Archive of the Studio News Category
MicroMain27s Shine in Wide Range of Musical Genres
Pictured in his Nashville studio is producer Bob Ezrin with his Barefoot Sound MM27 monitors.
Top producer Bob Ezrin installed Barefoot Sound MM27 monitors when he moved into his Nashville studio in the famed Berry Hill neighborhood of Music City USA. His spacious control room houses an AWS console, an abundance of vintage outboard gear, numerous keyboards, and more than 40 guitars.
Ezrin first encountered the Barefoot monitors during a demo at Electric Lady Studios in NYC. The choice of music to listen to was Pink Floyd’s “The Wall,” which he produced. “I found the Barefoots to have exceptional depth of field and width of imaging,” he recalls. “The sound is very clear, distinct and remarkably colorless. It was easy for me to hear every single component of the mix, just the way it was intended to be.”
In an illustrious career as a music and entertainment producer that has spanned over 40 years, Toronto-born Royal Conservatory alumnus Bob Ezrin has worked in virtually all genres and media with many of the world’s most celebrated contemporary artists, including, Pink Floyd, Alice Cooper, U2, Peter Gabriel, Deep Purple, Lang Lang, Jay-Z, Taylor Swift, K’naan, will.i.am, Zucchero, Green Day, Elton John, Lou Reed, Rod Stewart and many others.
The new Barefoot Sound MicroMain27 Gen2 is a 3.5-way active system with 5 drive units housed in sealed enclosures spanning 30Hz to 45kHz with vanishingly low distortion, big dynamic range and ultra-fast transient response. The ring radiator tweeter is superbly detailed and produces very wide dispersion out to its highest frequencies. The new 5.25″ midbass features a phalanx of advanced technology, yielding midrange detail that rivals any driver available.
“I love the way the Barefoot monitors get loud but they don’t hurt,” Ezrin continues, “unlike many so-called professional speakers that sound really great at very low levels and then terrible at high levels, or the other way around, fantastic at high levels but horrible at low levels. The Barefoot’s sound consistent at whatever level one is listening. I like them because they’re clinical and not colorful. They make me work to get all the color, all the definition, and all of the essential components of the mix. They just give me a true picture of what it is that I’m doing.”
Ezrin has produced numerous major events including the re-opening of the SuperDome after Katrina and Pete Seeger’s 90th Birthday Concert at Madison Square Garden. Among numerous film and TV projects, Ezrin produced the award winning film “Fade To Black” starring Jay-Z, Beyonce and a wide variety of urban artists. His monitors must perform with a vast variety of musical sounds.
“The Barefoots have proven to be ideal speakers for any of the genres of music that I work in,” he adds. “They love the bottom end, they’re crispy-clear on the top end. They have great depth and breadth, and they give the truest representation of what I’m building and creating.”
Ezrin is also an innovator and entrepreneur having co-founded The Nimbus School of Recording Arts in Vancouver, B.C. in 2009 and Beat Kangz Electronics, a hip hop musical instrument manufacturer in 2008. He is a governor of the Nashville Symphony Orchestra, vice chairman of The Mr. Holland’s Opus Foundation, an advisory member of MusiCounts and, along with U2_s the Edge, a co-founder of Music Rising, an initiative to replace musical
instruments lost in natural disasters. He is also a past trustee and governor of The Recording Academy.
Learn more about the Barefoot Sound MicroMain 27 monitors at : http://vintageking.com/barefoot-sound-micromain-27-gen2-pair
ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second guessing , Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.
For more info visit: http://www.barefootsound.com tel: 503. 894. 8602
PADUA, ITALY – APRIL 2014: Located in one of the oldest towns in northern Italy, True Colours Studio is dubbed a ‘well-heeled project’ by owner Mauro Santinello. What began in 2005 as a single recording and control room has now grown into a facility with three recording rooms for commercial audio projects, jingles, and most recently some major Italian recording artists. To accommodate the needs of its growing presence in the music scene, True Colours has added THE BOX® to its studio, citing its “high quality manufacturing, and the unique API sound”.
