hoboes and bassoons were using digital KMD 185 microphones. “For the amplification of the harp, played by special guest Remy Van Kesteren, we used a Kortier Harp pickup system capturing the sound of each individual snare,” continues Demoustier. “We used KMD 184 and 185 mics for percussion, and Neumann digital TLM 103s for the electric band’s drumkit – the band’s guitar amplifiers were under the stage, each with two TLM 103s.” In addition, the production also used 24 channels of Sennheiser 2000, 3000 and 5000 wireless microphones and 24 channels of the 2000 series wireless in-ear devices. Providing adequate monitoring
engineers and decided to go for it in Antwerp.” Demoustier says the use of the digital microphones was like taking two steps at a time. “We went from standard top-class analogue microphones to digital Neumann microphones and, as from today, to digital wireless microphones.”
In total, 59 digital wired Sennheiser and Neumann microphones were used on stage for the classical Proms orchestra (the only exception being the string section, using DPA). Some of them were quite specific: for the flautists, for instance, Sennheiser designed an adaptor for the digital headset consisting
of a HSP4 headset, MZD 8000 digital module and the custom- made connector element. “In many situations, the existing complete Neumann microphones would be too big as they would limit the musicians in their movements; microphone stands were not an option either,” explains Van den Berghe. “So we
fabricated a specific clamp which, in combination with the split-off capsule and digital module, created the perfect balance for most instruments – we’re Sennheiser and we provide solutions for our clients.” The brass horn section was equipped with Neumann KM 184 series cardioid microphones,
was another challenge: the existing personal monitoring sets were not equipped for digital microphones. The signal was channelled via a multicore to the monitor consoles (DiGiCo SD7 and D5) and then returned to the individual musicians. “We had our doubts about the delay times – these people have classically trained ears,” says Van den Berghe. “But by combining the musician’s signal and the console’s mix in the in-ear sets, this proved to be no obstacle.” EML/PRG also assembled
extra cables and ordered additional digital cards for the DiGiCo racks. n www.sennheiser.be