Archive of the Microphones, Mic Processors Category

DPA Microphones Brings Unobtrusive Audio Quality to NRCU

The National Radio Company of Ukraine (NRCU) has expanded its stock of microphones by investing in six DPA Reference Standard 4011C compact cardioid microphones.

Vyacheslav Zhdanov, Head of Audio at NRCU, says “Buying these microphones was not a difficult decision to make. We had previously been renting DPA microphones so our engineers were familiar with them and knew they offered exceptional sound quality. We also knew that, coming from such a well-known Danish company, we would have no problems with their reliability and build quality.”

Zhdanov adds that the small size of DPA’s Reference Standard 4011C compact cardioid microphones was another attractive feature as they can be used discreetly, particularly on television broadcasts.

Designed for situations where unobtrusive miking is required, DPA’s 4011C microphones are ideally suited to television, film, theatre, concert and studio performances where they deliver a clean, natural sound while reducing the noticeable effect of lighting reflection and minimizing bleed from other instruments.

NRCU’s microphones were supplied by DPA’s Ukrainian distributor Realmusic and are now being used to record classical and folk music concerts for radio and television broadcast across all three of its national channels and one international channel. The majority of these recording are taking place at House Recording NCGR in Kiev.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Jünger Audio Introduces the V*AP Voice Processor at NAB 2013

Dynamics specialist Jünger Audio will use the NAB 2013 platform (Booth C2333) to give US broadcasters their first view of V*AP, a brand new two channel voice processor that is specifically designed to make life easier for engineers working in radio stations and TV production voice-over studios.

V*AP, the latest addition to Jünger Audio’s award-winning *AP family of products, draws on the company’s extensive experience with previous Voice Processing devices such as its v-series, but adds new tools and algorithms to create a new, easier and more efficient approach to voice processing with no compromise in sound quality.

V*AP’s main task is to offer perfect control of microphone recordings but Jünger Audio has also included processing such as HP/LP filtering, dynamic section, full parametric EQ and de-essing. All of the V*AP functions can be easily performed, making it hassle free for any journalist or reporter to use. Jünger Audio has also provided a dedicated voice leveler combined with a voice over circuit to help integrate voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for embedded audio becomes an attractive feature of the V*AP.

Available as either an insert into a mixing desk or as a stand-alone unit, V*AP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

Another key feature of V*AP is the inclusion of Spectral Signature™, Jünger Audio’s automatic spectral sound management algorithm that dynamically boosts and attenuates frequency bands to preserve natural balance while achieving station sound. With Spectral Signature™, users can automatically analyze the ideal recording of their voice (direct or over telephone lines) and easily create pre-defined sound fingerprints that become the reference the algorithm matches to on all subsequent live recordings.

At NAB 2013, Jünger Audio will also show its ground-breaking M*AP audio loudness processor, which combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with today’s standards and regulations (ITU 1770/1/2/3, ATSC A85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons of the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says: “By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means that you can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to M*AP’s AES outputs to feed a third party instrument for analyzing and/or display.”

For no extra cost, the M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms. M*AP also features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

Jünger Audio will complete its NAB line-up with the Award-winning T*AP TV Audio Processor and Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. This innovation is critical as all broadcasters now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness.

If you would like more information about these products please visit Jünger Audio at NAB 2013 – Hall C, Booth 2333 for a demo.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

DPA Microphones Appoints SeeSound As Its Distributor In Portugal

DPA Microphones has expanded the remit of its Spanish distributor SeeSound to encompass Portugal. The change, which came into effect on January 1st 2013, will ensure that Portuguese customers now benefit from SeeSound’s renowned service and technical support.

Susanne Seidel, Executive Vice President of Sales and Marketing for DPA Microphones, says: ”SeeSound has had great success with the DPA brand in Spain and we are delighted to be extending this relationship to cover Portugal. SeeSound offers a solution portfolio for the audio industry and is highly pro active at driving activities such as product roadshows, product seminars and training sessions. This expansion of our sales network will significantly stengthen DPA’s position and development in the Portuguese market place and provide excellent customer service and support to our existing and passionate DPA customer base.”

Nacho Alberdi, CEO of SeeSound says: “We are very happy to expand our relationship with DPA by covering Portugal. We have been very successful in Spain representing DPA and we now see a lot of potential for their equipment in this new market.”

Established in 2004, SeeSound is a dedicated pro audio distribution company that provides complete technical solutions to the pro audio, installation and live sound markets. Based in Barcelona, SeeSound has a Sales Department staffed by a team of specialist with extensive industry experience, a cutting-edge R&D Department consisting of several engineers, and a strong administration and logistics department.

