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  • Press Release

    Gene Martin Calls on DPA 4097 Micro Shotgun

    November 10, 2020, 5:07 pm
    When Gene Martin, owner of Audio Department and Sound Guy Solutions, was presented with a “technical nightmare” for a commercial client in the early days of COVID, his sound mixer gears started turning. With scenes being shot in separate areas around the U.S., Martin had to juggle as many as 10 different drop kit audio packages at a time. As he was on-location with the main crew in California, he also had to account for remote workflows as well as social distancing protocols.

    Sound Mixer and Audio Department Owner is Among First in the Country to Utilize New Microphone for Wide Array of Sound Mixing Projects

    BURBANK, CALIFORNIA, NOVEMBER 10, 2020 – When Gene Martin, owner of Audio Department and Sound Guy Solutions, was presented with a “technical nightmare” for a commercial client in the early days of COVID, his sound mixer gears started turning. With scenes being shot in separate areas around the U.S., Martin had to juggle as many as 10 different drop kit audio packages at a time. As he was on-location with the main crew in California, he also had to account for remote workflows as well as social distancing protocols. He selected DPA Microphones’ just-released 4097 Micro Shotgun and MMA-A Digital Audio Interface for the job.

    “The commercial was shot as a series of video chats from mobile devices and laptops, so we needed something where the actors could be walking around with their phones and not have a large recording device with them,” says Martin. “The client was happy with the video from the devices but was looking to drastically improve the audio. It just so happened that, right at the start of this project, the DPA 4097 Micro Shotgun was introduced. I was originally going to use the DPA 4060 because its higher sensitivity would benefit us being able to have the mic further from actors’ faces. Then, the 4097 was introduced and it was the perfect little microphone for this application; everything from the design to the sound was exactly what we needed.”

    In addition to superior audio quality, the size of the setup played a big role in Martin choosing DPA. “Our first point of business was to find an interface or recorder that was small enough to mount to the mobile device,” he explains. “The DPA MMA-A gave us the ability to easily switch between the phone and computer interfaces. Add to that the fact that we could thread the 4097 directly onto the MMA-A and attach it all right to the back of the phone, and we had the perfect little microphone positioned right above the camera.”

    The DPA system also worked well when the actors switched to scenes in which they were using laptops. “This small, lightweight microphone and audio interface combination attached directly to the back of the computer,” adds Martin. “What we ended up with was audio from a high-end, broadcast-quality directional microphone that was much better than the internal microphone on the devices. This helped us capture exactly what we needed to focus on – not a lot of the background ambiance, but rather really just single-in on our talent.”

    The integration between the 4097 Micro Shotgun and the MMA-A Digital Audio Interface also proved to be especially beneficial on-set. “The simple setup between the interface and the microphone made it really easy for us to walk through the set and just change a couple of settings when necessary,” continues Martin. “It also meant we were able to eliminate a lot of other gear and adapters that might otherwise have been necessary to make this shoot possible.” 

    Since wrapping that shoot, Martin says he’s seen a significant uptick in requests for similar setups from his customers. “DPA makes quality, top of the line equipment, and we try to push it every chance we get,” he says. “For anyone who has needed to accomplish similar shoots to things I’ve done, I always share my insight and experience. The MMA-A/4097 combo not only became a very commonly requested setup for other similar cell phone-style jobs I worked on, but they became heavily rented and purchased items at the shop as well.”

    For Martin, his experience with DPA mics began back when the 4017 Shotgun Microphone was introduced, so he certainly has a lot of experience to share with customers. “Soon after finding the 4017, I switched over to only using DPA’s lavalier mics,” continues Martin. “I think I own variations or multiple quantities of every tool that DPA makes. They’re my go-to microphone for most situations.” 

    A sound mixer by trade, Martin got his start in the industry in 2001, straight out of high school. After working for Dateline NBC, he made the jump to commercial production, but has also worked on feature films. As a sound mixer, Martin found himself unsatisfied with his options of audio equipment suppliers, so he co-founded Audio Department in 2008 with former general manager Frank Scibella. Based in Burbank, California, Audio Department primarily serves the commercial, film, television and documentary industry, providing professional-grade equipment. Martin is also the owner of Sound Guys Solutions, a product manufacturing company.

