Post Magazine

February 2010

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Dangerous Music's ST-SR stereo and surround monitor control system. While audio post talent is most important, we cannot deny the role of tools that help that talent reach its full potential. It is easy to forget how much we rely on people who are bold enough to create new products and star t their own companies. Some have even re- defined how we work DA N G E R O U S M U S I C When Bob Muller, owner/founder of Edmeston, NY's Dangerous Music (, opened a recording studio in 1992 in New York's East Village, he had no plans to become an equip- ment manufacturer. Muller, a musician and recording engineer, teamed up with chief electronics designer Chris Muth to build and improve the equipment in their own studio. As a result, they developed a whole new category of audio products. Products like the 2-Bus, the Monitor and the MQ reflected the needs of digital audio worksta- tions long before many other companies understood this market. Muller explains how his company started: "I had met Chris Muth on a session when he was brought in to engineer something I was playing on. He is an amazing bass player and innovative electron- ics designer who knows his way around recording studios. We became friends and par tners, and spent our time and spare cash improving Dangerous Music, the recording studio." Like most recording studios during the mid-'90s, Dangerous Music experienced the transition from analog tape and a traditional console to smaller, more powerful DAWs. As studio owners, they could see the recording studio business change into a new in- dustr y that required new tools. "That time period was when the paradigm shift from the 2-inch tape with analog console set-up to this new thing called a Innovation and risk are behind today's much-used audio gear. By Ron DiCesare

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