The company’s main driving force is to offer its customers the best advice, service and technical support together with the best brand portfolio. It views DPA as an integral part of its offering because the company’s products fit SeeSound’s philosophy of only delivering the highest quality audio equipment.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Neumann KH 120 Studio Monitors Deliver Superior Midrange and Truthful Response for Classical Music Producer Leszek Wojcik

Since the early 1970s, Leszek Wojcik has been recording exquisite classical music performances at top venues including Lincoln Center’s Alice Tully Hall, The Rose Theater and Carnegie Hall, where he is employed as recording studio manager. Wojcik, who is also a highly sought after freelance classical recording professional, recently acquired a pair of Neumann KH 120 monitors.

Wojcik had been using a competitor’s pair of monitors, but ‘never really fell in love with them.’ He decided to switch to the Neumann KH 120s after one of his classical recording colleagues, Mateusz Zechowski, recommended them, citing their outstanding transparency and natural sound. Since then, they have become a foundational element of his control room and he’s never looked back.

“It took me about 15 seconds to make the decision to switch to the Neumann KH 120s,” Wojcik says. “The midrange is fantastic. It’s very truthful and flat, which is critical in recording classical music. For me, the midrange is the single most important part of a monitor’s sound, because most of the compositions in Western music were written for this range.”

Wojcik, who has a master’s degree in Tonmeister Studies from Chopin Music Academy and who lectures on “Aesthetics of Recording” at New York University, is well versed in both the theory and practice of audio recording and draws from over three decades of experience: “I come from the school that encourages making your decisions based on listening,” says Wojcik. “No two situations are the same in classical music recording so you have to keep searching for the perfect sound and you do this by listening. For this reason, the main component of the control room are the monitors, and the Neumann KH 120s are a great tool.”

Wojcik’s first field test of the KH 120 came during the recording of a performance of an orchestra from Qatar at the United Nations General Assembly Hall in New York City. Wojcik set up his Neumann KH 120s in an alcove adjacent to the hall where he monitored the recording and also sent out a stereo broadcast mix for television. While he was monitoring at low levels, he says that the KH 120s performed admirably, providing a dynamic sound that simplified his job.

For Wojcik, having the right mix of tools is an absolute prerequisite to creating the vibrant recordings he has become known for in the industry. “I’m sure that the chisel and the hammer that Michelangelo used to create his statues were the highest possible quality of the time, and for me, the Neumann KH 120 is a wonderful tool to have — it’s like Michelangelo’s chisel,” Wojcik said.

In addition to the Neumann KH 120 monitors, Wojcik relies heavily on other Neumann and Sennheiser equipment such as Neumann KM series microphones, Sennheiser MKH series microphones — including the Sennheiser multi-pattern MKH 8000 which he uses on the ‘most demanding’ instruments — and a pair of classic Sennheiser HD 580 headphones.

“The basic premise of classical music recording is concert realism,” Wojcik concludes. “The recording should reflect the concert sound. If you go to the ideal concert hall, sit in the ideal seat in the ideal distance from the performance, this is how you should expect to hear a well made recording. Your skill and your choice of tools is immensely important. In my work as a recording recording professional, the Neumann KH 120s are a very important tool for me.”

Image caption:
Leszek Wojcik recording on location with his Neumann KH 120 monitors at the United Nations General Assembly Hall in New York City.

Perfect for orchestral recordings – the MKH 8090 wide cardioid condenser microphone from Sennheiser

Audio specialist Sennheiser is expanding its MKH studio microphone series with the addition of the MKH 8090, whose wide cardioid pick-up pattern makes it the ideal microphone for orchestral recordings. The RF condenser microphone is perfectly suited as both a main and a spot microphone. An optional screw-on module can be used to convert it into a digital AES42 microphone.

“The MKH 8090 combines omni-directional and cardioid pick-up patterns to produce an impressive orchestral microphone,” explained Kai Lange, product manager for wired microphones at Sennheiser. “Used as a main microphone, it picks up the entire sound body and a healthy proportion of room acoustics, while as a spot microphone it has sufficient directivity to screen out other sound sources without making the recording sound too ‘narrow’.”

Meticulous sound tuning
One of those responsible for fine-tuning the microphone was tonmeister Gregor Zielinsky, International Recording Applications Manager at Sennheiser: “During the development of the MKH 8090, we focused on ensuring that the sound perception of the microphone is precisely between that of the omni-directional MKH 8020 and the cardioid MKH 8040. Through further fine-tuning, we succeeded in creating a microphone with a sound that seems to ‘shine’, and which has great presence and musicality.”

