via Pro Tools hardware inserts, and then that entire group or submix typically has some subtle processing on it at the stereo output of the 2-Bus. The signal flow is such that individual instruments or voices access their particular compressor, EQ, de-esser, etc. The output of the 2-Bus ‘A’ is routed to a buss compressor and a particular EQ suited to the vocals. For parts that I want straight up the middle, I use the Mono button on that 2-Bus channel for other parts that are panned out towards the sides, I set and/or automate the panning inside Pro Tools. The first 2-Bus (‘Bus A’) got all Kalimba’s vocals. The thing that’s great about the Dangerous 2-Bus for me is that the ‘mastering aesthetic’ of the Dangerous gear allows me to keep the coloration that I have in its pristine state, rather than adding to it.”įor the Kalimba mixes, his multiple Dangerous 2-Bus setup was perfect he says, “I always divide my mixes into three submixes. James describes the purpose of the setup, “Whether I am doing strings today, detuned heavy rock guitars tomorrow, or a singer-songwriter the next day, I have to make sure that I keep everything in the sweet spot, and that I’m not adding color where I don’t want it.
It breaks down to three 16 x 2 mix sections.” He then sums those 6 channels into another device for adding color if he wants it. “I use my three 2-Bus units as 48-channels in, by 6 out. He uses the three Dangerous 2-Bus analog summing amps in a “very interesting way,” as he says. Mixing the hit song ‘Estrellas Rotas’ for Kalimba, James utilized his complete Dangerous Music system to get the golden sound that’s put the track at the top of the charts. It’s just so nice to be able to make mix decisions really quickly without second guessing anything.”
#2BUS SIGNAL PATH UPGRADE#
The Monitor ST was an audible upgrade to my other monitor controller, it sounds great! There are no surprises when my mixes go to mastering. I had a monitor controller already that I really liked and it sounded fantastic – I thought it couldn’t be beat – but it didn’t have the flexibility that I wanted, and I also needed surround-monitoring control. James says, “I was talking with (engineer/producer) Fab Dupont about monitor controllers and he recommended Dangerous Music gear and put me in touch with the company. James first bought the Monitor ST/SR stereo and surround controller when it came out in 2006, and then he eventually designed his whole studio around Dangerous Music gear, adding three, 16-channel, Dangerous 2-Bus analog summing units, two BAX EQ’s, the recently released Dangerous Compressor, as well as the Dangerous Liaison re-callable analog patching system. Croce, Chicago, Jawbreaker, and Mario Guerrero, to name just a few. James’ mix career spans a host of musical artists including New Radicals, Hole, Far, L7, Robben Ford, Edwin McCain, Maia Sharp, A.J. “This is a very special record for Kalimba, so I’m blessed to have been part of it,” says James, who mixed the hit record using a large collection of Dangerous Music gear. Mix engineer Michael James has a double number one hit for his mix of the song “Estrellas Rotas” from recording artist Kalimba’s latest record on both Monitor Latino’s ‘Plays” and ‘Audience Reach’ charts for seven consecutive weeks so far.
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