Nashville based engineer wins two Grammys out of his seven 2012 award nominations and adds the BAX EQ to his extensive Dangerous Music gear setup
Dangerous Music 2-Bus LT and Monitor ST are key studio ingredients in renowned producer’s Electronic Dance Music projects, as well as his R&B, Rock and Pop productions
Junior Sanchez started making records when he was in high school. Now from the stage looking out over a sea of people in the dance crowd at an Ibiza island festival as a DJ – along with the Swedish House Mafia’s Steve Angello – it seems that first teenage track was quite a while ago. Sanchez has evolved from using major studios and large format consoles in New York and LA to designing and building his own high-end studio in his New York area house. To get back to the sound he had mixing on analog consoles Sanchez has chosen Dangerous Music gear for mixing and monitoring. “I have the Monitor ST, the DAC ST and the 2-Bus LT. It’s changed the whole platform of how I hear, it’s awesome,” says Sanchez. “I live my life Dangerously.”Read More »
Producers & Engineers Working in Busy Nashville Scene get “Consistency and Killer Sound” Mixing with Dangerous 2-Bus Analog Summing
When the Civil Wars took the stage at the 2012 Grammy® Awards, Dangerous Music was part of the moment, as the band’s highly successful and great-sounding record was mixed on the Dangerous 2-Bus. The duo’s live Grammy performance was spectacular, a combination of everything musical and emotional that musicians and music fans alike appreciate. Richie Biggs and Charlie Peacock are the engineers and producers behind the sound of the Civil Wars album “Barton Hollow.” They work around the clock on multiple projects in their Nashville studio and rely on the consistent recall capability and killer sound of the Dangerous 2-Bus analog summing amp and Dangerous D-Box summing and monitor control in their hybrid Pro Tools-based mix rooms.Read More »
Front of house engineer Horace Ward has a new secret weapon for making his live music mixes sound their best: the Dangerous Music 2-Bus. In the spirit of sharing, he’d like other engineers to know about it too, so their audiences can also get the best concert experience. The 2-Bus is best known for its role in the recording studio, bringing the tone, feel, and headroom of an analog console to digital mixes suffering from ‘in-the-box’ summing. But Ward has found a way to use the 2-Bus to get a similar enhancement – and control – over his live mixes. He says, “I don’t understand how the 2-Bus has been in the studio so long but hasn’t gotten to live shows – the sound is unbelievable.”Read More »
Pete Evick wears many musical hats. He’s the guitarist in the Bret Michaels Band, as well as Michael’s songwriting partner, (plus he has his own band: Evick); but he’s also the Bret Michaels Band engineer, and records and mixes while he’s on tour with them. Evick uses the Dangerous Music D-Box and Dangerous Bax EQ as key ingredients for his hit-record success and a killer rock sound. “The last two records we made both debuted in the top 40 Billboard charts, one at number 14, so they are legitimate hit records,” says Evick, “and they were impossible to do without the D-Box. That’s the whole point.”Read More »
As told to Linda Jacobson (email@example.com)
LJ: Paul, what were you doing in 1984 — the year before you became a founding staff member of Opcode Systems? How would you describe the “work lifestyle,” routine, and group dynamic behind-the-scenes in your world then? Was the SF Bay Area audio industry back then influenced more by the cultures of the computer industry and Silicon Valley, music industry, San Francisco scene, and/or film industry and Hollywood?
PdB: In 1982 I had purchased a Rhodes Chroma synth and in 1983 created one of the first computer-based electronic music “home” studios in the San Francisco Bay Area around that instrument. I had added the Apple II computer and the sequencing and editing software from Fender along with the SIMPLE System synchronizer for video and audio and the requisite mixers, mics, speakers, 2-channel and multitrack tape decks. I was composing music for film and television and through my friend Doug McKechnie’s connection at Lucas Film I even had a chance to write a demo cue for the final Ewok scene in the latest Star Wars: Return of the Jedi movie, apparently Lucas wanted to hear some other ideas than what John Williams had come up with. Three of us in the San Francisco Synthesizer Ensemble got to write a sketch for the cue. It was exciting to see part of the movie before it came out.Read More »
Adam Young of “Owl City” Mixes on Focal Monitors
New chart-topping artist chooses Focal Twin6 Be monitors on breakout album ‘Ocean Eyes’
With a growing fan-base and a world tour that continues throughout 2010, Adam Young, the creative force behind the band “Owl City,” is taking off. His first independent release in 2008, ‘Maybe I’m Dreaming,’ received much praise and made Young into a phenomenon, with over 16 million profile views and over 80 million plays on MySpace, all stemming from posting a few songs from the year before.