Accessories for (almost) every application
The MKH 8090 benefits from the wide range of accessories available for the 8000 series, such as microphone stands with different heights, various microphone clips, a shock mount, remote cables with different lengths, windshields and accessories for ceiling mounting.

Also available as an accessory is the MZD 8000 digital module, which converts the audio signal of the MKH 8090 into a digital signal according to the AES42 standard (Mode 2) directly at the microphone head, thus ensuring a lifelike, natural sound entirely without cable losses or interference from other sources.

Sennheiser’s MKH series works according to the RF principle, which Sennheiser has been using for more than 50 years and has developed to absolute perfection, for example through the use of symmetrical transducers.

The MKH 8090 will be available in October and will cost $1,199.95.

MKE 600 shotgun microphone for video journalists

The new MKE 600 shotgun microphone from audio specialist Sennheiser provides video journalists with a microphone that can master even the toughest video sound challenges. Its high level of directivity ensures that it picks up sound from the camera direction with minimal background noise. The switchable low-cut filter makes sure that handling and wind noise is also minimized. Users can expect a very lifelike, full-bodied sound with good bass response, as well as pleasant speech reproduction with high intelligibility.

“Reporting and media productions have an increasingly broad base nowadays, with information needing to be transmitted extremely quickly. This means that the technology used has to be as uncomplicated as possible,” explained Kai Lange, Product Manager Wired Microphones at Sennheiser. “With the MKE 600, we are presenting the ideal microphone for video journalists who want to produce a report or a film in perfect video and audio quality but do not wish to resort to highly professional shotgun microphones or a separate wireless link. In developing the MKE 600, we paid particular attention to achieving a high level of directivity and a balanced sound.”

A shock mount with an integral flashmount adapter is included to enable the sturdy MKE 600 to be fixed to a video camera without difficulties. The special design of the shock mount prevents handling noise from being transmitted to the microphone. Like any other shotgun microphone, the MKE 600 can also be used on a microphone boom.

Independent of phantom powering
For cameras that do not provide phantom power, the MKE 600 can be powered by a standard AA battery. A switch is provided to deactivate the battery power when the camera is not in use, thus preventing the battery from being discharged. An LED on the battery switch (“Low Batt”) indicates when the battery voltage is low, at which point the video journalist still has a reserve of around eight hours – “built-in recording security,” as Kai Lange explained.

Professional accessories
The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB; the shock mount and a carrying case are also included. For outside broadcasting, a ‘blimp’ basket windshield (MZH 600) – a combined foam windshield and hairy cover that reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

The MKE 600 will be available in the U.S. at B&H Photo / Video in late September.

Professional sound for video filming: the MKE 600 camera microphone from Sennheiser

Whether it is an afternoon at the zoo, a special holiday video or your very own video documentary, a video camera is always a treasured companion on such special occasions and creative projects. And discerning video enthusiasts often have the highest demands when it comes to sound quality in particular. To meet these demands, audio specialist Sennheiser just unveiled a new camera microphone at IBC in Amsterdam: the MKE 600 shotgun microphone.

“The MKE 600 was developed for video journalists who want superior sound quality coupled with uncomplicated handling – benefits that amateur video enthusiasts will also appreciate,” said Kai Lange, product manager wired microphones at Sennheiser. “In developing the MKE 600, we paid particular attention to achieving a high level of directivity and a balanced sound.”

Top-quality sound for successful videos
The shotgun microphone offers a very lifelike, full-bodied sound with good bass reproduction, while ensuring pleasant speech reproduction with high intelligibility. Thanks to its high level of directivity, the MKE 600 will pick up sound from the camera direction while avoiding unwanted background noise – making sure that the sound is always right next to the image. Handling and wind noise is significantly reduced by a switchable low-cut filter.

Independent of phantom powering
As not all video cameras provide phantom power for a microphone, phantom power for the MKE 600 can also be supplied by a standard AA battery. A switch is provided to deactivate the battery power when the camera is not in use, thus preventing the battery from being discharged. An LED on the battery switch (“Low Batt”) indicates when the battery voltage is low, after which there is still a reserve of around eight hours – plenty of time to complete a video even if you do not have a new battery readily available.

Professional accessories
The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB. Also included is a carrying case and an elastic shock mount with an integral flashmount adapter for fixing the sturdy MKE 600 to the video camera. The special design of the shock mount prevents handling noise from being transmitted to the microphone.

