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Juliano Moves To Dangerous Mix

Edmeston, NY (October 27, 2008)--Jeff Juliano has mixed many platinum-selling albums and is a favorite mixer for artists like Jason Mraz, Josh Kelly and Lifehouse, as well as John Mayer, who won a 2003 Grammy for his album, Room for Squares, which Juliano mixed. He has recently begun using the Dangerous Monitor ST controller and Dangerous 2-Bus analog summing amp in his own studio.

Edmeston, NY (October 27, 2008)–Jeff Juliano has mixed many platinum-selling albums and is a favorite mixer for artists like Jason Mraz, Josh Kelly and Lifehouse, as well as John Mayer, who won a 2003 Grammy for his album, Room for Squares, which Juliano mixed. He has recently begun using the Dangerous Monitor ST controller and Dangerous 2-Bus analog summing amp in his own studio.

“I have the Dangerous Monitor ST and the Dangerous 2-Bus, both of which I cannot live without now,” said Juliano. “I’ve used other monitor controllers, but I feel like I’ve stepped into the major leagues in terms of a listening environment with this equipment. It’s ridiculous! I could immediately hear the difference, and I had to have it.

“I plugged in the ST and listened back to a mix that I had been working on for a day and thought was decent,” added Juliano. “But I started hearing stuff that I didn’t hear before and things that I wanted to go back and fix, which I did. I ended up also recalling the first three songs on the record and remixing them because I could hear issues with the high end, a little clutter in the low mids and some imaging things. It created more work for me, but the project turned out better. The ST makes listening consistent. It doesn’t matter what great outboard gear you have–if you don’t hear it right from the get-go, it doesn’t matter what’s in your rack. The ST really makes my job more fun now, because I feel like I can hear everything.”

Regarding the Dangerous 2-Bus summing amp, Juliano continued, “I was using another brand of summing amp and I was happy with it, but as soon as I plugged in the 2-Bus, I was floored. I know Dangerous was the first to make a summing amp, and after hearing it, I don’t think anyone else should have bothered. When I switched from my other summing box to the 2-Bus, it was as night-and-day to me as it was from going from mixing in-the-box to out-of-the-box. In terms of imaging, clarity in the low end, and headroom for days, I could just push things and it sounded more open. I noticed a lot of space in the top end and the mix became airy and more pleasing to the ears.

“I’m currently mixing a live DVD and double-CD release for Paramore that is sounding incredible through the Dangerous gear. With ‘current’ rock music, huge headroom and clarity are extremely important when pushing vocals through walls of guitars and drums. I’ve mixed on a bunch of different large-format British analog consoles in the past and the Dangerous stuff is just killing them in this genre. I just could not be happier. I also recently finished mixing half the record for a band called Kropp Circle. I mixed the last song with the Dangerous 2-Bus. The previous songs were mixed on the other summing box, and I didn’t tell the producers. After sending them the last song, they called and said ‘That’s one of the best mixes you’ve ever delivered to us’–seriously, it was not coached, I didn’t tell them I had changed anything in my room! When you have such an important client that sends you all their mixes and they tell you that, you just have to buy the equipment. That was when I was trying the 2-Bus, so after that I called Bob [Muller] at Dangerous and said, ‘I gotta have it.'”

Dangerous Music
www.dangerousmusic.com

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