Copenhagen (August 23, 2005)–DPA Microphones is a sponsor of the annual Copenhagen Jazz festival and this year’s event was no different. The company provided a slew of mics, including IMK 4061 instrument miking kits, 3521 compact stereo kits, 4066 omnidirectional headband mics, 4011 cardioids, 4022 and 4023 compact cardioids, 4006 omnidirectionals and a selection of mounting accessories to the festival.
Some of the venues in the festival were out of the ordinary–try the Øksnehallen, a redeveloped slaughterhouse, and the Borups Højskole, a glass-ceilinged school hall. DPA mics were used in both sites as well as the 1,000-seat Glassalen in the Tivoli Gardens. Thorough acoustic evaluations of the venues were carried out by DPA’s audio specialist Eddy Bøgh Brixen. In the Glassalen, he calculated reverberation time, low frequency distribution and frequency response, which revealed an uneven sound distribution at low frequencies, and a difference between sound at the front of house position compared to most of the auditorium. Bøgh Brixen came up with solutions for these problems and improved onstage sound by designing an isolation base for the bass amp to separate the vibrating cabinet from the stage floor.
In the Øksnehallen, Bøgh Brixen calculated an optimum position for the stage. The hall is divided in two by a wide aisle with a raised glass ceiling, and normally the stage would be positioned in this aisle to achieve a sense of symmetry. However from an acoustic perspective, reflections bouncing around in the extra space created by the glass ceiling caused problems, so Bøgh Brixen recommended moving the stage away from the center aisle. Meanwhile in the Borups Højskole, Bøgh Brixen suggested a reflector for improving sound distribution.
“The Copenhagen Jazz Festival is very pleased with the support from DPA Microphones regarding acoustical improvements in our very different venues,” said Festival manager Signe Lopdrup. “Each year, we select new and often not very well-tested venues for our concerts, and it’s particularly important to have the kind of professional support we’ve received from DPA over the last two years. The sound in the Glassalen is really improved, and I don’t think the concerts in Øksnehallen would have been as successful if we hadn’t had support from Eddy Bøgh Brixen concerning the exceptional conditions in the old slaughterhouse. We’re looking forward to our future collaboration with DPA Microphones–I’m sure we can find a lot of challenging concert halls and venues to work with!” The festival committee has now asked DPA to evaluate a number of new sites to be used in 2006
DPA Microphones A/S