Dangerous LIAISON

To survive in this modern day audio jungle, the contemporary studio must be lithe and agile; a facility that can adapt to any workflow: effortlessly. Tracking, mixing and mastering services oftentimes must be performed under one roof, utilizing every particle of outboard gear available.

The Dangerous LIAISON realizes this dream by providing unprecedented access to your outboard equipment. Connect up to six of your favorite two channel units to the LIAISON (more if you daisy chain, leverage a patch bay or add a Dangerous Master). Instantly audition any device or combination, change the order, dial in some parallel processing and then store these customized signal paths as presets to use again, on demand, anytime. True hard-wire bypass relays remove the gear entirely from the signal path; this includes outboard that lacks an integrated bypass or true hard-wire bypass. Mastering grade components switch instantly and silently, providing true A/B comparisons without coloration or latency. Pre and post-processing monitor outputs make it simple to audition between the original source and the treated product.

The A and B buss paths aren’t just for comparing signal paths. They can be strung together in series. For example, if your favorite EQ (the BAX of course) is connected at 1 and a limiter is connected at 5, selecting 5 from Buss A and 1 from Buss B reverses their order.

Parallel Processing allows the original and effected signals to be blended independently. For example: crush the drums with heavy compression for tight, explosive impact, while mixing in the original to retain transients and dynamics.

Features

• 6 Stereo Insert Loops, Assignable to 2 Stereo Busses
• Flexible and Potent Parallel Processing Loop
• Route, Switch, Matrix, Flip & Audition Instantly
• Recall any Tracking, Mixing or Mastering Configuration
• Seamlessly Integrates with Dangerous Master

Application Examples

• Tracking: craft recall-able patches for cutting
  • Pop vocals, hip hop, voice overs...
  • Kick drums that click, resonate or “thwomp!”
  • Bass lines that are rich, liquid, punchy or fat
  • Parallel processing with a compressor, Dolby A or...
• Mixing: use it for
  • All the tracking tricks above
  • And all the mastering examples below
• Mastering: audition the possibilities
  • EQ before compression? Or compression before EQ?
  • Compression ratio at 1:1.5 with a low threshold followed by limiting at 1:20 with a high threshold?