Richard Devine's Studio: Where Analog Synths & Analog Summing Meet

Renowned electronic music artist and sound designer Richard Devine never compromises on his sound. With a room full of modular and standalone analog synths he chose the Dangerous 2-BUS+ as the centerpiece of his hybrid studio to deliver the full impact of his unique sound. Combined with his Dangerous MONITOR ST controller and CONVERT-2 D-to-A converter, he achieves a seamless and intuitive creative flow for recording, mixing and mastering. He loves the headroom and punch of the 2-BUS+ analog summing amp, combined with the undeniably truthful sonic picture of his music delivered by his MONITOR ST and CONVERT-2 reference DAC. He tells how his music mixes "sound more interesting and organic" using analog components, and that the Dangerous Music gear is "simple and easy to understand, with clear ergonomics —everything's right there in front of you." His no-compromise approach has brought him to where he is today—creating sound and music for the likes of Apple, Google, and Microsoft, among many other top companies, and collaborating with music artists such as Aphex Twin, BT, and Mike Patton of Faith No More.

"I love gear where you integrate it into your process and it works so well you don't even feel it's there. It just works. The MONITOR ST controller and DAC were my introduction to Dangerous Music—that was a major turning point for me—in comparison to my old controller, it was like night and day. It was an audiophile experience, I felt like I had a brand new studio again! The punch, definition, and the clarity was super Hi-Fi," he says. "I spent 3 weeks just listening to music—I didn't even make any music. No matter what format or field of audio I'm working in I get an accurate sonic picture of what's happening with my Dangerous Music gear."

Note: the music in this video was composed and mixed by Richard Devine.

Richard Devine Electronic Artist and Sound Designer specializing in Musical composition, sonic mnemonics, field recording, sound effects and specialized sound design for T.V/Film, web media, Virtual Reality, and video games.

During the past three years, Richard Devine has remixed top Warp artists like Aphex Twin and Mike Patton (Faith No More). He has released 6 full-length albums on Schematic, Warp, Asphodel, and Sublight records and has performed his own ear-tearing music mayhem worldwide. Based from Atlanta, Georgia he has done film score work for Touchstone Pictures (with John Hues & Kyle Cooper). He has also collaborated with BT (Brian Transeau on movie “Surveillance” Directed by Adam Rifkin, Odopod, Elias Arts, Wieden & Kennedy, AKQA Inc., and has worked on commercials for the Nike Shoe Company and worked with various companies doing sound design for Audi, BMW, Ford, Scion, Coke, LandRover, Peugeot, Dodge, HBO, Nestle, Nike Japan & USA, McDonald's, Sprite, Spike Television network and has also worked with Konami gaming division for the Dance-Dance Revolution game. In 2007 he signed a deal with Sony Media to release his first two Sound Effects libraries, "Pulse" and "The Electronic Manuscript" which won 2009's best sample library by Remix Technology Awards. in 2008 Richard launched a new sound design company "Devinesound" which was nominated the Cannes Lions Award for the sound design work on the interactive web site for Microsoft Gaming division-Halo Believe Campaign. In May 2016 he contributed sound effects and musical elements to the Doom 4 Soundtrack along with Mick Gordan. In 2017 He created UI Sound Design and Ambisonic Environmental Audio for Google's DayDream VR Platform/Google Earth VR.

[skoddeskoddesen]

That black Machinedrum looks very tasty

[VairagiPsytranceLive]

One day ill get them and hopefully a decent studio altogether bought ny first ever studio moniots this year only. After 20 years of audiolife😂

[tedruis]

Where did you get your desk for that Yamaha DM2000! I have one and need one, also what do you use the Yamaha console for? Do you mix on it or just as a control surface with faders?

[synthdude]

Would anyone be able to explain why someone would use these type of converters and summing boxes instead of say, using a Apollo 16, which has I/O that you could digitally sum in the DAW and has converters in them?

If one had an Apollo 16, and got two concert 8s and a 2bus+, in essence would the Apollo just be reduced to a glorified line input ?

Also if replacing the converters in the Apollo, how does it work when you send the signal back into the Apollo line input to be recorded ? Doesn’t it use the Apollo converters to record everything that’s been summed and converted through the dangerous, thus losing its sonic quality ?

Would someone do me a kindness and break this down for me ? As I’m considering getting an Apollo 16, and a dangerous 2bus+ and a pair of convert 8s . I do know hypothetically the dangerous sum box and converters in theory may sound better than the Apollo’s, but when it’s sent back, doesn’t it get sent back /processed through the Apollo converts ?
Confused!

[deefman]

a monitor controller blowing richard's mind. surprised that it has much effect. I wonder how that sounds compared to directly interface > monitors like us budget folks do. I thought it is "clean" already, e.g. from my RME Babyface.

[Dark]

I sure wish i had similar studio i don't think i can afford all that gear as of yeT

[GingerDrums]

Sorry but this is just silly. I did an ABX with neve and dangerous summing against my DAW, and the DAW consistently sounded better to me.