UK-based MLS Audio found itself put to the test when asked to support a private corporate event at the Royal Exhange in London for car manufacturer Bentley…
‘We were approached by event organiser Beyond Certainty to handle the audio – the original brief was for “a few singers and a band”,’ says Sound engineer and MLS Audio founder, Guy Morris. ‘This became “a few singers placed around the room on podiums with a band at one end” to the final “six opera and West End show artists and a ten-piece orchestra”.’
The acoustics of the Royal Exchange are challenging – the roof alone is 50m high and the interior is 95 per cent reflective thanks to the extensive use of glass, marble, stone and tiling.
‘The artists had specified that their preference was to use headset microphones, and immediately chose single ear versions of DPA’s d:fine Headset Microphones,’ Morris explains. ‘The orchestra, however, was another issue because we had ten instruments to amplify in a space that was acoustically very challenging. We also had very limited set up time because the Royal Exchange is open to the public until 6pm and Bentley’s event was due to start at 7pm.’
Subsequent discussion considered various microphone placement options. Despite the expediency of a simple spot mic set-up, the acoustics of the venue _ and the fact that the artists were on IEMs – demanded an alternative solution. ‘The artists required total clarity from different parts of the orchestra for their performances and spot mics in that acoustic environment just weren’t going to deliver that,’ Morris confirms. ‘We spoke to James Lawford at LMC Audio Systems, our preferred supplier, and he suggested DPA d:vote 4099 instrument mics.’
MLS Audio bought DPA’s recently introduced d:vote Classic 10 Touring Kit, which comprises ten d:vote microphones, adapters and cables, as well as a selection of 25 clips for a variety of instruments. ‘The selection of instrument mounts was marvellous,’ Morris says. ‘There were even two magnetic mounts for placing inside a piano with the lid open or shut. This was very useful as our orchestra was using a Baby Grand piano (shut), three violins, a viola, cello, upright bass, flute and Oboe.
‘The mounts are made of a non-abrasive rubber material that every musician was happy to use,’ he adds. ‘In fact, I got the feeling they had used d:vote 4099 Instrument Microphones before because they were all able to place and fit the mount themselves with hardly any guidance from the sound crew.
‘With every mic offering the same consistent neutral sound, it was a simple tweak of EQ to suit each instrument. The gain was ample with a quiet noise floor, and the placing of the mic (although critical for some instruments as they are of a directional, supercardioid pattern) offered excellent results.’
Morris used the XLR connection via DPA’s microdot connector, which allows connection to various interfaces and wireless systems: ‘This was really useful as each violinist needed to easily unplug between their performances and take their instruments away to ensure they were correctly tuned for the next set,’ Morris says. ‘Getting a good balance of so many instruments close miked in a very limited time for both the orchestra on the FOH and for the singers hearing it in their IEMs would normally take far more time than we had available. The d:vote 4099 Instrument Microphones played a big part in getting us ready in time before the doors opened and the guests came in.’
Apart from sound quality and versatility, Morris regards DPA the d:votes as looking very tidy on stage. No mic stands were visible and the singers were able to hear their key instruments, while guests were treated to some excellent renditions of West End show classics.
‘The DPA d:vote microphones were a true problem solver,’ he concludes. ‘The all-important factor was a satisfied end client.’
More: www.mlsaudio.com
More: www.dpamicrophones.com