Mauro wanted a project console that would provide a cost-effective, versatile solution to handle the needs of his growing studio in the decades to come. Along with his booming presence in the recording artist scene, True Colours has a growing demand for complete post-production, musical arrangements, and the creation of music for movie productions and short films. “I chose THE BOX because it represents the right console for a modern studio.”
The small-format recording and mixing console offers features that are not provided by most DAWs, including mic preamps, input signal processing, a high-quality mix bus, cue sends with talkback, and monitor control – all in a compact and versatile package. True Colours has a growing number of external preamps, EQs, and compressors, which includes some existing gear from API. The ability to personalize setups was a major factor that drew Mauro to THE BOX. “I didn’t want a big console with 32 preamps and 32 EQs that are all similar.”
True Colours mixes and records music of all genres, with only metal and electronic music yet to make the list. The crew has recorded a wide-range of Italian artists including famed singer Zucchero, piano master Stefano Bollani, and jazz trumpet player Enrico Rava. Most recently, Mauro used THE BOX for a session with singer Alberto Micaglio, whose acoustic presence is expanding from Italy, to London and New York. He has an album due out later this year.
“I have always wanted to buy an API console,” admits Mauro. “THE BOX offers a high-quality analog sound, and no compromises.”
ABOUT API (AUTOMATED PROCESSES, INC.)
Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.
G.A.N.G. Attendees in San Francisco Enjoy Recording of Nashville Orchestra
Pictured in San Francisco are (standing L-R) Studio Trilogy engineer/co-manager Willie Samuels, business operations mgr Cindy McSherry, Ocean Way Nashville's director of operations Pat McMakin, and (seated) Trilogy's chief engineer/co-mgr Justin Lieberman.
Attendees at this year’s recent G.A.N.G. (Game Audio Network Guild) Game Developer’s Conference in San Francisco enjoyed a premiere event at Studio Trilogy: the live synchronized recording of a performance by a 30-piece orchestra from Ocean Way Nashville, Tennessee.
The live session was co-sponsored by Source Elements, whose software Source-Connect locked the Pro Tools rigs from each location together while sending the hi-resolution live orchestra feed from Nashville to SF. Source-Connect also allowed talk back capability between the two studios. Minutes into the session, the walls and distance disappeared and people on both ends communicated seamlessly.
“We also utilized a live camera feed from Nashville,” explained Justin Lieberman, Trilogy’s chief engineer. “We watched and listened in real time to the orchestra in Nashville while recording to our Pro Tools timeline. We have the capability to lock picture on both ends or just record to existing tracks and we can provide feedback on the performance and interaction with both the Nashville engineering team and the conductor from our studio in San Francisco.”
Composer David Shipps conducted the Nashville musicians while the visiting game composers and producers on the San Francisco end could check out the impressive facilities at Ocean Way Nashville and listen to talented orchestral musicians contracted by Nashville Music Scoring’s Alan Umstead, while in the pristine listening environment offered at Studio Trilogy.
“This was not only an exciting event during the SF conference,” remarked Pat McMakin, Director of Operations, Ocean Way Nashville Recording Studios. “It was also the premier of our new strategic partnership with Studio Trilogy, which offers composers and their music production teams a convenient way to take advantage of the terrific studios and musicians in Nashville while working in the comfort of one of California’s finest studios.”
“We believe this transcontinental partnership opens up a huge opportunity for San Francisco / Bay Area-based gaming and film companies to utilize the amazing Ocean Way Nashville orchestra and studio without ever leaving SF,” added Trilogy’s Justin Lieberman. “We can then edit and mix in surround and stereo right here in SF as soon as the session in completed.”
Both Studio Trilogy and Ocean Way Nashville are active in the film, TV, advertising, and game scoring industries. Composer Nathan Johnson recently scored at Trilogy “Young Ones,” which debuted at this year’s Sundance Festival. Upcoming is his score for “Don’t Kill the Messenger,” directed by Michael Cuesta (“Homeland”). Games scored at Trilogy include “Infamous 2″ for Sony Playstation and “BioShock Infinite” with composer Jim Dooley for 2K Games.
