It needs some high quality tools to lift your music to the next, higher level. So, cutandboost Mastering carefully select the equipment and below you can find a little discription of the gear which cutandboost work with.

Just for decleration – the given equipment is not the one and only thing for better results. Gear are just a tools. It is more about the experiences and skills to know how to use it for the best possible result the source material can be.

If you go thru this chapter, you definitley will notice something – everything is about musicallity and kind of clearness – this is excatly what cutandboost Mastering is about and selected its gear by!

The coax speaker and bass extender result in 3-way full range loudspeakers by the polish company APS. This is the most important equipment cutandboost use in its room. So, it is possible to hear down flat to 21Hz with an absolute clear low, mid and high frequency response at all. Thus, the given material can be clearly assessed over the entire frequency spectrum to make the best decision possible to the source material.

The Antelope Pure 2 is a very accurate AD/DA converter clocked by Mutec’s MC-3+. Thus, the given audio material sounds as it sound like without any falsifies. In addition, it is even an accurate and clean monitor controller as well. The opportunity to have a few other routing options is also possible and very important in a mastering facility to check the input or output signal of the analog desk for instance.

The Passeq Model 1650 is a masterpiece of gear by SPL. This musical beast of an EQ has 72 frequency points to work with. That’s why the unit is very versatile in working with the source material. Moreover, the Passeq gives a huge headroom in level, because of its 120V technology. This powerful tool is useful in shaping the soucre material in the most musical way an EQ can do, because of its passive design and smooth Q-factors all over its frequency range. It means, there is no phase shifting and unwanted surgery at all. So, this is the most meaningful reason of its musical interaction with the source material.

Here is another passive equalizer as the one before, but very different at its circuit design. The Gyraf G14 is a passive, all tube equalizer by Jakob Erland. This unit is modified by Jakob for the need of having a more cleaner and tightier low end (transformerless-output). Moreover, this unit is a true stereo 5 band EQ. It means the equalizer use an one-knob-layout on each band for left and right. This layout is very useful to let the stereo image as straight as possible in frequency range. The tube design also smooths and lift up the source material in a special musical way very well.

The Buzz Audio SOC-M is a renowned Class A optical compressor by Tim Farrant. The optical type of compression gives the material a touch of silkiness and a huge amount of clearness in the low and upper mid range at the same time. The unit is often useful to place the instruments right on stage and let fit them even more as a band.
Moreover, it has the opportunity to work in Mid/Side mode which brings the material to another level of a very special depth.

The BC1-THD by TK-Audio is a VCA based true stereo compressor. Because of its given options, the comp is a great versatile useful tool for glueing the source material. It would like to call The Magic Glue. The most beautiful to this unit is that the compression is not hearable at all. Even at higher ratios. There is the possibility to work in parallel. This approach is very handy to get the material punchier and tightier, if it is desired or rather needed without losing out on transients.

Come in contact and we work something out for your best possible sounding record.

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