Issue link: https://digital.copcomm.com/i/607566
www.postmagazine.com 16 POST NOVEMBER 2015 DANGEROUS MUSIC SHIPS 2-BUS+ ANALOG SUMMING MIXER TO DEALERS/DISTRIBUTORS EDMESTON, NY — Dangerous Music (www.dangerousmusic. com) is shipping its new 2-Bus+ 16-channel analog summing mixer to dealers and distributors around the world, offer- ing a ground-up redesign of the Dangerous 2-Bus+, which includes three onboard custom all-analog audio processors for tone control. The new product was demo'd during AES in New York last month. The new 2-Bus+ is a two-space rack-unit, 16-channel analog-summing mixer, with both XLR and D-sub inputs. New features include three separate custom onboard audio processors to add tone and color to mixes. The 'Harmon- ics' processor is a tuned harmonic distortion generator executed in parallel-processing mode with a blend control. 'Paralimit' is a FET limiter on stun, also in parallel mode. Both of these processors can be applied across the stereo mix, or on a pair of stems. 'X-Former' inserts a pair of custom transformers on the stereo mix and has a control for core saturation. All three tone controls can be active at once, and the order of signal flow through distor- tion and limiting can be flipped. "We went with a clean slate when designing the new 2-Bus+ while at the same time retaining the sonic feel and identity that made the original 2-Bus leg- endary," says Bob Muller, president of Dangerous Music. "We managed to beat the original design specs and achieve superior crosstalk, distortion and noise floor performance for even greater imaging, punch and center focus." The new Dangerous 2-BUS+ is now available at a street price of $2,999. AUSTRALIAN DISTRIBUTOR AMBER TECHNOLOGY SUPPLIES ARTIST WITH DPA MICS TO CAPTURE SOUNDS OF AFRICA ALLEROED, DENMARK — Daniel Blinkhorn (www.danielblinkhorn.com), an independent artist, composer and lecturer, has been using DPA Microphones' (www.dpamicrophones.com) d:dictate 4006A omnidirectional microphones in a variety of ways to capture the sound of some of the planet's most important habitats. More recently, Blinkhorn spent over a month travelling through Africa's myriad soundscapes and chose to use DPA's d:dictate 4006A omnidirectional microphones — which were recommended and supplied by DPA's Australian distributor Amber Technology (www.ambertech.com.au). His background is in recording sound for creative compositions, as well as archival and eco-acoustic resources. As Blinkhorn explains, this entails "creative works of all kinds, using instruments, sound installations, film sound, fixed-media and acousmatic music, and plenty of sound design." For this project, he recorded in the field in Tanza- nia, Kenya, Rwanda, Zanzibar and the Côte d'Ivoire. Blinkhorn's African adventure was a one-off and he knew from the outset that he wouldn't have a chance to re-visit many of the places on his itinerary. Therefore, he was very careful when it came to choosing his portable recording rig, especially in his choice of microphones. "A key reason why I chose DPA microphones was familiarity," explains Blinkhorn. "Not only had I used them in places throughout Svalbard in the winter time, Alaska and Australia at the height of summer (really putting their ability to function in extreme heat and cold to the test), but I knew that many of the places I would be visiting encompassed expansive distances. This made the choice of microphone even more critical. With the DPA d:dictate 4006As, I could take full advantage of the lower frequency capacities when recording from further afield, plus their legendary ability to offer uncompromising high frequency sound capturing meant they were also ideal when I was closer to the subject matter." "The d:dicate 4006A omnis are renowned for their precision and brought quite a bit more to the table," adds Blinkhorn. "Precision is very important to me when I'm recording in the field as I am attempting to capture all manner of nuance, depth and gradation of sound. Neutrality is also important and the DPAs provided a clean, responsive, highly articulate, zero coloration to the field recordings. Natural acquisition of materials is paramount, and the mics per- formed faultlessly in a variety of complex auditory environments." As is usual for recording on the fly, Blinkhorn often needed to record at a moment's notice. His creative solution was to modify a blimp and house the microphones securely inside its casing in a stereo configuration. "After a little finessing and wrangling of the original blimp, I was able to attain a symmetrically-balanced equilibrium between the two omnis in an attempt to capture as complete an audible image as possible," he explains. "It really did assist in an easier and smoother workflow, but as I do most of my work in sur- round sound, I also intend to start using DPA's d:mension 5100 mobile surround microphone because I believe it will augment this compact rig and enable a myriad of configurable possibilities: most importantly, surround recording." Blinkhorn adds that the d:dicate 4006A microphones overcame almost every issue he had encountered when using other manufacturers' equipment. Blinkhorn's most recent audio release is "frostbYte," a suite of four tracks ranging from MP3 to 5.1 surround sound, on UK label AudioBulb. RESELLER NEWS