Since her first GRAMMY^® Awards performance, pop superstar Lorde has entrusted FOH Mixing Engineer Philip J. Harvey for her live audio needs. Currently, Harvey is wrapping up his work for the singer’s Solar Power 2022 Tour across the U.S., where a high-quality, comfortable and accurate audio solution was of utmost importance. Pulling from his experience as a self-taught audio tech working in clubs and on the road with bands such as Medeski Martin & Wood; Mumford and Sons; and My Bloody Valentine, as well as Jack White’s The White Stripes, The Raconteurs and Dead Weather, Harvey knew what brand would check all the boxes. He worked with audio provider Clair Global to select a number of instrument and vocal mics from DPA Microphones.

“With the recent addition of the new 4055 Kick Drum Microphone, the entire drum set is DPA,” Harvey explains. “We also have a 2011C Twin Diaphragm Cardioid on the snare top and 4099 CORE Extreme SPL on snare bottom, hi-hats, toms and under heads. On the conga and quinto, we have the 4099 loud SPL. Lorde herself, Ella, is on a d:facto 4018VL Vocal Microphone in silver nickel, then we also have five backing vocalists, and they’re all using 4488 CORE Headset Microphones. We started with 4488s from DPA after experimenting with 4088 Directional Headsets through Clair Global. As soon as everybody put them on, we were blown away with how comfortable they were. You can also really get that articulated boom in the perfect place.”

Consistently providing the expected results, DPA has been entrusted by Harvey for Lorde’s live performances since 2017. “I love how natural and real her voice sounds with the d:facto,” he explains. “The flat response of this mic is a huge asset, and the bleed is completely palatable―unlike any other vocal mic I’ve experienced. That accurate response provides the solid foundation for coloring sounds in the mix any way I want, and it’s amazing! All five backing vocalists use the 4488s with wireless belt-packs, which is imperative because the band members are on the move and change stage positions for each song during the set. It was a challenge incorporating headset mics into a pop show, but the 4488s proved to be the best choice for clarity, fidelity and comfort, and are very easy to work with.”

Although this is the first tour in which DPA’s instrument mics are utilized, Harvey has been more than pleased with the results. “For me, it’s mostly the flat, accurate response,” he says. “The off-axis responses are so natural. My feeling is that if you always get the most neutral, flat pick-up of a sound, then you can color it any way you want. If it comes in already colored, then it can work against you. No other microphones have that aspect where the off-axis sounds good. The bleed is usable with these mics and that’s really amazing.”

Even when he’s not on the road, Harvey still finds himself relying on DPA solutions. Since the start of the pandemic, Harvey has been mixing livestreamed productions at TivoliVredenburg, a contemporary music venue in Utrecht, Netherlands. There, he utilizes DPA’s 4099 Instrument Mics on many diverse productions, along with the 4006 Omnidirectional Condenser and 2006 Twin Diaphragm Omnidirectional mics for classical orchestrations and 4166 Omnidirectional and 4188 Directional Headsets for lectures and presentations. “TivoliVredenburg was my introduction to DPA microphones; using them for the first time was a ‘wow’ moment for me,” Harvey explains. “They work great for live sound and streaming, which means they are more than well-suited for the studio.” During the off season, he can also be found at Amsterdam Recording Company, where he hopes to incorporate DPA Microphones into his workflow

Photo Credits: Lauren Tepfer

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Ahead of the show kicking off in glorious style on Friday June 3rd, we catch up with some NAMM 2022 exhibitors. With their wares ranging from microphones to guitars, keyboards to interfaces, and many other facets of  one the greatest trade-shows on Earth.

