News

Mike Wells Gets Dangerous

Engineers Chris Dugan and Chris Lord-Alge team up to record and mix album, while Mike Wells masters the Billie Joe Armstrong production at his Dangerous Music equipped LA studio

Mastering engineer Mike Wells recently completed a project for producer Billie Joe Armstrong, the new “Emily’s Army” album titled Lost at Seventeen (Adeline Records). The sophomore album release will debut June 11, 2013 and features the drumming of Armstrong’s son Joey; Wells also mastered the band’s first album. Engineer Chris Dugan recorded the album and worked with mixer Chris Lord-Alge and producer Armstrong to coordinate the mastering at Wells’ LA mastering studio which is all based around a Dangerous Music equipment.

Read More »

Grammy-Winner F. Reid Shippen

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

2012 was a big year for mixer F. Reid Shippen, having taken home two statues out of his seven Grammy(r) nominations. Shippen mixes in his Nashville studio and utilizes the sonic fingerprint of several pieces of Dangerous Music hardware. His two Grammy wins this year are for Best Country Duo/Group Performance with his mix of the song “Pontoon” for Little Big Town, and Best Contemporary Christian Music Album for mixing TobyMac’s “Eye On It” album. Shippen is also nominated for Audio Engineer of the Year at the upcoming Academy of Country Music Awards in April. All Shippen’s mixes use the Dangerous Music products as key ingredients to get the right sound for each project.

Read More »

Dangerous Returns To The Grammys

2012 Award Nominated Projects from Top Engineers & Producers using Dangerous Music equipment

As the 56th Grammy(r) Awards show approaches, multi-award-winning hardware manufacturer Dangerous Music is offering congratulations to several of their users who have Grammy nominated projects for 2012. This year, nominated projects recorded, mixed or mastered utilizing Dangerous gear include artists such as Tom Waits recorded and mixed by Karl Derfler, Marilyn Manson co-produced by Chris Vrenna, The Roots, Lupe Fiasco, Elle Varner and John Legend with Ludacris mastered by Dave Kutch, Little Big Town, TobyMac, Matthew West, Kari Jobe, and Brit Nicole mixed by F. Reid Shippen, Kenny Garrett mixed by Todd Whitelock, and 2 Chainz mastered by Glenn Schick. The Grammy Awards are to be televised live February 10, 2013 on CBS.

Read More »

Junior Sanchez Gets Dangerous

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 »

Richie Biggs & Charlie Peacock

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 »