In Broadcast - August 2013 - 74


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 22 - AUGUST 2013

N E W S

InSOUND
Talented Microphones In Action Cont.

74

for the Eurovision Song Contest:
microphones and IEM solutions from
the audio specialist ensured that the
guests at the Malmö Arena and a
TV audience of around 125 million
were able to experience the songs
in optimum quality.
Capturing the sounds and
atmosphere of the contest on-stage
and off is an impressive operation.
The 58th edition used 96 microphone
channels of Sennheiser’s top-ofthe-range Digital 9000 Series, plus
28 wireless monitoring channels of
the 2000 IEM Series with a total
of 160 bodypack receivers. 150
frequencies were coordinated for
the microphone and monitoring
requirements in Malmö Arena
and the ESC press centre. Wired
Sennheiser MKH 416 shotgun
microphones were used to capture
the atmosphere in the auditorium
and the Green Room, where artists
and delegation members waited for
the voting results.
Oskar Johansson, Head of Sound,
commented on the sound quality
of the Digital 9000 microphone
systems: “The RF quality is
astonishing, not a glitch. The almost
zero intermodulation makes it really
easy to set up channel plans, just
find a free frequency and use it. We
had the best support from Jonas
Naesby of Sennheiser Nordic and
his team and felt really safe with
the whole set-up.”
DPA’s 5100 Mobile Surround
Microphone proved to be the right
choice to capture the ambience
at the UEFA Europa League Final
in Amsterdam.
As every football fan knows, the
roar of the crowd at a major game
is just as important as the action
on the pitch when it comes to truly
experiencing the excitement of the
event. With this in mind, Outside
Broadcast specialist United chose
DPA Microphones’ 5100 Mobile
Surround Microphone to capture the
ambience of the Amsterdam Arena
when SL Benfica played Chelsea in

the 2013 UEFA Europa League Final.
Huub Lelieveld, senior sound
supervisor for United Outside
Broadcast and Studios, says, “UEFA
was adamant that the broadcast
quality had to be top class as this
was a huge 35 camera production
that was going out to broadcasters
all over the world. We wanted to
make sure the audio quality would
be as high as possible and that
we captured the ambience of the
stadium in phase coherent surround
so that it sounded huge in surround,
but also still sounded great in stereo
and even mono.”
DPA’s 5100 Mobile Surround
Microphone was chosen for its
compact size and ease of use.
Lelieveld, in conjunction with his
colleague Mischa Kortleve, tested
the DPA 5100 microphone during
one of the UEFA preliminary rounds
in the Amsterdam Arena to ensure
they were the right choice for the
important Cup Final event. The
microphone was supplied by DPA’s
Dutch distributor Amptec.
“We recorded all our microphones
to multitrack and decided, after
extensive listening tests, that the
5100 was perfect for the Cup Final,”
he says. “The DPA 5100 was rigged
in the catwalk of the stadium where it
was able to capture the whole arena
in surround. We complemented this
system with four DPA 4006A Omni
Microphones, which were hung
from the catwalk in each of the
four corners of the stadium, and we
also used two DPA 4017B Shotgun
Microphones positioned on our two
Steadicams as these were smaller
and lighter than the microphones
we usually use.”
Among the latest additions to
the growing RØDE portfolio is the
Broadcaster – a large diaphragm,
end address condenser microphone
designed for broadcast voice
applications.
Its response has been tailored to
give a rich, full, broadcast quality
with an emphasised proximity

Huub Lelieveld at UEFA Europa League Final

Ellie Goulding has opted for DPA’s d:facto vocal microphone

effect, making it an ideal ‘on air’
radio microphone, equally fitting for
voiceover applications for film and
television. The Broadcaster features
an internal pop filter, designed to
minimise plosives sounds that can
overload the microphone capsule
and distort the audio output.
In addition to the Broadcaster’s
native 20Hz-20kHz response a
selectable high-pass filter at 75Hz
is available, which will prevent low
end noise such as air conditioners
and traffic from being recorded.
The Broadcaster features an
innovative ‘On-Air’ indicator on the
body that can be wired for external
activation by the ‘Channel On/
Mute’ function on many consoles.
If not connected to a console or
switch, the indicator will remain
lit whenever the microphone has
power. For more information please
see the user manual.
TSL Professional Products,
an established manufacturer of
hardware and software audio
monitoring, tally and power
management solutions for the
broadcast industry has acquired
leading surround sound microphone
and audio processing technology
manufacturer SoundField.
With the addition of the SoundField
range, TSL PPL’s product portfolio
will further expand its support of
5.1 audio in the broadcast workflow.
As HD broadcasting becomes the
standard for televised content,
viewers are demanding 5.1
audio to match their highquality images. By adding the
SoundField surround microphones
and processors to its marketleading audio monitoring
solutions, such as the
renowned PAM series,
TSL PPL can now
offer customers
solutions
for
use
throughout
t
h
e
production
process, from

acquisition to delivery.
“The addition of SoundField to
the TSL PPL fold couldn’t have
come at a better time,” says Chris
Exelby, managing director of TSL
Professional Products. “With TSL
PPL audio monitors becoming a
standard fixture in many broadcast
production facilities, particularly
our Touchmix and PAM family of
products, which are synonymous
with surround sound, we can now
bring a more complete offering to
market and further our mission
to help our customers deliver
the highest quality sound to the
viewer at home.”
Pieter Schillebeeckx, Head of
Research and Development for
SoundField, says the acquisition is
great news for SoundField. “I am
very excited about this acquisition
and don’t think we could have put
the future of SoundField’s legacy in
better hands. The established global
sales and marketing of TSL PPL
will greatly improve the visibility of
our unique microphone and upmix
products worldwide. And the
extensive manufacturing and design
expertise of TSL PPL, combined
with SoundField’s know-how, will
ensure SoundField’s tradition of
creating high-quality 5.1 audio
equipment will continue to thrive
and develop.”
SoundField enjoys a longstanding
reputation of providing superior
microphones for recording
both
stereo
and
surround sound.

