DPA equipment selected for new fairytale film - PSNEurope

DPA equipment selected for new fairytale film

DENMARK: The manufacturer's microphones have been used to record the soundtrack for a new film production of The Wild Swans, writes David Davies. The new version of Hans Christian Andersen's classic fairytale draws on the visual design skills of none other than the Queen of Denmark, Margrethe II, and is directed by Ghita Noerby and Peter Flinth.
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DENMARK: The manufacturer's microphones have been used to record the soundtrack for a new film production of The Wild Swans, writes David Davies. The new version of Hans Christian Andersen's classic fairytale draws on the visual design skills of none other than the Queen of Denmark, Margrethe II, and is directed by Ghita Noerby and Peter Flinth.

The film's score was composed by Sven Skipper and performed by the Odense Symphonic Orchestra (Odense being the hometown of Andersen himself). The recording sessions entailed a collaboration between DPA's Mikkel Nymand (pictured here during the sessions) and Clear Production's Peter Juul Kristensen, who rented the Pyramix/Digital Audio Denmark rack from DPA's in-house studio, along with a large number of mics. In addition to the actual recording, Nymand and Kristensen also worked on the music master edits and 5.1 mixes.

The microphone specification include an S5c surround mount with 5015 (five DPA 4015-TLs) as the main surround array, and two 4015-TL wide cardioids as outrigger mics. Instrument-wise, 4021 compact cardioids were used for violins, flute, oboe, clarinet and bassoon; 4015-TLs for viola, cello and tuba; 4006-TL omnis for double basses, trumpets, trombone, timpani and percussion; and 4011-TL cardioids for horns and percussion.

Mikkel Nymand told PSN-e: "One of the main advantages of working with the DPA mics is their transparency and versatility. Having the possibility to use the same microphone in the surround main array as, for instance, on some of the string and brass instruments proves something about neutrality and dynamic range. Since all DPAs are virtually uncoloured, the microphone decisions for me for this production were basically about choosing directional and dynamic characteristics, more than sound colour."

Web » www.dpamicrophones.com

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