    Sound Mixer and Audio Department Owner is Among First in the Country to


    Utilize New Microphone for Wide Array of Sound Mixing Projects



     



    BURBANK,
    CALIFORNIA
    , NOVEMBER 10, 2020 – When Gene Martin, owner
    of Audio Department and Sound Guy Solutions, was presented with a “technical
    nightmare” for a commercial client in the early days of COVID, his sound mixer
    gears started turning. With scenes being shot in separate areas around the U.S.,
    Martin had to juggle as many as 10 different drop kit audio packages at a time.
    As he was on-location with the main crew in California, he also had to account for remote workflows as well as social distancing protocols. He
    selected
    DPA Microphones
    just-released 4097 Micro Shotgun and MMA-A Digital Audio Interface for the job.



     



    “The commercial was shot as a series of video chats from mobile devices
    and laptops, so we needed something where the actors could be walking around
    with their phones and not have a large recording device with them,” says
    Martin. “The client was happy with the video from the devices but was looking
    to drastically improve the audio. It just so happened that, right at the start
    of this project, the DPA 4097 Micro Shotgun was introduced. I was originally
    going to use the DPA 4060 because its higher sensitivity would benefit us being
    able to have the mic further from actors’ faces. Then, the 4097 was introduced
    and it was the perfect little microphone for this application; everything from
    the design to the sound was exactly what we needed.”



     



    In addition to superior audio quality, the size of the setup played a
    big role in Martin choosing DPA. “Our first point of business was to find an
    interface or recorder that was small enough to mount to the mobile device,” he
    explains. “The DPA MMA-A gave us the ability to easily switch between the phone
    and computer interfaces. Add to that the fact that we could thread the 4097
    directly onto the MMA-A and attach it all right to the back of the phone, and
    we had the perfect little microphone positioned right above the camera.”



     



    The DPA system also worked well when the actors switched to scenes in
    which they were using laptops. “This small, lightweight microphone and audio
    interface combination attached directly to the back of the computer,” adds
    Martin. “What we ended up with was audio from a high-end, broadcast-quality
    directional microphone that was much better than the internal microphone on the
    devices. This helped us capture exactly what we needed to focus on – not a lot
    of the background ambiance, but rather really just single-in on our talent.”



     



    The integration between the 4097 Micro Shotgun and the MMA-A Digital
    Audio Interface also proved to be especially beneficial on-set. “The simple
    setup between the interface and the microphone made it really easy for us to
    walk through the set and just change a couple of settings when necessary,”
    continues Martin. “It also meant we were able to eliminate a lot of other gear
    and adapters that might otherwise have been necessary to make this shoot
    possible.”



     



    Since wrapping that shoot, Martin says he’s seen a significant uptick in
    requests for similar setups from his customers. “DPA makes quality, top of the
    line equipment, and we try to push it every chance we get,” he says. “For
    anyone who has needed to accomplish similar shoots to things I’ve done, I
    always share my insight and experience. The MMA-A/4097 combo not only became a
    very commonly requested setup for other similar cell phone-style jobs I worked
    on, but they became heavily rented and purchased items at the shop as well.”



     



    For Martin, his experience with DPA mics began back when the 4017
    Shotgun Microphone was introduced, so he certainly has a lot of experience to
    share with customers. “Soon after finding the 4017, I switched over to only
    using DPA’s lavalier mics,” continues Martin. “I think I own variations or
    multiple quantities of every tool that DPA makes. They’re my go-to microphone
    for most situations.”



     



    A sound mixer by trade, Martin got his start in the industry in 2001,
    straight out of high school. After working for Dateline NBC, he made the jump
    to commercial production, but has also worked on feature films. As a sound
    mixer, Martin found himself unsatisfied with his options of audio equipment
    suppliers, so he co-founded Audio Department in 2008 with former general
    manager Frank Scibella. Based in Burbank, California, Audio Department
    primarily serves the commercial, film, television and documentary industry,
    providing professional-grade equipment. Martin is also the owner of Sound Guys
    Solutions, a product manufacturing company.


