Richie Biggs & Charlie Peacock
Producers & Engineers Working in Busy Nashville Scene get “Consistency and Killer Sound” Mixing with Dangerous 2-Bus Analog Summing
Richie Biggs (left) and Charlie Peacock in their Nashville studio
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 »Billy Mohler Gets Dangerous
Artist development business takes a leap with Grammy nomination, record deals and Dangerous Music equipment
Musician and producer Billy Mohler uses the Dangerous D-Box
A musical life can take a few twists and turns before settling in. Early on as a musician Billy Mohler studied upright bass at both the Berklee College of Music, and the Thelonious Monk Institute of Jazz. But he’s found a niche developing artists and producing, especially solo artists and Indie bands. Mohler also plays guitar and keyboards – and drums. In fact, when he’s working with a solo artist he often plays all the instruments on the album. These days, he works in his own studio in the Los Angeles area and harnesses the power of the Dangerous Music D-Box for analog summing and monitoring. At the 2012 Grammy(r) Awards one of the recent albums Mohler has songwriting credit on was nominated for “Best Latin Pop Album,” Nuestra by Gustavo Galindo.
Mohler says, “I’ve been using the D-Box for about 3 months, and it’s incredible, I love it. I work mainly in-the-box, so it’s nice to have for bouncing out mixes or songwriting sessions. Everything sounds wider, a little more transparent, more punch. It kind of bridges the gap for me,” he explains. “You can drive it hard so you can give it a nice analog crunch. It adds that next level of glue that I wasn’t getting from my in-the-box mixes. Mixes have a clear separation between the instruments and being able to sum the bass on it’s own output, I notice a smooth consistent bass response that I wasn’t getting from my in-the-box mixes. There’s just more definition in each instrument, more character and punch.”
Read More »Dangerous Music Rocks The Grammys
Dangerous Music is extending congratulations to several of their users who have Grammy(r) nominated projects for 2011. All the clients have great praise for the Dangerous Music gear they used in their productions, from the Foo Fighters, with mastering engineers Emily Lazar and Joe LaPorta, the Kings of Leon with co-producer and engineer Jacquire King, Glenn Schick mastering for Canton Jones, and Nashville’s producer and engineer John Schirmer for Keb Mo, to the engineers and producers at New York’s Stadium Red studios who turned out a host of nominations for projects from artists J. Cole, Chris Brown, Marsha Ambrosius, and classical composer Steven Mackey.
Rock royalty Foo Fighters and platinum favorites Kings of Leon share Rock Grammy accolades with Best Rock Album nominations, while the album and songs from the Foo Fighters “Wasted Light” also have nominations for Album of the Year, Best Rock Performance, Best Hard Rock/Metal Performance, Best Rock Song and Best Long Form Music Video. The Foo Fighters album, (produced by Butch Vig who’s up for Producer Of The Year, Non-Classical), was mastered by Emily Lazar and Joe LaPorta at The Lodge Mastering in NY, using Dangerous Music equipment. While the Kings of Leon release “Come Around Sundown” was co-produced and mixed by Jacquire King using Dangerous Music gear extensively throughout the production process.
Read More »Sean Beresford: Third Eye Blind
Sean Beresford Chooses Focal Monitors for Mixing New “Third Eye Blind” Tracks
Sean Beresford at the Third Eye Blind studios in SF
Sean Beresford has engineered, edited and/or mixed Vanessa Carlton, The Explosion, The Star Spangles, The Upwelling, The Donnas, Brain and Buckethead and The Echo Falls as well as continued a long-time connection with San Francisco Bay Area band Third Eye Blind. He recently was the recording engineer on Third Eye Blind’s upcoming new album “Ursa Major” on their own subsidiary of Sony/RED due out late summer 2009. The band recorded at Stephen Jenkins new Carriage House Recording studio in San Francisco, where Beresford is also mixing 6 of the songs. The new album was a long creative process and included a serious studio monitor evaluation, between a host of top contenders which ultimately ended in the purchase of a pair of Focal Solo 6 Be monitors.
Although the Carriage House Studio has several sets of larger and smaller speakers to choose from, for those all-day mixing sessions Beresford likes to mix on the Focal Solo6 Be monitors, he says “I don’t really enjoy listening to mains that much. I prefer mid-field or near field monitors. The Focals sound really, really good. The top end seems to be really accurate and I find them more than adequate for understanding where I’m at with the low end.”
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