Dangerous Music MASTER CUTTER Vinyl Mastering Transfer Console

Dangerous Music MASTER CUTTER Vinyl Mastering Transfer Console

EAN: 647697657164

Mastering engineers looking for a dedicated mastering console for cutting vinyl will be thrilled with the Dangerous Music MASTER CUTTER, a 2 RU mastering console that harnesses the technology used in Chris Muth s custom consoles built for the most elite studios. The MASTER CUTTER ties together all of your equipment into an elegant system that delivers incredible headroom, a robust and musical sound, and crystal-clear sonics that you can rely on all day, every day, for decades.

The MASTER CUTTER is a version of Dangerous 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.

At a Glance

• 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

Transparency and Flexibility for Mastering to Vinyl

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

Individual L/R Input Level Controls

Use these controls to perfectly set the stereo image, delicately compensating for any embedded imbalances in the mix. These controls use stepped attenuators that offer 0.5 dB steps with .01 dB of gain-tracking accuracy between channels for perfect stereo imaging at all volumes. The deep craftsmanship of working in analog is gain-staging, and the MASTER s separate input controls allow you to hit your outboard gear s sweet spot and compensate at the main stereo output stage feeding your recording A/D converter, tape machine, or other capture device for optimal sound from your rig.

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.

Onboard 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.

Two Inputs and Three Outputs

A dedicated monitor output accompanies two stereo output paths that can be routed to A/D converters, tape machines, patch bays, or wherever the signal needs to go to get the job done. Many MASTER owners use the dual outputs to make direct A/B comparisons between different A/D units, listening for the vibe that best suits that particular record. The two inputs, selectable on the front panel, make it easy to have a D/A normalled to the first input and the second input wired to a patchbay or tape machine.

Hooking up with the Liason

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 (sold separately) 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 and 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. ]