As we discovered in our recent chat with NAMM’s outgoing president Joe Lamond, the watchwords for this year’s returning live show are both ‘transformation’ and ‘tradition’. Back after a two-year hiatus, the rescheduled winter (now technically summer) convention, kicks off on Friday June 3rd, and will welcome back multitudes of exhibitors from across the industry, spanning manufacturers, engineers, distributors, musicians and press, all of which will be competing to make the biggest splash at a show where, more than any previous year, trend-setters and tastemakers will be trying to gauge where the future of music technology might be heading, in the wake of one of the globe’s biggest public health emergencies. 

NAMM has long been at the intersection of the sector’s numerous sub-industries. It’s where instruments, hardware, software, speakers, microphones, lighting, outboard gear, apps, synths and everything in-between collide. This makes NAMM an ideal place for new relationships to foster the innovations of tomorrow, and also where the media can get a handle on upcoming releases, as exhibitors finally reveal what they’ve been secretly squirrelling away on over the past few years.

A globally renowned manufacturer that have been attending NAMM for decades is the venerable Focusrite. Like the rest of the world, the respected makers of the world’s most popular interfaces – the Focusrite Scarlett, have been conducting their vital in-person NAMM-business remotely during the pandemic. Now, they are warming up for the opportunity to resume face-to-face meetings and exhibit their latest wares to the hungry eyes of the industry. “In an increasingly digitised and video-calling world, NAMM remains a unique and valuable opportunity to get some of the most interesting and exciting characters in the industry in one place at the same time” explains Focusrite’s Head of Brand, Nicholas Howlett. “You can have conversations that would often take weeks or months to pull together arranged within an hour, because everybody’s here and ready to talk. It’s a great opportunity to put your emails away for hours a day and be present with friends, peers and partners; past, present and future. Some great ideas are born at NAMM.” 

As is customary with NAMM 2022 exhibitors, Howlett is understandably coy about what Focusrite are bringing to the table this year, but does explain that the brand is excited to bring some new ways for creators to get the best possible sound of their content: ‘We’re already a popular choice for content creators, but soon we’ll be able to serve their needs better than ever. You won’t want to miss it.”

SWAG BAG

While some NAMM 2022 exhibitors have been struggling with supply chain issues, and have re-arranged their product release schedules around the difficulties of the pandemic, others have been sitting on new tech, saving their releases for the show. Aside from the booth-packed halls, multinational heavyweights Yamaha will once again be taking over the nearby ballroom of the Marriott, turning it into, effectively, a bona fide hall of their own. “We are pumped to be back in person and look forward to creating a one-of-a-kind experience for attendees with an incredible lineup of musical performances and notable product launches.” Yamaha shares, before telling us some of what we can expect in what has become known as ‘the Yamaha Hall’, “Attendees will get to see in person for the first time and get hands on some of our latest products and technologies, such as our next generation, handcrafted CFX grand piano, the ultra-cool Revstar guitar line, which draws on our heritage in electric guitar design and is inspired by the Café Racer motorcycles. The DTX high-end electronic drum kit series, and more that will be revealed at the show…” Additionally, Yamaha are eagerly excited to reveal their live, in-person concert series. “This year’s Yamaha All-Star Concert will feature performances from remarkable artists such as Tank and the Bangas, Preservation Hall Jazz Band, and Kandace Springs on Saturday, June 4, at 6 p.m. We will also include the highly awaited Night of Worship showcasing Fred Hammond and Saddleback Worship performances on Friday, June 3, at 6 p.m.”.

Two of the world’s most revered microphone brands, the legendary Shure and the Danish micro-mic giants DPA Microphones are both carefully planning for a show that will once again allow them to present their latest voice-recording wonders to the world. “Shure is switching things up and heading outside to the plaza this year.” Explains Sean Bowman, Senior Director of Retail Sales, UCANZ at Shure Incorporated. “We will have several tents along the Shure branded plaza for attendees to test the latest products from Shure including the newly launched KSM11 Wireless Vocal Microphone.” 

