CUBASE 5
DANGEROUS
MUSIC
APOGEE
DYNAUDIO
ACOUSTICS
DEMETER
API
NEVE
NTI
TC ELECTRONICS
M5000
ALESIS
MASTERLINK
ML9600
30 YEARS
EXPERIENCE
LOCATION
RECORDING
and MIXING
ORCHESTRAL
SOUNDTRACKS
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Digital audio workstations offer the ease and speed of "mixing in the box." This means
when your mix is ready, you tell the compter's CPU to process all the audio and virtual tracks
following the edits, fades, and all automation commands you have entered, and an audio file is
rendered internally. It is certainly quick and convenient, but many pro engineers (including myself)
feel that there is a noticeable loss in audio quality, dynamics, and punch when this method
is used. Incorporating an analog signal summing stage during the mixing process improves the
stereo width, the dynamic depth and punch, and allows additional external processing. Over the
years I have collected what I consider some of the finest pieces of analog stereo signal processors,
and I have them all available in my personal mixing suite.
Just finished installing a mixing suite in my home in Northern Virginia! Contact me for a tour!
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NEW ADDITONS! (Even in these tough economic times!)
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In my office mixing suite, I am now using the Dangerous Music 2Bus LT for analog
buss summing
of mixes. Doing DAW mixing through an analog summing amp preserves
stereo imaging and width,
prevents loss of punch and sonic detail, and noticeably improves the overall
sound quality when compared
to "mixing in the box." This incredible sounding unit has 16 inputs
summed down to a stereo output,
and allows me to do additonal analog processing to a mix. You will hear the difference.
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My NTI EQ3. In 30+ years, I have never heard any other equalizer
do what this thing does to a mix. Cleans up the bottom and opens up the
top end with it's amazing "air" bandwidth. Haven't mixed
without it since I bought it. As a client once said to me, "It
took the blanket off the speakers!"
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Also in my outboard "mix rack" is an API 2500 stereo compressor.
Lots of choices for tones and compression styles on this unit, with that
API "sound" built in. Running mixes through the NTI EQ and the API compressor
really brings out punch and top-end sheen in the final product. Mastering
engineers often end up doing very little tweaking, other than matching
levels between songs on a CD project.
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For wonderful reverbs, choruses, flangers, etc., I have a TC Electronics M5000
which is an extraordinarily powerful digital effects unit, with two
independent processing sections. Works as two separate units, or you can
combine them for some amazingly rich and detailed reverbs and other effects.
Digital In/Out so the audio stays clean. This is a unit you will usually find in
only the largest studios.
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I have a vintage dbx 120 Subharmonic Synthesizer. This box will
add the "low bottom thunder" that you might need in your
mix. EQs can't do what this box does. It makes air move and
non-believers BELIEVE! Discontinued version, and sounds a lot better
than the recent dbx "re-release."
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You can see a listing of some of the components in my
mobile digital recording system on the
RECORDING page.
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