For outdoor videos, a ‘blimp’ (MZH 600) – a combined foam/hairy cover windshield – which reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

The MKE 600 will be available at B&H Photo / Video beginning in late September.

Sennheiser Announces Broadcast Microphone Promotion for Customers Purchasing MKH 416 or ME66/K6 Combo

Audio specialist Sennheiser announced a new ‘election’ rebate promotion featuring its MKH 416 and ME66 shotgun microphones. Between September 1st and October 31st of 2012, customers who purchase a Sennheiser MKH 416 or ME 66/K6 microphone combo will be eligible to receive a Sennheiser HD 428 S portable, over the ear headphone free of charge.

This mail-in rebate promotion gives broadcast consumers a significant incentive to take advantage of the powerful sound, robust construction and ultra-reliable performance that Sennheiser shotgun microphones offer.

The Sennheiser MKH 416 shotgun interference tube microphone is one of Sennheiser’s most successful shotgun microphones. Its excellent directivity and compact design, high consonant articulation and feedback rejection make it an excellent choice for film, radio and television, and especially outdoor broadcast applications.

The ME 66, meanwhile, is a shotgun microphone designed for use with the K6 and K6P powering modules. It is especially suitable for reporting, film and broadcast location applications and for picking up quiet signals in noisy or acoustically live environments.

The HD 428 S are closed back, over the ear headphones that feature dynamic bass and high passive noise attenuation. They feature a crosshair design and rubber finishing on the earcups and high-output neodynium magnets for powerful stereo sound.

To learn more about the promotion, please visit http://www.sennheiserusa.com/electionrebate

Photo caption:
Sennheiser MKH 416 shotgun microphone.

DPA Microphones Displays Range of Broadcast Microphone Solutions at IBC 2012

Company Also Raffles off brand new d:facto Vocal Microphone to Attendees

AMSTERDAM, SEPTEMBER 6, 2012 – DPA Microphones is highlighting its international reputation for distortion-free sound and ergonomic design at IBC 2012 (Stand 8.D70) by showing a range of high-quality microphones that are ideally suited to broadcast applications. Among the products on show will be DPA’s expanded d:fine™ headset microphones series, which recently won Live Design’s Sound Product of the Year Award, and the new d:facto™ handheld vocal mic, which debuted earlier this year.

IBC visitors will have the opportunity to win a ground-breaking d:facto vocal microphone. They must simply stop by the DPA stand and have their badge scanned. One lucky visitor will be chosen at random, and the winner will be announced and contacted after the show.

“With so many television programs now being delivered in High Definition and 5.1 surround sound, demand for high quality microphones for broadcast use has never been greater,” says Christian Poulsen, CEO of DPA Microphones. “DPA is internationally acclaimed for delivering the pristine sound quality that program makers and viewers desire. Our range includes microphones for a wide variety of broadcast applications, and we are confident that they are the best broadcast microphones on the market today in terms of both sound quality and design.”

Offering impressive gain before feedback and very stable construction, DPA’s unobtrusive d:fine headset microphones are easy to fit on any person, providing presenters and guests with a discreet microphone solution that can’t be seen on the face. The d:fine range is renowned for its audio accuracy and its ability to deliver natural voice intelligibility and consistent audio performance at all SPLs. The d:fine capsules are so small that they are virtually invisible, leaving presenters free to focus on their performance, safe in the knowledge that these hand-built microphones will deliver high-quality, distortion-free sound.

d:fine is available in both directional and omnidirectional options, in single or dual-ear designs and with long or short booms. Designed to fit comfortably, they adjust to accommodate any ear size and head shape, and can be mounted on either the left or right side of the head. Available in black, beige, brown and lime green, each solution performs spectacularly in either cabled or wireless settings and can accommodate a range of accessories including windscreens, power supplies and adapters or cables with fixed connectors (MicroDot, three-pin Lemo, TA4F mini XLR, Mini-jack).

DPA Microphones d:facto handheld vocal mic bridges the gap between live stage performances and studio recordings. Already put through its paces on several TV shows, including Voice of Denmark, a standard format TV show broadcast in several countries, the d:facto offers an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling. This microphone is ideal for live music broadcasting as it combines a supercardioid pattern with superb definition to give high separation and true sound color on stage. Similar to all DPA mics, d:facto features superior gain before feedback, while the inbuilt three-step pop protection grid effectively removes unwanted noise.