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  • Other Postings By Member

    • Press Release
      SOUND

      Euroconcerts Audio Control Calls on DPA Microphone

      January 5, 2021, 7:55 pm
      For more than 25 years, Euroconcerts Audio Control has called on DPA Microphones to provide pristine and reliable sound reinforcement for a wide array of musical productions. Included among the Euroconcerts mic locker are the DPA 4015 Wide Cardioid, 2011 Twin Diaphragm Cardioid, 4023 Compact Cardioid, 4037 Compact Omnidirectional, 4099 Instrument Microphone, 4061 Miniature Omnidirectional and d:facto 4018V Vocal Microphones.

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    • Press Release
      SOUND

      Virtual "Christmas at DePaul" Calls on DPA

      December 23, 2020, 5:40 pm
      Array of Microphones Deliver Total Transparency and Unrivaled Natural Sound for Virtual Performances Featuring School’s Students, Faculty, Staff and Alumni

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    • Press Release
      SOUND

      IBEW 1200 Kicks Off Presentation Series With TSL

      December 7, 2020, 5:12 pm
      Staying informed and networking within the media industry has never been more vital, or more difficult. Being aware of this challenge, IBEW Local 1200’s business manager Geoff Turner created an opportunity for broadcast engineers and product manufacturers to have the important conversations that typically happen at trade shows and in-person events.

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    • Press Release
      SOUND

      Powerhouse Audio Team Creates Custom Mic Solutions

      November 30, 2020, 8:36 pm
      As longtime audio solutions providers for the Canadian government, GerrAudio and Engineering Harmonics have a steady grasp on the needs of its officials. When the companies’ principals were presented with the challenge of creating a custom podium microphone solution for the interim House of Commons, they reached out to DPA Microphones. The custom solution is based off DPA’s 4081 mics along with a DPA TSM 4001 shock-mount, which fit into the cutouts of the Parliament’s existing podium units.

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    • Press Release
      SOUND

      NEP Broadcast Solutions Singapore Turns to TSL

      November 23, 2020, 6:09 pm
      “In 2019, NEP purchased a large quantity of MDUs and MPA1 audio monitoring units, along with TallyMan Control for use in our fly packs. We always want to combine cutting-edge technology with practical applications.”

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    • Press Release
      EDITING

      JVC Professional Unveils Live Streaming-Focused Fi

      November 19, 2020, 7:34 pm
      Upgrade Also Adds New Camera Settings to the GY-HM170- and GY-HM180-Series 4KCAMs

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    • Press Release
      SOUND

      PLIANT® ANNOUNCES 30-DAY SATISFACTION GUARENTEE

      November 12, 2020, 8:15 pm
      In support of its customers easing back into production, Pliant Technologies announces a 30-day return satisfaction guarantee on all of its CrewCom 900MHz and MicroCom 900MHz professional wireless intercom products. With this initiative, Pliant is going the extra mile to ensure that its customers are completely satisfied with their Pliant products.

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    • Press Release
      SOUND

      TSL Brings its IP Expertise to the MPA1

      November 10, 2020, 7:00 pm
      As the latest addition to TSL Products’ range of entry-level MPA1 audio monitors, the new MPA1-SOLO-IP helps to make the transition to IP seamless, providing peace of mind and ease of use in even the most demanding environments at a competitive price.

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    • Press Release
      SOUND

      Audionamix Professional Services Rolls Out Custom

      November 9, 2020, 7:46 pm
      Audionamix takes its award-winning AI audio separation algorithms to the next level in the professional space with Enterprise Licensing, a new customizable solution constructed with clients’ needs in mind.

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    • Press Release
      EDITING

      ACE Sports Scores With JVC Cameras and Switchers

      November 9, 2020, 6:20 pm
      As manufacturers, dealers and installers, the team at ACE Sports knows their way around live sports video production. The company, which not only manufactures arena-sized video boards and scoreboards, also helps integrate the third-party equipment necessary to feed content to live audiences.

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