OWN has scored major games for Sony Playstation as well as the music for several of the nominees and winners at this year’s prestigious G.A.N.G. Awards, including “Thieves In Time,” composed by Peter McConnell, and “Last Of Us,” scored by Academy Award-winner Gustavo Santaolalla, which took home the top prize at the G.A.N.G. Awards.
The Source-Connect event was co-sponsored by Studio Trilogy, Source Elements, and Ocean Way Nashville. In addition to witnessing the historic recording session, there was a patio BBQ for attendees to catch up on the days events at the Game Developers Conference.
The system provided by Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only an internet connection.
The Game Audio Network Guild (G.A.N.G.) is made up of composers, sound designers, voice over directors, game designers, producers and other associates and executives within the greater interactive entertainment industry. http://www.audiogang.org/
ABOUT STUDIO TRILOGY
Located in the creative heart of San Francisco, Studio Trilogy is a full-service recording facility that provides music recording and audio post-production services in a World Class recording environment. Designed by John Storyk of WSDG, Trilogy’s 8800 square foot facility houses three state-of-the-art control rooms, music and voice recording studios, multiple lounges, and a lush garden/bbq area. An on-site 1200 sq.ft. luxury apartment with media lounge and chef’s kitchen is also available.
Learn more at: http://studiotrilogy.com
ABOUT OCEAN WAY NASHVILLE
Ocean Way Nashville Recording Studios, founded in 1996, are located in the heart of Nashville’s famous Music Row. Purchased from the founders in 2001 by Belmont University, the studio remains a fully commercial facility but has added an educational component in conjunction with the school’s College of Entertainment and Music Business. Housed in a 100 year old Gothic revival greystone church, Ocean Way Nashville provides an exceptional acoustical space tuned specifically for music recording in the rich visual beauty of a church sanctuary.
Learn more at: http://www.oceanwaystudios.com
Eight Previously Unreleased Michael Jackson Songs
Pictured (L-R) in session at Bernie Grundman Mastering are executive producer L.A. Reid and mastering engineer Bernie Grundman. Photo by David Goggin.
Epic Records Chairman/CEO L.A. Reid was in session recently at Bernie Grundman’s for the mastering of Michael Jackson’s “Xscape.” The collection of eight previously unreleased Jackson songs was curated by Reid, who also decided on the final tracklist.
“Michael left behind some musical performances that we take great pride in presenting through the vision of music producers that he either worked directly with or expressed strong desire to work with. We are extremely proud and honored to present this music to the world,” Reid said.
Grundman mastered most of Michael Jackson’s albums, many times with recording engineer Bruce Swedien, including “Thriller,” the most successful album of all time with more than 40 million in sales. L.A. Reid recalled that his very first mastering session was with Bernie Grundman in 1983.
Reid curated the final list of recordings to deliver to the producers, who retooled the production to add a fresh, contemporary sound that retains Jackson’s essence and integrity. It’s a process Reid calls “contemporizing.” The album’s lead producer, Timbaland was one of a handful of producers Reid believed had the gravitas, depth and range to creatively engage with Jackson’s work. Additional producers include global hitmakers Rodney Jerkins, Stargate, Jerome “Jroc” Harmon and John McClain.
For the ultimate fan experience, “Xscape” will also be available in a Deluxe Edition, which includes all of the sourced Michael Jackson recordings in their original form. The “Xscape” standard and Deluxe Edition’s are available for pre-order iTunes.com/MichaelJackson and elsewhere, and available at all retailers worldwide on May 13.
Learn More about Bernie Grundman Mastering at:
The Legendary Wisseloord Studios Are Expanding With A New Mastering Suite, A Small Vintage Recording Studio, And Two Additional Mastering Engineers.