DPA is also showing its lightweight range of miniature microphones that are popular with broadcasters because they deliver excellent speech reproduction and can achieve quality pick up even when they are not directly aimed at the sound source. The company rounds out its line-up with its best-selling and versatile Reference Standard range of microphones that exhibit total transparency in any recording situation and are capable of picking up incredible detail and depth of sound.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information about DPA Microphones, please visit IBC Stand 8.D70. If you are unable to attend the show, please refer to the company’s website – www.dpamicrophones.com.

DPA Microphones 4017B Shotgun Microphone is on the Mark for National Geographic’s Border Wars

Sound Mixer Bob Tiwana Relied on the Mic, Connected to a Sound Devices 788T, to Record Season 7

LOS ANGELES, SEPTEMBER 4, 2012 – When Sound Mixer Bob Tiwana sought a new boom microphone to record the seventh season of National Geographic’s Border Wars, he turned to DPA Microphones’ 4017B Shotgun Microphone. Already familiar with the quality of the DPA brand, Tiwana connected the microphone to his Sound Devices 788T digital audio recorder to record and profile U.S. Customs and Border Protection agents as they patrol the nation’s southern ports of entry from the air and on boats and horseback.

Tiwana records on location in the hot, humid weather of Texas, Arizona and southern California. Having never used the 4017B in the field, he took a chance that the microphone would work as well in the elements as it does in the studio.

“I already knew the DPA 4017B would sound great because I’ve heard it before and have used it in more controlled environments,” says Tiwana. “For Border Wars, I went out on a limb and took it out in the field to see how well it does. I was a little apprehensive because it’s not an expendable piece of equipment, but I didn’t baby the microphone. After the first couple of days, I came back with stunning results. It worked very well in the field and in all the situations I put it through.”

Designed for a broad range of applications, the phantom-powered DPA 4017B is ideal for broadcast, ENG and film booming, among many other uses. The highly directional supercardioid pickup pattern of the DPA 4017B, obtained using a supercardioid design with an interference tube that provides excellent off-axis rejection, is extremely accurate. It also offers a great amount of clarity.

The size of the DPA 4017B makes it exceptionally convenient for field use. This is essential for Tiwana and his team, who regularly experience physically grueling and sometimes dangerous field conditions and must keep their gear to a minimum. On any given day, the team might need to hide in the brush or along water banks or run through cactus-laden fields. Like the agents that the show follows, Tiwana’s team also faces life-threatening situations, such as gunfights with cartels. To keep safe, everyone must wear heavy Kevlar vests and be able to move on a moment’s notice.

The combination of the DPA 4017B with Sound Devices’ 788T provides Tiwana with a portable, high-quality recording setup. “The mic-pre on the mixer and the impedance on the DPA are well matched,” he continues. “I didn’t have to use a lot of gain to get my desired results from the boom. I plugged it right into the XLR input, applied phantom power—which the 788T does in a lovely way—and used the 10k boost and high-pass filter to avoid handling noise in case I was running or it was windy.”

With the latest 788T software upgrade, Tiwana is also able to create sound logs at the end of each day. This enabled him to provide reports to the production team of time codes and the duration of each take, as well as notes and track assignments.

“I’ve been working with Sound Devices since their first recorder, the 744T,” concludes Tiwana. “When they introduced the 788T, I made a point of adding it to my arsenal. I bring both units with me in the field. As for the DPA 4017B, this is the first time I’ve used it in this type of setting, and I’m really impressed that it took everything I gave it on the show. It was very grueling in south Texas, with 95- to 100-degree temperatures and humidity at 75 to 80 percent every day. The microphone performed flawlessly. I’ve had others that haven’t performed as well in the humidity. I’m really impressed with the DPA mic, and if they call on me again next year to record this show, I’m bringing it with me.”

Bob Tiwana is a multitalented production professional who has been involved in audio for nearly 30 years. A seasoned vet in live performance, studio and on-location recording, his experience runs the gamut from television and film to post production. His long list of credits includes work for Avatar, Moneyball, Grey’s Anatomy, House and the 2012 ESPY Awards. He has also worked on commercials for several large companies, including Sony, Bank of America and the Chicago White Sox. More information about about Tiwana can be found at: www.trackwizzard.com.

Border Wars
is an American documentary television series that airs on the National Geographic Channel. The program follows agents of the U.S. Customs and Border Protection (CBP), Immigration and Customs Enforcement (ICE) and other divisions of the Department of Homeland Security as they investigate and apprehend illegal aliens, drug smugglers and other criminals violating U.S. immigration and customs laws. Season 7 will begin airing this fall.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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