My acquaintance with the REMIC V5200LB came at a time of searching for a violin condenser microphone . The combination of clarity and the physical sound of the instrument, without having the sound of the usual piezoelectric component -where you loose all the harmonics and the corresponding response- but having also the minimum feedback possibility. That makes you really competitive in a bigger band, where you have to deal with louder levels on the stage. In the past, we have faced many issues with previous microphones. The instrument was getting lost in the mix, and the sound engineers had to increase the level or sacrifice the physical response of the violin. With the REMIC V5200LB, all of the above was solved immediately.
The study done for this microphone to combine the vibrations of the instrument with its natural sound worked flawlessly. It takes the full body of the violin for more intensity, but also the harmonics needed for a warm and natural sound. Another advantage of this is the discretion in the construction as it is placed under the fretboard so you have unlimited freedom in the movement of the bow without fear of touching the microphone. Also the durability of the mogami cable is very important. It does not have the classic thin cable where with a mistaken use it may be cut – it has happened to us all – but it is made of a material like a cord, really hard to break. I am very pleased and I highly recommend it to my colleagues. The best solution for live live productions and concerts.
Our company organizes an open seminar for the digital mixers Avid VENUE S6L at Sierra Studios Athens, December 11 & 12 2018 and invites all sound engineers and rental company owners. Robb Allan and Chris Lambrechts will present the new digital mixer family formats and give additional tips.
Please fill this form if you are interested.
The Outline rig debuts with music icon Bryan Ferry
The Stelios Kyrillidis rental company in Elassona, Larissa, has taken delivery of the first Outline GTO C-12 system in Greece and the rig’s high-profile debut on arrival was a date on Bryan Ferry’s world tour at Thessaloniki’s Dassous (Forest) Theatre.
The second event followed just two days later, with concerts by top Greek names Giannis Aggelakas, 1000mods, Active Member and Pyx Lax at the magnificent Vrahon Theatre in Athens.
Bill Michailidis of Mega Event (Outline’s distributor in Greece) comments, “The system was a personal choice of Bryan Ferry’s sound engineer, Davide Lombardi, who assured me that he preferred this system to others he has worked with over the years.
For this first set up, Giulio Gandini (R&D Engineer and Tech Support and Training specialist with Outline) came to Greece and we designed the system for this specific show together. Davide preferred to use the full-range preset (with the high-pass filter at 40Hz) to give more emphasis to the low frequencies for the upper seats at the Forest Theater.
I think the system responded in the best possible way to expectations, satisfying Davide’s personal taste and that of Bryan Ferry’s production.”
After Thessaloniki and Bryan Ferry, the system was installed at the Vrahon Theater for four important concerts by the top Greek names, including Pix Lax, the influential Greek rock band celebrating the 30th anniversary of its foundation.
The system was rather oversized for the venue, but SPL requirements were respected and sound engineers were greatly impressed: before and after the shows, they all enthused about the results as far as even coverage and headroom were concerned.
Nikos Pappas (FOH sound engineer with Pyx Lax) commented, “It’s a balanced fast system that easily ensures a sensational ‘big’ sound without any interference. The power of the system was redundant for the theatre, so I’ve no conclusions about its ‘limits’, since I didn’t come close to them even for the hardest-hitting points in the show. My overall impression with this first contact with the GTO C-12 system was extremely positive.”
Giorgos Tachtsidis (FOH sound engineer with Aggelakas) opined, “Working with GTO at the Vrahon Theater was an enjoyable experience, as the technical crew working with us knew how to combine theory and practice, with the accent on the latter.
So, thanks go to Bill Michailidis, who handled system tuning, especially on the sub configuration, despite the lack of time. It was one of the few cases in which, when it comes to low frequencies, not only the sound engineer and spectators in the centre of the venue were happy, but the subs’ energy was evenly distributed throughout the theatre with variations of 3-4dB at the sides.
[…] The system has tremendous tolerance at high pressure, without a trace of limiting or distortion (at least in the audible range). It gives the feeling of a more ‘open’ PA that won’t cover imperfections in a band’s mix or performance, as other brands do in some way. This, of course, gives you the opportunity of mixing with different types of processing on the mix bus, obtaining various interesting results.”