Bowman is positively evangelical about the importance of NAMM for exhibitors, particularly this year. “Shure has been a member of NAMM since 1965. The NAMM show allows us to reconnect with the industry and musicians who know and love Shure, while also introducing products to new customers around the world. It’s the perfect opportunity for the entire music technology industry to come together and inspire each other to create innovative products and plans that help move the industry forward. We are thrilled to be back in person and excited to see what is in store for this year.”

DPA’s Anne Berggrein also stresses NAMM’s importance to their globally respected lavalier and pro audio condenser microphone specialists. “[NAMM] is the place where we interact with the live community, get important feedback from the market, and get to introduce the DPA brand to new people as well as existing users or customers. We have a huge introduction this year and we have looked so much forward to sharing it with everyone at NAMM. It fits perfectly with the show and is a natural extension of our product offering to the live scene.”

TRANSFORMATION AND TRADITION

This eager sense of anticipation, that this NAMM is going to be both different, familiar and more exciting than ever, is palpable amongst the numerous NAMM 2022 exhibitors we spoke to ahead of the show’s launch. While the technology side is typically more about driving the anticipation for long-term use of their new products as they become available, in the guitar-world, new instruments are often on display, and fully playable (and therefore judge-able!) on the day of launch. “We are ecstatic that the Anaheim show is in person this year after a two year hiatus. We always look forward to NAMM and wouldn’t miss it” Martin Guitars giddily explain, before teasing an exciting new artist signature model which they’ll be launching at the show. “We’ll also be unveiling serial #2.5 million. A major milestone for the 189-year-old, family-owned company.” The premiere guitar-makers divulge, “It is a work of art created for the Martin Museum which is a tribute to C. F. Martin, Sr.’s journey to America. We’ll have it on display at the booth and it is a must-see at the show for sure. It’s a time to celebrate our new models, connect with media and artists, build community, and share our knowledge.” This will undoubtedly be a port of call for guitar-scribes and enthusiasts. So too will be the likes of Barnes & Mullins, Taylor, Washburn, ESP and Faith, each of whom will be rocking up with fresh axes to grind.

HALL OF WONDERS

Since its opening in 2018, the North Hall has become the go-to venue for music production-heads, and this year there’ll be a slew of software and plugin makers among the NAMM 2022 exhibitors, such as Leapwing Audio, Soundtoys, Antares and Sonarworks, each of which – via interactive booths, will be able to demonstrate how their latest software works in real-time. Also in this hall you’ll find headphones from the likes of Audeze, Austrian Audio and Audio Technica, microphones courtesy of Royer Labs, Cathedral Pipes and more. Over the promenade in Hall A is where you’ll find most of the hardware synths, including such luminaries as Oberheim, Dreadbox, UVI and Mellotron, sharing their latest analog and digital beasts at NAMM’s Synth Showcase. “The Synth Showcase is a dedicated environment focused on highlighting the latest products, trends and personalities shaping the modern synthesiser marketplace.” NAMM explain, “The showcase acts like a show within itself and places a sharp focus on the ever-popular synthesiser industry, celebrating the instrument, inspiring audiences, and powering sales.”

With thousands of excited NAMM 2022 exhibitors, companies, journalists and attendees starting to think about what to pack in their suitcases, one thing is clear, there’s going to be a lot to take in this year…

The post NAMM 2022 Exhibitors Focus appeared first on Audio Media International.

Last month’s historic NASA Mars exploration programme saw the Mars Perseverance Rover touch down on the red planet and capture sound from its surface for the very first time via a comprehensive recording kit from DPA Microphones. Audio Media International speaks exclusively to DPA product manager René Mørch about a field recording project like no other…

How did DPA get involved in the project?
DPA Microphones won the contract from NASA’s Jet Propulsion Laboratory (JPL) in Pasadena, California based on the products’ ability to perform under demanding conditions. The 4006 microphone withstood the extreme conditions associated with space travel like severe temperature changes and massive vibrations – all within a compact footprint – aboard the Perseverance Rover.

