In Broadcast - August 2019 - 60

60

www.inbroadcast.com | Vol: 9 - Issue 7 | August 2019

InSound

Microphones in Action
The latest news from Contributing Editor
Jim Evans on microphones, both on
location and out in the field...

H

owever
audio
technology
advances and the methods of
presenting, recording and broadcasting
change, the microphone in its various
forms remains at the sharp end of
proceedings. And there continues to
be a core of specialist manufacturers
catering for all needs, adapting their
offerings to the requirements of the
new technologies and those employing
them.
Non-Stop Takes
For the Netflix original film,
Paddleton, capturing audio was
of paramount concern for sound
supervisor Daniel S. McCoy CAS, owner
and operator of ToneMesa. Taking
into consideration that comedian Ray
Romano is in the starring role, McCoy
took the opportunity to showcase the
actor's comedic style by integrating
two
audio
powerhouses,
DPA
Microphones and Wisycom, into his
production workflow.
In today's ever-changing landscape
of film and cinema, the paradigm
has shifted to where many projects,
such as Paddleton, have more of a
documentary formula and require
reliable equipment with a skeleton
crew that can work at an efficient pace.
"Sometimes, the team would go off
to unplanned locations and I'd have
to be ready to follow immediately,"

Paddleton in production using
DPA and Wisycom equipment

says McCoy. "It was imperative to
have microphones, receivers and
transmitters that I could trust in
situations where I didn't know exactly
what was going to happen next. Using
DPA and Wisycom on Paddleton, I
never had to stop a take and I'm really
proud of that."
During the production, McCoy used
DPA's d:screet CORE 4061 Miniature
Microphone along with d:dicate 4017
and 4018 Shotgun Microphones.
"It's amazing how the boom mics
blend seamlessly with the lavs, not
only in the mix on-set, but also in postproduction, when you need to blend
them together," adds McCoy. "I like to
use some of the bass and proximity
from the omni (4061) on the body,
blended with the high-audio pickup of
the shotgun mic in free space to get
better articulation. Using DPA's 4000
series lavaliere microphones together
with the 4017 and 4018 boom mics
enabled me to create a harmony of
vocal and ambient sound. The actors'
dialogue blended seamlessly on top
of the sounds of real neighbourhoods,
towns and driving. I was able to
capture crisp, clean vocal audio over
all that background noise and still get
incredible fidelities you can hear in the
film."
Australian-based Dane Cody used
DPA's new d:screet 6000 Series
Subminiature Microphones to capture
location dialogue for the second
season of Harrow, a popular television
drama series produced by Hoodlum
Entertainment for ABC Australia and
ABC Studios International. He also
used d:screet CORE 4061 Miniature
Microphones to record dialogue for
Paramount Players' and Nickelodeon
Movies' live action remake of the
classic animated children's programme
Dora And The Lost City Of Gold.
Dane says both projects benefited
enormously from these additions to
his inventory because he was able to
capture much clearer and fuller sound.
Natural Pairing
Also in the Southern hemisphere,
Australia-based
designer
RĂ˜DE
Microphones has introduced the
TF-5, matched-pair small diaphragm
condenser
cardioid
microphones

Dane Cody on the set of animated children's programme, Dora

designed in collaboration with Grammy
Award-winning sound engineer Tony
Faulkner. The precision sonic matching
and tone of the TF-5 makes it suitable
for recording detailed and naturalsounding performances when used
as a stereo pair, or for capturing the
nuances of a soloist when used as a
spot mic.
Faulkner is arguably one of the most
respected sound engineers in the
classical music field. With thousands
of classical music recordings under
his belt, he has been nominated for
numerous Grammy Awards, winning
Best Instrumental Soloist Performance
in 2005. "The TF-5 is designed to be
no-compromise," said Faulkner, "very
very low noise, very broad bandwidth,
very clean. Something which can be
modified if you choose, but if you leave
it, it sounds natural and clean and
musical.
"The new capsule," he continued, "is
so beautifully engineered. I've been to

the factory and seen how they make
them - the precision of engineering
is remarkable. These are special
microphones, very high quality, and
I'm proud to be a part of them. Take
two of them out of the box, rig them on
a stand with the stereo bar, and enjoy
how natural they sound."
Quality Boost
In the UK, AV and event production
company Blitz has added the
Sennheiser Digital 6000 wireless
microphone series to its inventory.
Blitz is also one of the first companies
in the UK to add the SK6212 minibodypack transmitter to its inventory,
meaning it now has an even greater
offering for clients.
Both Blitz and Sennheiser recently
worked in partnership, exhibiting
at this year's ABBT Theatre Show
at Alexandra Palace, and had their
technical advisors on-hand to give
visitors the chance to see the latest

Blitz theatre clients include the long-running Phantom of the Opera


http://www.inbroadcast.com http://www.dpamicrophones.com https://wisycom.com/ https://en-uk.sennheiser.com/2-channel-receiver-live-audio-productions-digital-6000

In Broadcast - August 2019

Table of Contents for the Digital Edition of In Broadcast - August 2019

Contents
In Broadcast - August 2019 - Intro
In Broadcast - August 2019 - Cover1
In Broadcast - August 2019 - Cover2
In Broadcast - August 2019 - Contents
In Broadcast - August 2019 - 4
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In Broadcast - August 2019 - 62
In Broadcast - August 2019 - Cover3
In Broadcast - August 2019 - Cover4
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