Microphones’ 2011C Compact Twin Diaphragm Cardioid Microphones.
“I choose mics based on what type of instrument or sound I’m going for. What’s great about the 2011s is the amount of detail that they pick up without coloring the sound. It’s like capturing a hi-res photo, you get all the little details and trails of sound. I used a couple of tongue drums for the score. I was just barely hitting those drums, but with the 2011s you can hear the full attack of the mallet. I even played them with my hands a little bit and you can hear right when my fingers hit the drums. The mics captured all the delicate nuances of the instrument.”
– Douglas Morton
Visitors can hear Morton’s compositions throughout the exhibit, transitioning seamlessly between songs and rooms. “As people travel through each gallery, it’s as if they’re on a journey descending down through the water to the ocean floor,” he continues.
“One room, designed to place guests in the middle of the ocean rather than the surface or floor, features a wall of 4K monitors displaying bright bioluminescent sea creatures. Wanting to take advantage of this massive visual aspect, we decided to add a Dolby Atmos mix within the room. Speakers to the front, overhead, sides and rear of the guests combine with psychedelic imagery to create an out-of-body immersive underwater experience.”
– Douglas Morton
When Morton began writing the score, he “tried to imagine what the water felt like and what we wanted people to feel as they traveled through the exhibit. A huge part of the compositional journey was just choosing sounds. It’s different than scoring a movie or TV show, we don’t want the music to be too stylized. If a guest is listening to the music instead of looking at the visuals, then I’m not doing my job. I ended up creating a beautiful, deep, dark, sonic landscape. The 2011s work well for this kind of recording because they’re so transparent and clear. They capture the delicate attack and sustain of the instruments.”
Besides traditional instruments, Morton was also able to utilize the sounds of real aquatic animals for his compositions. Underwater recordings of Monterey Canyon featured animals like blue whales, sperm whales, and dolphins, but also natural phenomena, like underwater landslides. Morton added samples of the blue whales to his composition for an expansive, ominous portion of the gallery that replicates the sea floor and the life cycle of a whale.
As President and Founder of sampling and music production company Q Up Arts, Morton has utilized DPA’s mics for a variety of projects through the years. “I’ve tried different microphones before,” adds Morton, “but I always come back to DPA. They’re my go-to mics. Ultra-transparent, super clear, and a small sonic footprint, so they’re not going to color the sound. If I’m recording, what I’m hearing in the room is what the DPAs are going to sound like. That’s one of the biggest benefits of DPA mics, they’re so beautifully transparent. I’m a huge fan; they’re the number one microphones in my collection.”
Twenty years after first opening in Italy, the complete original cast of “Notre-Dame de Paris” is back on stage to celebrate the anniversary.
Following the success of the show in Paris, the musical made its official Italian debut at Gran Teatro of Rome in 2002, featuring the translated lyrics of Pasquale Panella. Produced in collaboration with Enzo Product Ltd, entirely curated and distributed by Vivo Concerti, and under the direction of Gilles Maheu, the 2022 tour will include over 180 shows throughout the Italian peninsula.
For this 20th Anniversary production, skillful and experienced sound team members were selected, including FOH Engineer Alberto Alicandro, who was part of the original crew, Monitor Engineer Simone “Zeta” Saccomandi, and Microphone Technician Andrea “Niski” Stanisci. The microphone equipment is entirely DPA, with 16 headsets, consisting of 4066 Omnidirectional and 6066 CORE Subminiature headsets, and two pairs of 2011 Twin Diaphragm Cardioid and 4018 Supercardioid microphones to capture room audio and feed IEM mixes.
“I often use room audio to make actors’ in-ear mix feel more natural, but we also use them to record ambient sounds and audience response. The pair of 2011s is arranged in A/B narrow or binaural configuration at the FOH position with a Jecklin Disk and one custom-made support that also houses a camera depending on the venue, while the 4018 in wide A/B configuration is positioned on the stage front,” comments Zeta. “I am a true DPA fanatic and use their mics for everything from classical to jazz to rock. I have a predilection for DPA accuracy. Using these capsules undoubtedly makes life easy in a complex musical like this one. It helps us keep standards high in many different theaters, from large auditoriums to far-from-ideal acoustic spaces, such as sports halls or outdoor venues. I hardly need extreme equalizations or unnatural interventions.”
Alberto also has no doubt: “DPA capsules always provide optimal intelligibility, even in the most articulated songs. Whether increasing or decreasing, EQ interventions are never harsh or dull. For example, when you emphasize high frequencies, they are always very natural. DPA is always the first choice in Notre-Dame de Paris!”
The collaboration between Producer David Zard, and Musical Supervisor, Composer and Singer Riccardo Cocciante, ”Notre-Dame de Paris” has been a global success, with 1,419 productions in nine languages, to 13 million spectators worldwide. Among the many awards the show has received, one notable mention goes to the strong partnership between the protagonists Giò Di Tonno and Lola Ponce, which earned accolades at the 2008 Sanremo Music Festival (Festival della canzone Italiana). It has also been recorded in the Guinness Book of World Records for the largest sales of tickets ever in the first year of operation, with more than one million tickets and over three million albums sold.