As our solutions can connect to a computer with a USB interface, the organisation also took into consideration DPA’s ability to deliver industry standard communication interfaces. Additionally, all DPA gear aboard the rover included off-the-shelf components, which made the vetting process much quicker and easier for the space programme.

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 How did you set about specifying the right kit for such a project?
JPL already had a good understanding of its needs – a microphone that could withstand the rigours of space travel and a simple way to record from it. Ultimately, our specifications on the project primarily involved making very small modifications to the mechanical design, so that the items could be bolted directly to the chassis of the rover.

When did planning work for the project begin?
We were first approached by JPL for this project back in 2017. Assembly of the rover then began in 2018, with the DPA components being added in early 2019.

How do you prepare for a project like this?
The entire construction of the equipment was tested rigorously during the rover assembly process. It was during this time that the DPA solution proved its effectiveness to the mission, earning it a coveted spot on the historic rover. To me, the fact that these are factory standard components is a clear testament to the quality and durability of the equipment we manufacture.

After being put through vigorous testing by NASA scientists, the DPA equipment, affixed to the Mars Perseverance Rover, officially launched into space aboard the Atlas V-541 rocket in July 2020, ultimately landing on the Red Planet on February 18, 2021. 

What were the biggest challenges you faced during the project?
The waiting time! We knew that all the tests had been made successfully on Earth and had a good understanding that it would also survive the travel to Mars, but the last stage from the atmosphere of Mars to the safe landing on ground is really a tough ride, which can be seen on the amazing video material (see below) capturing this final stage.

Back in October 2020, while the rocket was still in-flight, we received audio from outer space. Though sound can’t travel in vacuum in space, you can still pick up structural born noise, which allowed us to hear that the system was still working well. So, we had high expectations for the system to continue working after landing on Mars and were very happy to be able to hear those first samples of audio from the Red Planet. We processed the data for JPL/NASA right before the press conference on February 22, 2021. 

Was this the first time sound has been recorded from the surface of Mars? Has any such kit been sent there in previous expeditions?
Though other missions to Mars have provided seismic soundwaves from the planet, this expedition marks the first time the world has experienced a true audio capture of its surface. Previous missions have also had microphones on-board, but these didn’t catch any audio, whereas the DPA solution has provided the first true acoustic pickup from the surface of Mars.

With heavy winds, thin air pressure and extremely low temperatures of the highest concerns, the ruggedness and durability of the DPA equipment has once again proven its worth on this mission.

DPA Microphones

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DPA Microphones has launched its new 4560 CORE binaural headset microphone for YouTubers, sound designers, podcasters, vloggers and other content creators who want to capture authentic immersive audio for their projects.

The professional quality of the microphones is designed to allow users to capture, in real time, exactly what each ear is hearing so that those consuming the content on headphones can experience full immersive sound. These qualities are appealing to other applications such as sound system documentation, soundscape analysis, sound quality assessment, sound for theatrical plays, sound for the gaming industry, and much more.

At the heart of the new 4560 CORE binaural headset is a pair of 4060 CORE miniature microphones that are mounted on two ear hooks and sit just outside the user’s ear canal (like a pair of earbuds) so that they capture 1:1 the sound being heard by the person making the recording. The ear hooks are attached to a flexible headset that can easily be adjusted to suit the dimensions of each individual head. Foam screens are supplied with the microphones to secure their position and offer damping of wind noise.

The 4060’s can easily be worn as well as attached to recording gear like DPA’s MMA-A Digital Audio Interface that can be connected to any iOS-devices. A 4560 CORE binaural headset with a MMA-A Digital Audio Interface connected to an iPhone and the user has a mobile binaural recording solution that is easy to use.

