For these landmark shows, multiple performers relied on the Austrian Audio OD505WL1 wireless capsule, delivering consistent, high-performance audio across several nights in a large-scale arena environment.
Artists such as Frenna and Ronnie Flex are known for dynamic live performances that demand clarity, presence, and reliability. The OD505WL1 proved to be a trusted choice, offering excellent feedback rejection and a natural, detailed sound tailored for modern vocal styles.
With multiple shows and high production demands, the event showcased not only the cultural impact of the New Wave movement but also the importance of dependable audio solutions in live environments.
The use of the OD505WL1 highlights Austrian Audio’s growing presence in contemporary urban music—where performance, authenticity, and sound quality are key.
Niels Jensen
Monitor Engineer – Side fills and Crew Mixes.
Working on the New Wave show with 15 artists all using the Austrian Audio OD505WL initially felt like a big challenge. Everyone has their own way of holding a microphone and using their dynamic range.
Being responsible for mixing the sidefills, I noticed that it required a lot of gain before any feedback occurred, there were no issues at all. Even with minimal input, the frequency response remained very consistent, comparable to that of a hot source.
The microphone is sturdy and features a great aesthetic design.
Karst Lok
Monitor engineer New Wave Project in ears
The Austrian oc505 appears to reject backgroundnoise better than other dynamic mics. It sounds a little less articulated in the high ends, but it takes eq well.
What it excells in is gain before feedback and the frequency response staying more or less the same when (partially) cupped.
Ash Balgobind
FoH Engineer New Wave
For this event, I chose the Austrian Audio OD505WL capsule primarily for its low handling noise and the amount of gain I needed at FOH, especially with multiple rappers performing directly, at the same time, in front of the PA.
I made small, individual processing adjustments per artist to better match the mic to each voice. The global EQ was kept fairly simple, a gentle 10 kHz shelf across all channels to open up the top end and add some air, followed by more detailed, artist-specific color EQ.
What really stood out was how resistant the OD505WL is to cupping. In handheld hip-hop shows, that’s usually where consistency starts to fall apart, but here the tonal balance stayed very stable regardless of mic technique. That made monitor control easier and kept the FOH tonality consistent throughout the entire two-hour set.