The New Vintage Room at Wisseloord Studios
Hillversum, Netherlands, April 2014. March 25, 2014 marked the two-year anniversary of the re-opening of Wisseloord Studios in the Netherlands. Coinciding with the anniversary, Wisseloord unveils its new Studio4, known as the ‘Vintage Room’: a one-room concept studio, with the look and feel of a living room, but with technical amenities catering to smaller productions, tracking sessions, collaborative songwriting, and the like. This feel-at-home space features a Neve 8014 desk with 1073 preamps, and a 12-channel 1960’s EMI console, reputedly to be the one used to record the demos for The Beatles’ landmark album, ‘Abbey Road’. Recording via these vintage desks can be to a ProTools rig, but for those preferring the ‘old school’ approach, 16-track and 8-track tape machines are available in the vintage room package.
The mastering department has also been expanded with the addition of two mastering engineers and an additional mastering suite. The two world-class engineers joining the team are; Dutch mastering icon Sander van der Heide, and the up-and-coming Pier-Durk Hogenterp. As for Mastering1, Mastering2 features an SPL console, Jochen Veith acoustics, and EgglestonWorks monitors powered by Krell.
To tie this all together, Wisseloord is also launching its new website where visitors to the site will be able to check out the facility, meet the team, and stay informed about what they’re all up to. Visit www.wisseloord.nl and see what’s happening there.
Frederic Gervais, Commercial Manager of Wisseloord comments on the two-year anniversary “The folks at Wisseloord would like to express their sincere thanks to the many artists, musicians, and music professionals who have helped them reach this two-year milepost. With the right combination of team, talent and technology, the future looks bright once again for this musical treasure.”
The legendary recording facility, which originally opened its doors in 1978 attracting the likes of Mick Jagger, Elton John, The Scorpions, and Golden Earring, was sold into new ownership in 2011. It subsequently underwent a major transformation, returning the historic studio to the forefront of technology and efficiency.
Since re-opening, the Wisseloord team have made significant steps in putting Wisseloord back on the map. In the last six months, no less than ten album projects facilitated at Wisseloord have reached the top position on the music charts, for outstanding artists such as Peter Maffay, Vandenberg’s Moonkings, David Garrett, Hooverphonic, and Ilse DeLange to name a few. Wisseloord has also added a Grammy Award, an additional Grammy nomination, and Resolution Magazine’s Audio Facility Of The Year Award to its list of accolades. www.wisseloord.nl
Atlanta, GA – April 2014…
** Photo: John Penn with his Equator Audio monitors **
Whether it’s recording, mixing, sound design, audio post production, or a multitude of other audio-related functions, accurate studio reference monitors are crucial to ensuring that one’s projects translate well to a variety of playback mediums. Without a true reference system, audio playback on other equipment can be an extremely frustrating—and costly—experience. That’s why John Penn, CEO of Undercurrent Labs, producer, 3D sound designer and songwriter, insists upon the sonic accuracy of his D8 studio reference monitors from San Diego, CA-based Equator Audio. more
NORTHRIDGE, California — Music mixer Joseph Magee, whose impressive credits include Saving Mr. Banks, Pitch Perfect, High Fidelity, Into the Wild, The Muppets, Spider-man 3 and many more, is currently on location in Baton Rouge, Louisiana, mixing music for the feature film, Pitch Perfect 2. For this music-heavy project, Magee is putting HARMAN’s JBL Professional flagship large-format M2 Master Reference Monitors to the test. Recently signed by Hollywood’s TODD-SOUNDELUX, where he is responsible for the company’s expanding music services, Magee chose the M2 system for projects at TODD-SOUNDELUX’s Hollywood facility. For Pitch Perfect 2, Magee transported his JBL M2 monitors along with a pair of JBL LSR308 studio monitors to Baton Rouge, where the film is in production. The music recording studio for the project was built specifically for the film in an existing 4-story warehouse structure.