“Recordings made with DPA’s 4560 CORE Binaural Headset are so accurate that listeners often turn their head looking for the source of the sound,” said DPA product manager Rene Moerch. “Ideally, content recorded with this product should be listened to via headphones as one doesn’t get the same experience if the audio is played back over stereo speakers, but there are techniques that can provide corrections and upmix for stereo and multichannel formats, which makes this product useful for film recordists who want to gather content for atmospheric sound.”

Moerch adds that another useful feature of a DPA Binaural Headset Microphone is its ability to deceive because the microphone is so small that someone wearing the headset may look like they are only wearing headphones. “This can be very useful for people recording in hostile environments where it is not safe or appropriate to show a microphone,” Moerch said. “But even for normal podcasts, binaural recording provides content that is much more immersive, alive and compelling compared to traditional recording techniques.”

DPA’s new 4560 CORE binaural headset microphone has a price of €860.

www.dpamicrophones.com

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A selection of DPA microphones are now being used for events such as lectures, panel discussions, filming, live streaming and podcasts at London’s Royal Academy of Arts.

From its unique double-height dimensions to the extensive use of reflective marble surfaces used during its construction, the Royal Academy of Art’s new Benjamin West Lecture Theatre in London presents some unusual acoustic challenges, so it was important that the right microphones were chosen for this space.

“DPA microphones have proved to be the ideal solution because they allow any technician or engineer to jump in and achieve quality sound,” said Benji Fox, AV Events Manager at the RA. “We are using a selection of the company’s products in a number of different ways, including acoustic mics for lectures, belt packs and lapel mics for panel discussions and the new 6066 CORE Subminiature Headset Microphones for smaller panel discussions, filming and live streaming.”

Opened in 2018 as part of the RA’s Burlington Gardens’ landmark redevelopment to mark its 250th anniversary, the Benjamin West Lecture Theatre signals a new stage to the RA’s heritage of rigorous and lively debate, hosting events such as the Festival of Ideas. The Lecture Theatre’s DPA inventory now includes two 4018 supercardioid microphones, which are positioned on custom lecterns at the front of the room.

For panel discussions, the RA is using DPA 4080 miniature cardioid microphones that are usually attached to panellists’ lapels. Many of the RA’s events are recorded for archive and for podcast, with production handled by the in-house AV team.

“Whichever DPA mics we choose, from 4080s or our recently adopted 6066 Headset microphones, we know we will be making the best possible source recordings that will need the minimal amount of post-production,” Fox added. “The proven track record of DPA mics at the Benjamin West Lecture Theatre means that I am now looking to expand the RA’s stock across other sites and for a variety of specialised applications.”

www.dpamicrophones.com

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DPA Microphones has unveiled a new addition to its microphone line up: the 2028 Vocal Microphone.

Designed for everyone from indie artists to international touring singers, the 2028 mic is ideally suited for live stage performances, broadcast and pro AV applications.

On a live stage, the 2028 delivers the same sonic qualities as DPA’s other solutions. DPA says the 2028 needs no (or very little) EQ to sound just like you are standing next to the singer listening to their performance, while its transparency allows engineers to spend their time shaping the sound experience rather than covering up issues caused by artifacts. 

The 2028 has been optimised to provide the same sound as the brand’s flagship handheld mic, the 4018 VL. “We have seen a need for an excellent vocal microphone that has the sonic qualities of our d:facto 4018 Series, but at a lower price-point,” said René Mørch, product manager, DPA Microphones. “At only $700 USD, this mic is an overachiever – it performs significantly better than anything else in its price range.”

The 2028 features a brand-new fixed-position capsule, as well as a specially designed shock-mount and pop filter. It exhibits a supercardioid polar pattern, with the familiar DPA uniform off-axis response. This gives the microphone a very high-gain-before-feedback and makes it easier to handle bleed from other instruments in close proximity, picking up sound in a natural way.

Both the outer grille and the inner pop filter of the 2028 can be detached and rinsed. The 2028 is offered in three variants; a wired XLR with handle and two wireless mic configurations that are compatible with the industry’s most widely used wireless microphone systems. This includes the SL1 adapter, compatible with Shure, Sony and Lectrosonics; and the SE2 adapter, compatible with Sennheiser.