SoundField’s DSF-2
microphone now under the
wing of TSL Professional Products


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Table of Contents for the Digital Edition of In Broadcast - August 2013

In Broadcast - August 2013
Contents
InNEWS: Panasonic Announces AK-HC3500A Camera
InNEWS: Shotoku Elevates Newscasting for KETK-TV
InFOCUS: Camera Links – Following All the Vital Action
InTECH: Fischer Connections Solutions for Broadcast
InMEDIA: Delivering Anytime Content on Cable
InMEDIA: Screen – High Definition Subtitling and Beyond
InSOUND: DPA’s D:Dicate Recording Microphone Range
In Broadcast - August 2013 - Intro
In Broadcast - August 2013 - In Broadcast - August 2013
In Broadcast - August 2013 - Cover2
In Broadcast - August 2013 - Contents
In Broadcast - August 2013 - InNEWS: Panasonic Announces AK-HC3500A Camera
In Broadcast - August 2013 - 5
In Broadcast - August 2013 - InNEWS: Shotoku Elevates Newscasting for KETK-TV
In Broadcast - August 2013 - 7
In Broadcast - August 2013 - 8
In Broadcast - August 2013 - 9
In Broadcast - August 2013 - 10
In Broadcast - August 2013 - 11
In Broadcast - August 2013 - 12
In Broadcast - August 2013 - 13
In Broadcast - August 2013 - 14
In Broadcast - August 2013 - 15
In Broadcast - August 2013 - 16
In Broadcast - August 2013 - 17
In Broadcast - August 2013 - 18
In Broadcast - August 2013 - 19
In Broadcast - August 2013 - 20
In Broadcast - August 2013 - 21
In Broadcast - August 2013 - 22
In Broadcast - August 2013 - 23
In Broadcast - August 2013 - 24
In Broadcast - August 2013 - 25
In Broadcast - August 2013 - 26
In Broadcast - August 2013 - 27
In Broadcast - August 2013 - 28
In Broadcast - August 2013 - 29
In Broadcast - August 2013 - 30
In Broadcast - August 2013 - 31
In Broadcast - August 2013 - 32
In Broadcast - August 2013 - 33
In Broadcast - August 2013 - 34
In Broadcast - August 2013 - 35
In Broadcast - August 2013 - InFOCUS: Camera Links – Following All the Vital Action
In Broadcast - August 2013 - 37
In Broadcast - August 2013 - 38
In Broadcast - August 2013 - 39
In Broadcast - August 2013 - 40
In Broadcast - August 2013 - 41
In Broadcast - August 2013 - 42
In Broadcast - August 2013 - 43
In Broadcast - August 2013 - 44
In Broadcast - August 2013 - 45
In Broadcast - August 2013 - 46
In Broadcast - August 2013 - InTECH: Fischer Connections Solutions for Broadcast
In Broadcast - August 2013 - 48
In Broadcast - August 2013 - 49
In Broadcast - August 2013 - 50
In Broadcast - August 2013 - 51
In Broadcast - August 2013 - 52
In Broadcast - August 2013 - 53
In Broadcast - August 2013 - 54
In Broadcast - August 2013 - 55
In Broadcast - August 2013 - 56
In Broadcast - August 2013 - 57
In Broadcast - August 2013 - InMEDIA: Delivering Anytime Content on Cable
In Broadcast - August 2013 - 59
In Broadcast - August 2013 - 60
In Broadcast - August 2013 - 61
In Broadcast - August 2013 - InMEDIA: Screen – High Definition Subtitling and Beyond
In Broadcast - August 2013 - 63
In Broadcast - August 2013 - 64
In Broadcast - August 2013 - 65
In Broadcast - August 2013 - 66
In Broadcast - August 2013 - 67
In Broadcast - August 2013 - 68
In Broadcast - August 2013 - 69
In Broadcast - August 2013 - 70
In Broadcast - August 2013 - 71
In Broadcast - August 2013 - 72
In Broadcast - August 2013 - 73
In Broadcast - August 2013 - 74
In Broadcast - August 2013 - 75
In Broadcast - August 2013 - InSOUND: DPA’s D:Dicate Recording Microphone Range
In Broadcast - August 2013 - 77
In Broadcast - August 2013 - 78
In Broadcast - August 2013 - 79
In Broadcast - August 2013 - 80
In Broadcast - August 2013 - 81
In Broadcast - August 2013 - 82
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In Broadcast - August 2013 - S1
In Broadcast - August 2013 - S2
In Broadcast - August 2013 - S3
In Broadcast - August 2013 - S4
In Broadcast - August 2013 - S5
In Broadcast - August 2013 - S6
In Broadcast - August 2013 - S7
In Broadcast - August 2013 - S8
In Broadcast - August 2013 - S9
In Broadcast - August 2013 - S10
In Broadcast - August 2013 - S11
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201911
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
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