With the objective of recording 95 percent of all the on-camera a cappella performances in a new, untested studio environment, Magee relies on the M2’s ability to provide exceptional performance in any production environment. “I’ve been using the M2 monitors in my music dub room at TODD-SOUNDELUX and I’m now getting accustomed to using them on the road,” Magee said. “I think a lot of people perceive the M2’s as monitors that are meant to be permanently installed in a control room, tuned to the room and then left alone. But the reality is these loudspeakers sound great out of the box, so taking them to Baton Rouge was an easy decision.” With the dynamic range needed for film production yet with a footprint of only 20 feet wide by 14 feet deep, the M2 is finding its way into smaller rooms where traditional cinema speakers are prohibitive. With included room EQ, the M2 system can deliver accurate response in any mix environment.
Having used other large-format studio monitors, in Magee’s opinion, JBL’s patented-pending Image Control Waveguide, coupled with JBL’s patented low-distortion D2 high-frequency driver sets the M2 apart from the pack. “The waveguide is so darn fast, I’m hearing things I haven’t heard before in my mixes and I’m hearing things differently—in a good way,” he said. “At the TODD-SOUNDELUX facilities, all the engineers who have come through have been shocked at how authoritative these M2 loudspeakers are and they’ve been amazed at the clarity of the system.”
In addition to the M2 system, Magee uses a pair of JBL’s powered 3 Series LSR308 studio monitors as his near-field listening system. In a portable, “bookshelf”-size format, and available at an entry-level price, the 3 Series studio monitors share the Image Control Waveguide technology developed for the M2 to provide detailed imaging. “In all honesty, when I was first auditioning the M2 system at TODD-SOUNDELUX, I didn’t fully understand what I was working with,” Magee noted. “But then I worked with the 308 monitors at home and it all clicked for me. I simply wasn’t used to the imaging and level of detail these speakers provide.”
To further meet Magee’s needs, JBL custom-designed a panel in its HARMAN HiQnet System Architect™ software that enables Magee to quickly create a simple, 4-band Room EQ in the DSP of the Crown I-Tech 5000 HD amplifiers being used to power the system.
Looking towards the future, Magee sees no boundaries for the M2. “I envision a lot of opportunities for different applications with the M2,” he said.
For more information on Joseph Magee, please visit his IMDB page at http://www.imdb.com/name/nm0535848/
For more information on TODD-SOUNDELUX, please visit www.toddsoundelux.com
HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.
LYON, FRANCE – APRIL 2014: Still remarkably early in his career, Julien Collier wears many hats as a musician and sound engineer. He is a multi-instrumentalist, a composer, and an arranger; he is a sound designer, a producer, and a director; he is a recording engineer, a mix engineer, and a mastering engineer; and he is a live tech, a FOH engineer, and a monitor engineer. On the side, he works as a music coach and artist developer! Collier borrowed his alias, Fux, for the production house he established in Lyon, France. Fux Productions contains a recording studio, a composing studio, and a rehearsal room, along with Collier’s extensive industry connections. Clients have access to professional musicians of all stripes, composers, sound engineers, producers, videographers, and more. Across all those wide and varied activities, Collier relies on his Metric Halo 2882 interface and Metric Halo plug-ins for almost everything. They are his pro audio equivalent of a Swiss Army knife!
Collier’s list of clients includes many French independent labels, as well as majors such as Sony, Universal, and Warner. A few of his most recent studio projects include work with Romain Ughetto, Chasing After Time, 99 Ways to Die, and Green Money. For all of those projects, he served as producer, tracking engineer, mix engineer, and mastering engineer, and on many of them he also helped with composition and performance. “A lot of important decisions are made during the tracking,” he said. “It is critical to get the recording into the computer in the best way possible because once it becomes digital, it stays digital. I use my Metric Halo 2882 for everything. It has excellent preamps and flexible input and output routing. It’s just as useful in the studio as it is on stage, where I often use the 2882 to mix in-ear monitors. The software and hardware is very stable, and I am comfortable using it live without a problem.”
