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Video decks and monitors, SMPTE timecode generators and readers, and synchronizer boxes spell the difference between project and film-composing studios.

Daring's Digs


Overlooking the Atlantic shoreline in picturesque Marblehead, Massachusetts, Mason Daring's project studio couldn't be more visually stimulating on the outside. The guts deliver an eyeful as well. A Neotek Elan 24-track desk is the rig's centerpiece, with an MCI 24-track two-inch tape machine, 24 tracks of Tascam DA-88 and four tracks of Sonic Solutions handling recording and editing. "For features and album projects, I generally go analog; I prefer the warmth," says Daring. "But for TV I generally record digital on the DA-88s, which are also my primary mixdown machines for movies."


Daring's studio also has a Sony VO 5850 U-matic videocassette recorder, Hitachi CM-182 film monitor, Lynx Time Code Module, Sonic Solutions Optical Converter and a Mark of the Unicorn MIDI Time Piece. His outboard gear includes a Lexicon PCM-42, -60, -70, -80, and -90, Urei tube compressor, dbx 160X compressor, BBE Sonic Maximizer 822-A, Roland SDE-1000 digital delay, Symetrix 522 compressor/limiter and an Ashley CL-100 compressor. His main MIDI controllers are a Roland D-50 and a Kurzweil PC-88 driving E-mu Proteus II and Alesis D4 sound modules and a Roland SP-700 16-bit sampler. His monitors are Yamaha NS-10s and KRK-6000s. Daring writes to Mark of the Unicorn Performer software. His house amps include a Peavey Classic 30 and a blackface Fender Princeton Reverb, and he owns a Martin nylon-string, a Martin D-18, a Dobro and a Japanese Strat.


James Rotondi
Guitar Player
April 1997

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