“We’ve designed this mic so that it sounds like the singer isn’t actually using a mic,” added Mørch. “You get the full, natural sound of the artist’s voice, not what the microphone ‘thinks’ the artist sounds like. This gives the sound engineer a lot of freedom to be creative – and instead work on crafting a unique sound for the performance based on a clean, natural vocal track.”

www.dpamicrophones.com

The post DPA releases new 2028 Vocal Microphone appeared first on Audio Media International.

DPA Microphones showcased a new addition to its lineup – the d:sign 4097 CORE Supercardioid Choir Microphone – at InfoComm 2019 (Booth 6861) this week.

Designed for house of worship and choir applications, the 4097 provides the same sonic qualities as the company’s d:vote CORE 4099 Instrument Microphone but was designed specifically to capture dynamic choir sound, with both wireless or wired configurations.

The new 4097 Choir Mic also features DPA’s flat off-axis supercardioid pattern. This makes using multiple mics on the choir easy for the sound engineer as they can easily mix the various parts of the choir and blend it all together without having to fight the artifacts created from uneven mic pattern pick-up.

Configured with a MicroDot connector and a DPA adapter for wired or wireless, the 4097 allows the user to go wireless, which allows for greater flexibility on stage when there are multiple uses of the same space.

Featuring the CORE by DPA amplifier technology a clear sound is achieved as it lowers the distortion and expands the dynamic range. Furthermore, the 4097 includes three shock mounts to secure the rumble caused by movement on the stage.

The post InfoComm 2019: DPA previews d:sign 4097 choir microphone appeared first on Audio Media International.

DPA’s d:facto 4018V Vocal Microphone is being used extensively in the staging of SIX the Musical.

The look and handheld nature of the microphone conveys the concert-like atmosphere that this hugely popular West End theatre show aims to replicate.

“The d:facto 4018V is a vital part of SIX’s visual imagery because the Queens (the main characters) convey their message using a handheld device,” sound designer Paul Gatehouse explained. “The show’s creators, Toby Marlow and Lucy Moss, wanted to present a unique experience, something that referenced Beyoncé at Roseland. Working with handheld microphones allows us to do that in a very powerful way.”

Written by Marlow and Moss while they were studying for their final year exams at Cambridge University, SIX the Musical is a modern re-telling of the lives of the six wives of Henry VIII. The story is presented as a pop concert in which the wives take turns singing in a bid to persuade the other wives – and the audience – that their time with King Henry was far worse than anyone else’s. Since opening at the Edinburgh Festival in 2017 it has been a huge success and now has an indefinite run at the Arts Theatre in London’s West End.

With the exception of one DPA d:vote 4099 Instrument Microphone, which is used to amplify an acoustic guitar on stage, the only microphones used on this production are the d:facto 4081V Vocal Microphones, supplied by DPA’s UK subsidiary Sound Network.

“I wanted to use working microphones, not just props, so I was looking for something that was super clean and pop-y sounding and didn’t colour the actor’s voices,” Gatehouse said. “That meant using a condenser microphone and that, in turn, led to the d:facto capsule. The fact that DPA makes the 4018V capsule adaptable with third party transmitters is great. We use a Sony DWX digital wireless system and the combination of this and the d:facto capsule gives us a really pure, clean sound.

“At the Arts Theatre, we are lucky enough to have a very high end sound system, so even though it is a small space we can really pack a punch,” he added. “However, sound in a smaller space has to be controlled and gain before feedback is the main challenge we are dealing with. What I find with the d:facto 4018V is that, even off axis, it behaves like a dynamic capsule because it is really safe at high levels.”

DPA’s d:facto 4018V capsule has also been a hit with the actors playing the Queens because they can clearly hear their own voices in their in-ear monitors.

