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Resta Sums with Dangerous

Edmeston, NY (May 11, 2010)--Dangerous Music's 2-Bus analog-summing amp plays a major role at producer Anthony J. Resta's Bopnique Musique studios, north of Boston, MA.

Edmeston, NY (May 11, 2010)–Dangerous Music’s 2-Bus analog-summing amp plays a major role at producer Anthony J. Resta’s Bopnique Musique studios, north of Boston, MA.

Resta and his mix engineer, Karyadi Sutedja, have worked with Duran Duran (30 tracks); Collective Soul, who are 10-year clients; Megadeth; Guster; Shawn Mullins; and Perry Ferrell, among many others. Although the 3,700-sq.-ft. studio space has a lot of key equipment, Resta gives special praise to what the Dangerous Music 2-Bus analog-summing amp brings to their sound.

Describing how the Dangerous 2-Bus fits in to his Pro Tools-based mixing system, Resta says, “Basically we send out stereo stems from the mix to our outboard gear–we use pairs of Neve 1072s and 1073s, pairs of Focusrite RED and ISA 110s, Universal Audio 610s. We have a bunch of different configurations that we use to buss audio out of Pro Tools, through the outboard and then to the Dangerous 2-Bus, where the final mix is summed to stereo. Naturally we do the automation all in Pro Tools so it’s super easy to recall a mix. The Dangerous 2-Bus makes the stereo image wider and there’s much more headroom, and we notice a tighter low-end–it’s made a huge difference in the sound of the records we’ve been making!”

Engineer Karyadi adds, “The analog summing process of the Dangerous 2-Bus brings back the true depth of a mix–space perception created in the mix and/or recording by using reverb, echo, or actual room miking–that was missing when the mixing was done 100 percent inside the box. When using the 2-Bus the stereo image becomes much clearer, the spatial placement of tracks in the mix are more pin-pointed, and the mix will not collapse even when it is getting dense, something that we used to only be able to get when mixing on a high-end analog console.”

Dangerous Music, Inc.