Edmeston, NY- October 7, 2008 – Mixer Jeff Juliano is no stranger to good sound. He’s mixed many platinum-selling albums, and is an all-around favorite mixer for artists like Jason Mraz, Josh Kelly and Lifehouse, as well as John Mayer, who won a 2003 Grammy for his album “Room for Squares” which Juliano mixed. When Jeff tried out the Dangerous Monitor ST controller in his own studio and was blown away by the sound, he immediately asked Dangerous Music to send him a Dangerous 2-Bus analog summing amp to try with his system. The rest is history.
“I have the Dangerous Monitor ST and the Dangerous 2-Bus, both of which I cannot live without now,” said Juliano. “I’ve used other monitor controllers, but I feel like I’ve stepped into the major leagues in terms of a listening environment with this equipment. It’s ridiculous! I could immediately hear the difference, and I had to have it.”
“I plugged in the ST and listened back to a mix that I had been working on for a day and thought was decent,” added Juliano. “But I started hearing stuff that I didn’t hear before and things that I wanted to go back and fix, which I did. I ended up also recalling the first three songs on the record and remixing them because I could hear issues with the high-end, a little clutter in the low-mids and some imaging things. It created more work for me, [laughs] but the project turned out better. The ST makes listening consistent. It doesn’t matter what great outboard gear you have – if you don’t hear it right from the get-go it doesn’t matter what’s in your rack. The ST really makes my job more fun now, because I feel like I can hear everything.”
Regarding the Dangerous 2-Bus summing amp, Juliano continued, “I was using another brand of summing amp and thought I was happy with it, but as soon as I plugged in the 2-Bus I was floored. I know Dangerous was the first to make a summing amp, and after hearing it, I don’t think anyone else should have bothered. When I switched from my other summing box to the 2-Bus it was as night and day to me as it was from going from mixing in-the-box to out-of-the-box. In terms of imaging, clarity in the low-end, and headroom for days, I could just push things and it sounded more open. I noticed a lot of space in the top end and the mix became airy and more pleasing to the ears.”
“I’m currently mixing a live DVD and double CD release for ‘PARAMORE‘ that is sounding incredible through the Dangerous gear. With ‘current’ rock music, huge headroom and clarity is extremely important when pushing vocals through walls of guitars and drums. I’ve mixed on a bunch of different large-format British analog consoles in the past and the Dangerous stuff is just killing them in this genre. I just could not be happier. I also recently finished mixing half the record for a band called ‘Kropp Circle.’ I mixed the last song with the Dangerous 2-Bus. The previous songs were mixed on the other summing box, and I didn’t tell the producers. After sending them the last song they called and said ‘That’s one of the best mixes you’ve ever delivered to us’ – seriously – it was not coached, I didn’t tell them I had changed anything in my room! When you have such an important client that sends you all their mixes and they tell you that, you just have to buy the equipment. That was when I was trying the 2-Bus, so after that I called Bob [Muller] at Dangerous and said ‘I gotta have it.'”
Juliano has high compliments for the company behind the gear as well, “Having Bob Muller at Dangerous to call and talk to about the equipment has been really important because he obviously knows and understands great gear and is willing to explain it in terms that even musicians can understand. His knowledge sets the company apart from others. The people running a company make a big difference to me,” he said.
“A lot of people buy summing amps for the color, but I have so much outboard gear that I use, on the stereo buss and individual tracks, vintage stuff, new stuff – great gear – I feel like I have enough color going on with out clouding up the mix with the summing mixer,” added Juliano about the clarity and sonic truth his Dangerous 2-Bus offers.
“I have a huge rack of API EQs, 2500 compressors, Neve 33609 compressor serial number 3, Inward Connections Vac Rack which is great for vocals and bass, Distressors, Manley Massive Passive EQs, SSL 51 Xlogic buss compressor, and Focal ‘Twin6 Be’ monitors and Focal sub. The SPL Transient Designer is my go-to box when drums are real dull. But since I’ve been using the 2-Bus, I have been using the Transient Designer less because the 2-Bus translates the transients on the drums so much better. I did a mix yesterday and didn’t realize the Transient Designer wasn’t even on [laughs]. The 2-Bus really does translate everything so openly and clearly that I can get a balance together really quickly now because I can hear what’s going on in the lows and the low-mids. I couldn’t do that before with the other summing product. I work faster now.”
Juliano’s extensive credits include John Mayer “Room For Squares” (Columbia/Sony) Mixer, RIAA Certified 4X Platinum (GRAMMY WINNER 2003); James Blunt “Live Tracks” (Atlantic Records); Jason Mraz “Waiting for My Rocket to Come” Mixer, RIAA Certified Platinum; O.A.R. “Live From Madison Square Garden” CD/DVD Mixer – 5.1 Surround Sound (Lava/Atlantic/Everfine Records); Josh Kelley “Special Company” (DNK Records); John Butler Solo “Live Tracks” (Atlantic Records); John Mayer “Any Given Thursday” CD/DVD Mixer; Lifehouse “Lifehouse” Mixer, RIAA Certified Gold; eight Dave Mathews records as Mixer including “Live In Central Park” RIAA Certified Platinum, and many, many other artists and recordings including Bruce Hornsby, Ben Folds, Robert Randolph, and King Crimson.
Jason Wade, of the band Lifehouse, is quoted about Juliano, “I’ve worked with many mixers in my career and Jeff is the best I’ve ever seen.”
Contact Jeff Juliano through his website at: myspace.com/jeffjuliano
About Dangerous Music, Inc designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and his partner Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed by Chris Muth and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR and its Additional Switching System expansion units, Dangerous D-Box, Dangerous Master, Dangerous S&M, Dangerous Monitor and Dangerous MQ.