Collier’s appreciation for the 2882 made him curious about Metric Halo’s other products and inspired him to get the company’s Production Bundle, which is a complete collection of Metric Halo plug-ins. “Like the 2882, the Production Bundle is now completely integrated into my workflow,” he said. “I use Metric Halo plug-ins on everything and in every situation. They are very flexible and allow me to handle everything from subtle track correction to creative coloration and effects. I use ChannelStrip 3 to clean up my tracks with equalization, compression, and filtering. I love that the plug-in has a great deal of precision – when I adjust a parameter, I really feel it directly. The Character plug-in models different signal paths and gives me a great sound that I use all the time. I use two variants of HaloVerb on most of my productions, which combine together nicely without using a lot of DSP resources. I use the Precision DeEsser on all my vocals and on other shrill instruments, like keyboards or hi-hat. Finally, I use the Transient Control on all of my percussion and drum tracks which gives me fine-grain control of dynamics, attack, and power. It’s also often useful on acoustic and electric guitars and is a lot more reactive than other plug-ins of its type.”
ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.
NEW YORK, NEW YORK – APRIL 2014: Located in the heart of Manhattan, Heavy Melody Music composes original tracks for film and video game trailers, designs sound and music for video games and television, and functions as a post-production facility. Four friends run the studio, as well as software development company Heavyocity Media – a resource for composers and sound designers looking for production-ready musical and sound design elements. Producing for both companies requires a wide range of technical audio needs, which is why each of Heavy Melody’s composing rooms uses THE BOX®, the latest recording and mixing innovation from API.
Heavy Melody was founded in 2003 by Dave Fraser and Neil Goldberg as a new music and sound design company focusing on video game audio and music for advertising. Today, the team focuses on original music for motion picture advertising and video game trailers. “As soon as the release of THE BOX was announced, I was running around the studio showing the guys what it was. We HAD to get them,” recalls Neil. “We saw THE BOX as a solution to getting a really big sound in a small footprint, with a lot of the great features found in large format consoles.”
The studio has three albums out, and also creates custom trailer and spot work, as well as dialog casting and recording for games and TV spots. Much of the sound capturing and mixing for Heavyocity’s “DM-307” virtual instrument was done through THE BOX, as well as some custom revisions for tracks on the trailer album God Machine. “We noticed a significant difference in punch and depth, said Neil. “Running the analog synth percussion sound through THE BOX produced some amazingly heavy tones with a great, transparent top.”
The group isn’t a stranger to API, and has used the brand’s microphone pre’s for previous projects. Among the studio’s favorite feature on THE BOX is the Talkback system. “THE BOX has all of my favorite features rolled into one with the API sound,” said Neil. “I was excited that it had four mic/line input channels with the 500 Series EQ, a stereo bus compressor, and a sixteen-input summing mixer with sends/inserts and the headroom and character of API.”
“It has a great bottom end,” shares partner, composer, and sound designer Ari Winters. “The sound that comes out is punchy, yet transparent. With sixteen channels, you get a ton of headroom, that comes together nicely with the on-board compressor.”
While compact in size compared to a larger format studio console, THE BOX is capable of seeing projects through from start to finish, which is something Ari appreciates. “It’s an all-in-one solution for us as composers. It allows us to have multiple computers linked together, spitting out a ton of stems at very high output levels. Also, we now have the ability to monitor and record live microphones without ‘in the box’ latency.”
Co-Founder Dave Fraser sums it up easily, “What can we say, THE BOX is a beast.”
ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.
(PHOTO CAPTIONS) IMAGE 1: The crew at Heavy Melody from left to right: Ari Winters, George Valavanis, Neil Goldberg, and Dave Fraser. IMAGE 2: Co-Founder/Composer/Sound Designer Dave Fraser’s room.
With top producers & songwriters at ‘The AND Group’ already using Dangerous Music gear, management is getting calls from their other clients to get Dangerous too —
Lucas Keller with artist David Hodges
– April 9, 2013
– When top producers and writers collaborate in the studio with other artists-DJs and like-minded music professionals – the exposure to key pieces of gear often gets noted and talked about as one watches the other and hears just how great it sounds. This is happening at a somewhat alarming pace with Dangerous Music
equipment at The AND Group
, a collection of music management and media companies who are working with some of today’s top music insiders and hit makers.
