"I've always loved the sound of API gear, but the first time I used an all-API chain from recording to mixdown, I realized what I'd been missing out on by using a wide variety of boutique preamps, plug-in's, and summing methods. Recording to tape using API 512c's and summing through the DSM 24 gave me an incredibly consistent and holistic sound that convinced me I needed to do more of this, and that I wanted to incorporate the amazing sound of API EQ and compression wherever appropriate both in the tracking and mixing process.
"Being accustomed to mixing on a console, but increasingly utilizing much of the flexibility afforded by today's DAW technology in editing, automation, and signal routing, I realized I could get the best of both worlds by creating a custom DSM-based mixer combined with 500-series modules as inputs and inserts to the API 8200's, without wasting a lot of the expensive real-estate and parts I was not using on my previous console. Over time, I ended up collecting a combination of new and vintage 550a and 550b EQ's, 525 compressors, 512c preamps, and 560 graphic EQ's, which I now normal through patchbays to the DSM inserts or inputs. Partnering with Ian MacGregor from Black Watch Sound, I built a custom meter-bridge that is normalled to the 8200 direct outs so I'm not missing out on the metering I grew accustomed to on my old console.
"The combination of the great-sounding 8200 line amps, the unsurpassed API 500-series EQ's and compressors, the sounds-great-on-everything 512c preamps, the amazingly flexible 2500 stereo bus compressor, and the comprehensive utility of the 7800 master module, I've got that large-format-console sound and feel—"THAT sound" and a physical interaction with the mix process—while taking advantage of everything I like about working with a DAW. The first time I compared an in-the-box mix with plug-in's designed to sound like my API hardware with the same settings on the real deal, I was completely floored at the difference. My recordings and mixes leveraging a complete API chain have made such a big difference in quality, consistency, and vibe, I'm going back and re-mixing older material just for the fun of it—it just sounds so good."
Barak Moffitt is a musician, producer, and music publishing executive. Creatively active in a diverse group of studio and album oriented projects such as Filmosound and Infinite Monopoly, film scores, music production, and solo work, he also owns and operates SuperMaster Destructo studios in Venice CA and serves as an executive at EMI Music Publishing. Purpose-built from the ground-up, SuperMaster Destructo Studios is rooted in a philosophy of blending the best of analog beauty and digital flexibility, and is designed to be a productive environment for creating great-sounding recordings with a wide palette of vintage instruments, great microphones, and a variety of tracking options. After operating for many years with a vintage large-format british console, SuperMaster Destructo Studios has recently completed building a new mixing and recording centerpiece based on API 500-series and DSM gear, a perfect complement to the aspirations of the studio to foster great sounding recordings and a comprehensive mix environment without sacrificing the great sound, consistency, and functionality of a large-format console.