VINYL MASTERING TRANSFER CONSOLE

TRANSPARENCY AND FLEXIBILITY FOR MASTERING TO VINYL

As vinyl makes its resurgence, cutting is becoming a required service in many mastering rooms. Thus we are offering the new Dangerous Music CUTTER, a version of our proven MASTER transfer console with its incredible all-analog Mid-Side matrix and transparent routing, now with outputs especially designed to feed a lathe.

A lathe requires two identical but separate stereo signals from the final output stage, one to feed the preview computer that determines the size and shape of the groove to be cut, and one to feed the cutting head. The CUTTER accomplishes this seamlessly and is one of the only modern devices to do so. We look forward to providing tools for the new generation of cutting engineers.

HOOKING UP WITH THE LIAISON

If the three insert points aren’t enough to handle a more elaborate mastering rig, you can use the MASTER in conjunction with the powerful Dangerous Music LIAISON to patch in even more analog equipment at the touch of a button. For example, by inserting the LIAISON’s two stereo busses onto two of the MASTER’s insert loops, you’ve expanded from three to seven stereo inserts while simultaneously introducing analog-domain parallel processing, button-enabled signal rerouting, and instant patch recalls. You’ll get the speed and ease of digital-style recall from your analog gear.

INVESTING IN THE ANALOG SOUND & WORKFLOW

While some engineers are willing to run their mastering processes digitally – or “in the box” as the familiar phrase goes – the top professionals all rely on analog mastering equipment to achieve truly successful final production masters. When you purchase top-shelf analog equipment like the MASTER, you’re making an investment that will last your entire career. Because there’s no operating system, plugins, DAW or computer to become incompatible and, thus, obsolete, your analog gear will never require expensive upgrades. As one of the centerpieces in your mastering studio, the MASTER pulls all of your analog investment pieces together into an elegant “mastering rig” with a workflow and sound quality previously only known to those able to pay tens-of-thousands of dollars for custom mastering consoles.

INPUT MONITOR OFFSET

This critical feature allows you to match levels between your processed signal (output) and unprocessed signal (input) so that you can make comparative judgements without misleading volume changes. Once input and output levels are matched, simply use the In/Out switch to objectively compare your mastering work to the original. Additionally, you can more accurately use a peak-over-average meter array (such as the one found in the Dangerous Music CONVERT-2 mastering D/A converter) to visually confirm your MASTER’s loudness density. These are all important strategies used by top professionals to delicately manage the creation of a thoroughly professional production master.

THREE FRONT-PANEL SWITCHABLE INSERTS

These stereo inserts tie all of your EQs, compressors, limiters and de-essers together into an elegant, rock-solid mastering rig. The MASTER’s front-panel switches give you functionality previously only available on very expensive, custom-built mastering consoles. And on Insert 2, you get Chris Muth’s ground breaking Mid/Side processing.

ON-BOARD MID/SIDE PROCESSING

Residing on Insert 2, the Mid/Side processor inside the MASTER is an audiophile-grade sum-and-difference matrix. By “encoding” and then “decoding” the stereo signal, this matrix allows you to obtain separate control over the center and the sides of the stereo mix. A tool employed by deeply experienced mastering engineers to address specific issues in a mix without compromising other aspects of the stereo image, Mid/Side processing is the most powerful mastering tool available. For example, manage a harsh vocal or a strident snare in the middle of a mix while not affecting the instruments panned to the sides. Or perhaps one needs to tame some widely-panned cymbals while maintaining vocal air and articulation at the center of the mix. Further, on some occasions, mastering engineers might be processing the middle and the sides with completely different processors.

WIDTH CONTROL

This allows you to use the MASTER’s Mid/Side matrix to control the level of the “sides” of the mix, which changes the perceived stereo width. This is incredibly helpful when deploying any Mid/Side processing, but even when you’re not engaging outboard gear, the width control allows you to “focus” the stereo image perfectly. Ever come across a song that’s not sitting well among the others on the record? How about mastering a compilation where the width varies greatly? Whether you’re tightening or widening the stereo field, the width control is often exactly the right tool for pulling all the songs together into a coherent record.

FEATURES:

• Hand built in the USA with the world’s finest components
• Legendary circuit design from Chris Muth’s pristine mastering pedigree
• Stepped controls throughout
• Transparent and simple operation
• Seamless connection with the Dangerous LIAISON
• Integrated Mid/Side processing
• 2 stereo inputs, 3 stereo outputs (one for monitoring)
• 3 insert loops

SPECS:

• All connections are Balanced XLR, +4dBu nominal operating level
• 2 stereo inputs,
• Output 2 stereo Main 1, 2 stereo Main 2, 2 stereo for monitor

Shipping costs are calculated at time of checkout by our shopping cart, based on the weight of your order and the method of shipment.