“We’re a hybrid between a traditional artist management company, a publishing licensing company, and an experiential marketing company for brands,” says company co-founder Lucas Keller. “The marketing we do is specific to music and entertainment, a field that we already understand well on the management side. We started The AND Group last summer as a boutique company, but additionally we have access to licensing in TV and film, the commercial ad world, and directly to brands.”
Their artists are loving the Dangerous gear already, “I haven’t found anything out there like Dangerous Music. Their D-Box ties my whole studio together,” says multi-Grammy winner David Hodges (Evanescence, Carrie Underwood, Kelly Clarkson, Celine Dion, Christina Perri). “As a monitoring system, it is intuitive and versatile, clean and powerful. As a summing unit, it gives a warmth and clarity to everything I work on – from pop tracks to country sessions, to rock mixes. The fact that I get two vital pieces of hardware in one without sacrificing any quality makes the D-Box a must-have.”
Keller adds, “Some of our artists are using the Dangerous gear in the studio and we are introducing it to some of the other artists we manage when they get together with those guys. I’m about to get our client, DJ LA Riots, turned onto Dangerous Music too, as there’s a need for gear of this quality in the DJ world. We are finding that a lot of our guys that we put together, they go in the studio with someone like David Hodges or Nolan Lambroza (Pit Bull, Christina Aguilera, Justin Beiber), and afterwards they are asking about getting the Dangerous gear for themselves. There’s a hundred pieces of rack gear in the studio and they say: ‘Hey, I was at Hodges’ place today, tell me more about Dangerous Music’ – which I found exciting! I actually am getting lots of calls and emails from our artists about Dangerous gear and wanting to put it into their own studios and production work flow.”
Other artists at The AND Group also love the gear, “The Dangerous D-Box brings depth and adds tasteful separation that you simply can’t achieve in the box,” states PJ Bianco (Demi Lovato, Sean Paul, Mya, Iyaz, Jonas Brothers). And Steven Miller adds, “I love the Dangerous D-Box. No other unit that I’ve seen accomplishes what it does. Between the monitoring, headphone amp and summing mixer, it makes my job increasingly easier; and the music I make sounds 100-times better.” Miller has worked with Pierce the Veil, The Veronica’s, and Skillet among many other acts.
Delving into why they started The AND Group, Keller says, “Two things that I think for a lot of artists were really not available10 years ago to align themselves with: Nobody put their music in a TV commercial, nobody did a brand presenting a tour. We wanted to bring those services in- house. The name ‘The And Group” happened by accident, we are actually three sub-companies, Milk and Honey, which is our artist management company, Third and Verse, which is our music publishing and licensing company, we have offices in New York and Nashville for that as well, and then a company called Sneakers and Bowties, which is our brand marketing company. We needed to buy a ‘.com’ so that’s how the name came about, The AND Group.”
Lucas is using the Dangerous Source monitor controller with his speakers at his desk, and agrees that having a sound controller that you can trust and will really let you hear the music track is important. “The Dangerous Source is amazing. It’s important for us that we’re listening through the right amps and monitors and systems, so we hear the music as clearly and accurately as possible. For our work with Sol Republic headphones it’s all about audio, with very, very picky DJs, who are very choosy about which headphones they’ll use or not use. And it’s all about music. We’re creating everything from commercial spots, and syncing our music in them, to doing deals directly with these guys that are DJs and producers and creatives. People are constantly listening to music at our company – we have music in the hallways!”
Check out The AND Group for more information at: facebook.com/theandgroup
About Dangerous Music
Dangerous Music, Inc. designs and builds award-winning hardware products that are indispensable to any DAW-based recording, mixing or mastering environment. The Company pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today, Dangerous Music offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source, Dangerous BAX EQ, and the Dangerous Compressor.
For more information on Dangerous Music visit http://www.dangerousmusic.com phone 845-202-5100 or email: email@example.com
All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.
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