The post DPA d:facto plays starring role in SIX the Musical appeared first on Audio Media International.

Joe Hellow, FoH engineer for Post Malone, has been using DPA Microphones’ d:facto 4018VL vocal microphone on the rapper, singer and songwriter’s current world tour.

“We built a signal chain that is strong on all fronts, truly bringing the studio to the stage,” said Hellow. “Pre-show efforts begin well before hitting the stage, track programming and pre-mixing album stems for live, playback design, as well as the vocal presets and tools to capture Post Malone’s sound. This process, with tools like DPA’s d:facto 4018VL, gives us the advantage and capability to rework the live show to sound authentic to the album.

“With the d:facto 4018VL, you can have a loud stage with controllable crowd bleed. You can also add a Rupert Neve 5045 Primary Source Enhancer to have fully isolated studio sound.”

Hellow noted that in Post Malone’s case, there is a guitar on stage so the mic does a great job of isolating while also getting the warmth and crispness of the high end that is wanted from a vocal mic. He also has more control over EQing with DPA and is able to take away frequencies since all the healthy ones present to the ear are already there.

“There’s no other mic like the d:facto 4018VL,” added Hellow. “I use this transducer to capture Post Malone’s dynamic, high-impact voice. When using the d:facto 4018VL, most of the artists I work with notice right away that they’re on something superior to what they have used previously.”

Post Malone recently performed “Rockstar” and “Stay” with his d:facto 4018VL mic at the 2019 Grammys, before joining Red Hot Chili Peppers for “Dark Necessities.” Malone is currently on a world tour, which has stops in Manchester, Birmingham, Berlin, Glasgow and London’s O2 Arena throughout the summer.

The post Post Malone uses DPA d:facto on ‘Beerbongs & Bentleys’ world tour appeared first on Audio Media International.

Multi-award-winning sound designer Gareth Fry recently found himself opening Harry Potter and the Cursed Child in Melbourne, Australia after its success in London and New York, using an array of DPA Microphones.

In 2017, a year after the play opened in London, a second production was established on Broadway. By then, DPA had launched its d:screet CORE 4061 miniature microphones featuring ‘CORE by DPA’ amplifier technology, which is designed to minimise distortion and expand dynamic range.

“DPA’s d:screet 4061 miniature microphones have long been theatre stalwarts because they sound great, are very tough and are small enough to hide on cast members,” said Fry. “I’ve been using the legacy version of these microphones for years, and we typically hide them in the hairline, on the forehead, so they are not visible to the audience.”

Five months before the play was due to open in Melbourne, DPA Microphones launched its new 6000 Series of subminiature microphones with their 3mm capsules.

“It’s often better to make the show work with the venue, than to try to force it to fit,” Fry explained. “The changes are rarely major because what we have works really well. But we’ll never turn down the opportunity to refine aspects of the show, and each new ensemble of actors brings something new to the show.”

Fry said he is delighted with the DPA d:screet 6000 Series – both in terms of the sound quality they are delivering and their robustness and aesthetics.

“They are so tiny that they just disappear,” he said. “With a 4061, if it isn’t well hidden you can definitely see a microphone, especially if you are double miking, but with these you just mistake them for a small mole. They are effectively invisible. The actors prefer wearing them too, because they are less obtrusive.”

As well as preparing for the San Francisco and Hamburg productions of Harry Potter, opening in 2019 and 2020 respectively, Gareth Fry has just opened an adaptation of the best-selling novel, Alys, Always, at the Bridge Theatre, London. Again, the cast are miked up using DPA 6061 microphones, this time utilising Sony’s DWT-B03R mini digital transmitters.

Although Fry is best known for his work in theatre, he has also designed events and exhibitions such as the landmark V&A David Bowie Is exhibition, and sound effects for the Opening Ceremony of the 2012 Olympic Games, while his book Sound Design for the Stage has just been published by Crowood Press.

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