That’s led to Owl City’s newest CD – ‘Ocean Eyes’ – released in 2009 by Universal Republic Records. The album has sold over 1 million copies in the U.S. alone, while the first single “Fireflies” hit #1 in 23 countries. During the making of the ‘Ocean Eyes’ album Young discovered Focal Twin6 Be monitors, then got himself a pair. “I absolutely love the Focals. I had mixed with other brands over the years, but it was always a bit deceiving. Other monitors seemed somewhat overly polished, bass heavy and even ‘clubby.’ The Focal Twin 6s are so transparent, but still easy to listen to and work with: they really help my mixes translate to anything I play them back on,” states Young.Read More »
Mixer Jeff Juliano Chooses FOCAL Monitors
Twin 6 Be Powered Monitors with Sub6 are now his Main Measure of a Mix
Mixer Jeff Juliano has used a lot of different speakers, and in the past 10 years he’s relied on the supposed ‘industry standard’ Yamaha NS10. But no more. Juliano recently tried the Focal Twin 6 Be powered monitors at his Delaware mixing studio and has now made them his number one choice. Having mixed a host of platinum-selling albums for artists such as Jason Mraz, Josh Kelly and Lifehouse, as well as John Mayer, who won a 2003 Grammy for his album “Room for Squares” which he mixed, Juliano has a great ear for sound, but was ready for the change.
“I’ve been going through so many speakers in my time mixing, I was an NS10 guy for so many years, and started to believe that was the only speaker in the world that mattered. The Focal Twin 6 Be monitors are the best that I’ve used in terms of studio-to-consumer listening translation for car stereos, clock radios — iPod ear buds, you name it. They really translate: what I hear in the studio is what the outside world hears, in my experience. When I go to the car and check a mix, it’s what I hear in the studio. That’s the end-all, that’s what matters,” stated Juliano.Read More »
Engineer Chris Prinzivalli on the Focal Twin6 BE Monitors for TV Production
These days engineer Chris Prinzivalli and his Focal Twin6 BE monitors go everywhere together. His specialty is live music recording and mixing, and he is working on a lot of music for TV. He has mixed live music projects for TV with artists such as Cyndi Lauper, Julio Iglesias, Huey Lewis & The News and many others. When at Kaufman Astoria Studios to mix the Sesame Street Workshop music, he brings in his Twin6 monitors. Prinzivalli honed his live mixing and recording techniques from behind the desk at countless shows, festivals and television specials. Along the way he has worked with Record Plant Remote, MTV Networks and ABC Television. These days, when he gets the call to record and mix in a TV studio or remote truck, he brings along his Focal Twin6 monitors. A sound he can trust.
A friend of Prinzivalli’s and distributor for Focal Professional who always offers him new gear to try out, told him about the Twin6 BE monitors, he got to try them and liked what he heard. Remembering the first time he tried the monitors Prinzavali said, “My friend always calls me up and says ‘Hey I just got a new piece of gear, I want you to check it out, I want your opinion.’ Focal had released a new series of monitor, so I grabbed the Twin6s from him and they were absolutely fabulous. They sound great and they look great.”Read More »
Engineer Ian Boxill Mixes an Urban Sound with FOCAL Monitors
Focal Solo 6 Be Monitors are Key to Mixing in his Personal Studio
Engineer Ian Boxill recently installed Focal Solo 6 Be monitors in his personal studio, and has begun mixing a top-secret project. With the past three Prince albums behind him, and a 2008 Grammy for “Best Male Vocal” on the Prince penned song Future Baby Mama, Boxill is primed for new and great things. Deciding to upgrade his studio with new monitors, Boxill chose Focal and is loving the sound, “Focal speakers have the rare quality of being very musical sounding, while maintaining clarity and detail. Not a very easy feat to pull off. While listening to my favorite recordings on a pair of Focal Solo 6 Be’s I heard instruments and parts that I had not heard before. Wow. Well done Focal, well done.”
Known for his deft touch with powerful R&B and Urban vocal artists such as Tupac Shakur, Janet Jackson, P. Diddy, Aaron Neville, K Ci, Jo Jo, Christina Milian, and Prince, among many others, over the past 15 years Boxill has divided his time between working in his personal studio and studios that artists choose. Now with his own personal studio upgraded with Focal monitors he’s embarked on a mixing project that will be revealed in early 2009.Read More »