Artist, composer and producer adds the Dangerous Source monitor controller to his Paris studio with stellar results
Internationally acclaimed solo artist, composer and producer Dan Black recently added the Dangerous Source monitor controller to his Paris studio setup. He feels the Dangerous Source has made huge differences in his studio for writing his own music and collaborating with other artists. “I noticed a profound improvement in detail with the Source, it was like a veil was lifted,” says Black.
Dangerous Music is a leader in monitor solutions, garnering multiple industry awards and pioneering the product category with the introduction of the “Dangerous Monitor” in 2003 and more recently the Monitor ST/SR for stereo and surround, the D-Box and now the Dangerous Source: which offers the Dangerous Music quality and adds both portability and affordability to any studio setup, from a laptop to a full-on Pro Tools HD rig and large format console – and every studio in between.
Although Black has a very nice recording and mixing setup, his previous monitoring control was not great, “Only upon receiving the Dangerous Source did I realize how weak the link was! I was in a space that I had been working in for awhile, and everything else was the same except the monitor controller. I noticed a profound improvement in detail when I added the Source – being able to hear problems and overall a much more pleasant listening experience. I write mainly, so a lot of what I do is listen to the same thing a thousand times and the Source makes that a lot less taxing.”
Black recalls how he found out about the Dangerous Source controller, “A mixing friend of mine based in Paris, who has a big SSL studio on the other side of Paris from me, has a lot of Dangerous gear in his room, and he came around to my studio and commented on the weak link in my chain which was my not-very-good monitor amplifier, he said ‘You need to sort that out!’ and he introduced me to the folks at Dangerous Music.”
“I’ve had a similar experience with the headphone amp in the Source,” adds Black referring to a ‘lifting of the veil’ in sound quality. “I instantly heard lots of detail, the Source made the music instantly a lot less fatiguing. I am also able to work at a lower volume and still be ‘into the vibe’ of the track. I’m able to work constructively without having to ramp up the volume, I can stay at the same volume for a long time and still feel like I am hearing everything. It’s actually quite important, with my ears being quite important to my job!”
Black keeps his main studio workhorse setup with the Dangerous Source and also uses his laptop connected to the Source on the second input, a unique feature of the Source. “Most of my time is either writing for myself or with other artists and a lot of that involves continuously referencing other things, not just music, jumping on other material on the Internet. The fact that I can use the USB out from my laptop at the same time as my main rig, that’s a huge game-changing thing. I don’t have to jump between programs. I have the same audio quality using the two inputs simultaneously, it’s almost like it’s the same computer. That’s the massive advantage of the Source. Having two separate digital sources fed to the monitor controller and listening through the same D to A converter without having to change anything has made my life a thousand times easier. I use that everyday,” explains Black.
Black uses Apple Logic to write and record and often also uses Ableton Live, and AVID Pro Tools if someone sends him a session in Pro Tools. In live shows he tends to use ‘Live’ onstage. “At the end of the line in a production I’ll use Logic, but more and more I find I use Live to write with as well because it’s different,” Black reveals. “I have a good mic-line chain and a good A-to-D converter. I don’t work with bands, I work with solo artists or myself so I need at maximum two good lines in at one time. So I bought a Mitek A-to-D converter and a MOTU Express and now I’m monitoring digitally through the Source. That’s quite radically changed my work,” states Black. “The Source is doing a lot of stuff, it’s the speaker monitor controller and it’s bringing in sound from the Internet, iTunes, Spotify on the laptop – it’s multitasking.”
When a writing partner heard the difference the Source made in Black’s studio setup he got an immediate response, “A another producer/writer I work with regularly in Paris after hearing the Source he is threatening to buy one too. He’s got a good setup and has better monitor control than I had, but the thing I just talked about – easily listening to two sources without changing anything – and the simplicity of the Source impressed him. He heard my setup and went ‘OK, that’s a thousand times better, and I think I might get one!’
Black is sure to take the Source on tour with him to continue to work on music. “Ask me when I’m on the road again! [laughs]. Last time he was on the road for 3 years.
Black has worked on a lot of music since getting the Source, including his own recordings, “Obviously I’ve been using it a lot on my own stuff – a lot of which is finally coming out this year. I’ve been also working with a lot of artists in Paris and Europe including “Weekeed,” and an Island-Def-Jam signing: “Wrabel,” he’s based in LA, but he was in Paris, I used the Source for that session too. Another artist I used the Source with was “Bag Raiders,” also an LA based duo, but they are from Australia. I’ve started working with French artists too, one who won the French TV show “The Voice”, “Olympe.” I’ve also done music recently for Kid Cudi,” says Black.
When discussing the ease of use of the Dangerous Source, Black only says, “My 2-year old son has learned to use it, so that’s a good sign!” But he adds seriously, “In many ways I don’t even think about it, in a good way. The Source instantly does what you want it to do without having to figure it out. The Source does what it says it does, and very well!” concludes Black.
Find out more about Dan Black at: http://www.dan-black.com
About Dangerous Music
Dangerous Music, Inc. designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and company founder Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company 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 and its Additional Switching System expansion units, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source and Dangerous Bax EQ.
For more information on Dangerous Music visit http://www.dangerousmusic.com phone 607-965-8011 or email: info@dangerousmusic.com
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