DPA Microphones Selected For 2021 Eurovision Song Contest
ESC design team chose DPA 4088 headsets and d:facto 4018 vocal mics for performers.
The show’s design team, supported by Ampco Flashlight, the official technical supplier for lighting, rigging and audio, provided one-hundred 4088 Directional Headsets and 40 d:facto 4018V Vocal Microphones from DPA Microphones for all of the show’s vocal performances.
The 2021 Eurovision Song Contest (ESC) was coordinated under the direction of a team of experts with decades of experience. Among them were ESC Head of Broadcast Sound Thijs Peters and ESC Head of Venue Sound Jeroen ten Brinke, longtime, consistent users of the DPA brand.
Due to the pandemic, the Eurovision team was extra cautious about hygiene. As a result, the production invested in 120 separate d:facto microphone grids to ensure each singer would have their own, for an added level of health safety. “
The DPA d:facto 4018 mics are available in an extremely linear version (4018VL), as well as one with a high-end boost (4018V), which was used for the ESC. The modular nature of the d:facto enables users to switch the adapter and capsule, making it the most flexible vocal microphone on the market. Based off DPA’s studio solutions, the d:facto also brings a true recording sound to the live stage or broadcast studio.
Additionally, the company’s classic 4088 Directional Headset Microphone has long been an industry standard. It offers an open and natural sound for both spoken word and vocal performance applications alike, earning it a top rank for Broadway and other theatre productions. “I use the 4088 headsets on almost every show because the look good and remains on position,” says ten Brinke.
You might also like...
Designing IP Broadcast Systems
Designing IP Broadcast Systems is another massive body of research driven work - with over 27,000 words in 18 articles, in a free 84 page eBook. It provides extensive insight into the technology and engineering methodology required to create practical IP based broadcast…
NDI For Broadcast: Part 3 – Bridging The Gap
This third and for now, final part of our mini-series exploring NDI and its place in broadcast infrastructure moves on to a trio of tools released with NDI 5.0 which are all aimed at facilitating remote and collaborative workflows; NDI Audio,…
Designing An LED Wall Display For Virtual Production - Part 2
We conclude our discussion of how the LED wall is far more than just a backdrop for the actors on a virtual production stage - it must be calibrated to work in harmony with camera, tracking and lighting systems in…
Microphones: Part 2 - Design Principles
Successful microphones have been built working on a number of different principles. Those ideas will be looked at here.
Expanding Display Capabilities And The Quest For HDR & WCG
Broadcast image production is intrinsically linked to consumer displays and their capacity to reproduce High Dynamic Range and a Wide Color Gamut.