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DPA Microphones MSS6000 Sums Up Classical Spectacular
Three of DPA Microphones’ MSS6000 microphone summation systems were recently used at the Royal Albert Hall for a series of Raymond Gubbayıs Classical Spectacular concerts with the Royal Philharmonic Orchestra - the first time that multiple systems have been used together.
Designed to reduce 10 or more individual mics down to a single stereo pair, each MSS6000 features independent level and pan controls, freeing up input channels on a console. This meant that most of the string section of the RPO miked with DPA 4061 miniature mics - could be mixed down to just six channels.
The MSS6000s were used on the four firework spectaculars by freelance engineer Simon Honywill, working for sound hire company RG Jones. For over a decade, RG Jones has provided sound for the Classical Spectaculars, which this year featured the RPO with Anthony Inglis conducting, the Royal Choral Society, the London Philharmonic Choir, Band of the Welsh Guards and Muskets & Cannon of the Moscow Militia - taking up 96 inputs on the new Digidesign Venue mixing console.
The three MSS6000s were used on 10 of the first and 10 of the second violins and the 10 violas respectively. The first two violinists from first violins were on individual channels, as were the eight cellos and six double basses, while the second pair of violinists in first violins and the first pair in second violins were combined on a passive split. This gave a total of 50 DPA 4061 miniature mics on stage.
The DPA 4061 miniature has long been Honywillıs mic of choice for stringed instruments, but this was his first-time use of the MSS6000, and he was comfortable using a familiar mic alongside the new technology. "The MSS6000 has enabled us to elegantly solve the problem of decreasing the channel count, and by combining a large number of microphones together itıs sonically invisible," he says. "Being DPA it’s properly engineered, so it’s reliable, works straight out of the box.
"As for the 4061s, apart from the fact they’re the only miniature microphones that sound good when they’re close to a stringed instrument, there’s the issue of fixing of the microphone to the instrument itself. Musicians love this because there’s no physical contact; it sits on the strings mounted on a little piece of rubber and they can immediately see it’s not going to damage the woodwork on the instrument in any way whatsoever. This makes life very easy because getting the string balance right on a show like this is everything; once that’s sorted you can fill everything else in around it. To be able to do that quickly and get plenty of gain is absolutely invaluable, plus they sound great.
9th December 2004
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