Designed to kick the bass to the next level, the 4055 takes the traditional concept of a kick drum mic and turns it on its head – no more pre-tailored sound – now you can take sound design back into your own hands.
Join The ApexPro team on June 14, 10 am (SAST) for a LIVE STREAM demo of the DPA 4055 kick drum mic with Keith Karimi.
What makes the 4055 stand out from the competition is that it delivers the renowned DPA sound, clarity and linear frequency response, both on axis and off axis. Its low frequency response and dynamics are superb and result in a tight, natural, well-defined sound – the best low-end with detailed mids and highs.
The 4055 is one of the only kick drum mics that is not sonically pre-tailored to fit a traditional sound in a specific genre. Its performance allows a professional sound designer to create the exact sound s/he is listening for – regardless of the music genre. Want more attack? Slide the 4055 into the bass drum and point it directly at the beater. For a super-low-end sound, place the 4055 at the hole, just on the outside of the front head. Here, the level of sub and lows are represented the most.
Not only does the position inside or outside the kick drum give you different sounds but working with the angles of the microphone just outside the hole will deliver nuances of the drum sound. No matter what sound preference you have, the 4055 captures the true sound of a kick drum, whether it is used in classic, jazz, rock or any other genre.
The 4055 is placed in a large, robust housing and there is wind damping foam just in front of the capsule, behind the grille. A specially-designed shock mount also suspends the capsule inside the housing to avoid vibrations from the stage. The shock mount together with the extra wind damping ensures that the 4055 captures only the source.
The 4055 is easy to position, both inside and outside the drum. Its unique asymmetric design makes it quite easy to place the mic through the drum hole without ripping the front resonator skin.
ApexPro is the sole distributor of DPA mics in the Southern Africa region.
DPA Microphones will highlight its latest microphone solutions, designed to meet the growing live production needs of the broadcast and AV markets, at the 2022 NAB Show (Booth C8609).
“The pandemic has shown us the true importance of being quickly and easily adaptable to a rapidly changing media landscape. These new offerings are a direct result of the innovation and forward-thinking response to the industry, and we are excited to finally present them in-person at the NAB Show.”
Christopher Spahr, Vice President of sales and marketing, DPA Microphones, Inc
Based on the design of the DPA’s groundbreaking 6066 Subminiature Headsets, the new 4466 CORE Omnidirectional and 4488 CORE Directional Headset Microphones feature the brand’s popular 5mm round microphone capsule. These latest offerings provide the security, durability and flexibility necessary for use in broadcast, worship, theatre and corporate conferencing. With a one-size-fits-all design and adjustable boom height and length, the 4466 and 4488 headsets accommodate all head shapes and sizes. A unique, three-point gripping system (above, below and behind the ear) ensures a greater level of security, while the flexible ear hooks provide continued comfort during extended use.
In addition, the new headsets share the same interchangeable cable and boom options as the 6066 Subminiature Headsets. This includes the 90-degree cable management guide at the neck. The headset frame, boom and capsule have a non-reflective surface for unobtrusiveness and ease-of-use for camera crews. With a high-quality, professional look, the 4466 and 4488 are available in black, brown and beige options.
Featuring the same sonic qualities as the brand’s other supercardioid microphones, the 4097 CORE Micro Shotgun Microphone has been optimized to pick up speech from a distance. Initially designed for plant miking applications, it is ideal for miking in small spaces because of its small footprint and clear audio pickup. Additionally, when selected as part of the company’s new 4097 CORE Interview Kit, which includes a lightweight boom and windjammer, the mic enables journalists to conduct interviews from up to two meters (6.5 feet) away, making it the perfect tool for single-reporter interview applications.
Featuring a lightweight telescopic boom pole and a Rycote windjammer to provide ideal conditions for outdoor productions, the kit also includes DPA’s 4099 Cold Shoe Mount, a DPA MicroDot cable and a transmitter plate. This plug-and-play solution allows single-operator crews to quickly, easily and safely capture important news and information.
The sonic qualities of the 4097 CORE Micro Shotgun are particularly beneficial for placing mics in inconspicuous locations as it enables location sound experts to capture sound from anywhere on set. Used in combination with DPA boom mics and lavaliers, the 4097 Micro Shotgun becomes the final piece of a complete microphone package to meet the needs of any TV or film production.
When used in conjunction with DPA’s lightweight MMA-A Digital Audio Interface, the 4097 CORE Micro Shotgun becomes a complete remote recording package. The interface is a high-quality, two-channel microphone preamp and A/D converter offering mono, dual mono and stereo capabilities. Compatible with iOS devices, Mac or PC computer, the MMA-A provides crystal clear audio in a wide array of remote applications.
Terminating in a MicroDot connection, the 4097 CORE Micro Shotgun can also attach directly to a transmitter and can be used with the company’s 4099 series mounts, clamps and clips for easy mounting on any surface. Most recently, DPA released the MS4099 Mic Stand Mount, a sturdy and flexible solution for mounting the 4097 onto any mic stand. Borrowed from the design of other DPA mounting options, the barrel of the MS4099 mic holder makes it quick and easy to attach or remove the microphone. In addition, the mount can be turned for vertical or horizontal use, pending application.
Contact ApexPro, the sole distributor of DPA in South Africa, for all your pro-audio needs.
