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Schick Gets Dangerous

Edmeston, NY (March 30, 2009)--Atlanta-based mastering engineers Glenn Schick and Colin Leonard have put the finishing touches on a surround DVD and broadcast version of Shawn Mullins’ release, Live at the Variety Playhouse (Vanguard).

Glenn Schick with his
Dangerous gear.
Edmeston, NY (March 30, 2009)–Atlanta-based mastering engineers Glenn Schick and Colin Leonard have put the finishing touches on a surround DVD and broadcast version of Shawn Mullins’ release, Live at the Variety Playhouse (Vanguard).Schick’s all-analog surround mastering room features three Dangerous Master mastering consoles (to cover the 6-channel work), paired with the Dangerous Monitor ST/SR stereo and surround monitor controller.

Schick comments, “We do almost all of our work in the analog domain. We’ve honestly tried so many times over the last few years to go the all-digital route, but really nothing out there gives us the kind of results that a good analog chain does. We’re just pleased as punch; we’re killing the work we did years ago. We are getting more out of the Dangerous setup than anything we could have imagined. The system lets us get a great musical, lively sound—it’s doing wonders for really ‘dead’ DAW tracks that we’ve been getting as source material.”

Schick is not a newcomer to Dangerous gear. “I started working with [Dangerous Music technical engineer/product designer] Chris Muth years and years ago, who obviously has a huge hand in designing the Dangerous products. He had built some custom gear for me back in the day for one of my first studios.

“Because I knew Chris, I was able to get one of the very first Dangerous Masters to be built,” he adds. “There were a lot of people waiting for this box to hit the street, since while Chris was at Sterling [Sound], he was contractually bound not to make a console for any other mastering houses worldwide. It was interesting–we actually had commissioned some custom pieces [of equipment] from some very well known companies that we immediately replaced with the Dangerous Master when we heard it because we were so much happier with the sound. In addition to the sonic quality and the character of it, the feature set is ideal, it’s made as well as anything you could want, and very reliable. The Master is quite elegantly designed–obviously by somebody who knows what a mastering engineer looks for. I love the piece to death!”

Commenting on the use of the “S&M” mid-side processing section of the Dangerous Master, Schick states, “We use quite a bit of the S&M processing in both our surround and stereo work. We even use the S&M in the rear channels. I’m very happy with it; it’s a pretty transparent process. Chris is the guy who originally developed this ‘magic box’ for mastering back in the ‘80s. The Master lets you work in M/S easily, and without compromising the signal. I’ve had other pieces of gear that attempted to do this but they ended up diminishing the sound.

“We set up a full analog surround sound room last year,” Schick says of his latest enterprise. “I believe we are one of the few people in the country who do full 5.1 analog surround mastering. We have the Dangerous Monitor ST/SR surround monitor controller along with three Dangerous Masters in that room as well. We have the nicely named A.S.S. box for D/A conversion and digital input switching. We have the ST/SR monitor controller set up for both stereo and 5.1 and we can instantly switch between our stereo setup and our 5.1 setup.

“This is in our second room,” Schick adds. “We have one room that is a dedicated stereo room. The stereo room uses a Dangerous Master with one of Chris Muth’s original monitor controllers.”

Glenn Schick Mastering

Dangerous Music, Inc.