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Dan Coleman

Dan Coleman

 
 

Quote
"The 22 47 SE has become my new favorite microphone, even considering the extensive experience I have with some of the world's best microphones. The 22 47 SE is one of the world's best microphone and it gives the recording engineer/producer the best of both worlds. It has the warm smooth character and robust sound of the finest vintage mics, but it outperforms them in terms of a lower noise floor achieved through the utilization of modern high-end electronic components and purpose built circuitry."

"Now that I have a great deal of experience with my Peluso, I have come to relish the recordings that I get of all acoustic instruments and most especially vocals--all vocals. I've recorded acoustic guitar, saxophone, cello, and upright bass with it, and that mic never disappoints. Everything you put in front of it will sound fantastic! You will not be disappointed, that I can promise you"
-Dan Coleman

Biography

After arriving on the music scene in Nashville, Tenn. in 1996, Dan Coleman, Producer and Artist Promoter, collaborated with musician Kelly Back--one of Nashville's most sought-after session guitarists--to make records for a variety of artists most notably in the Southern Gospel, Country Gospel, and Christian Bluegrass genres. Over the past 16 years Dan has produced more than 80 albums, some of which have included chart topping hits by up-and-coming artists who received national recognition through Christian broadcasters and Christian music publications such as "The Singing News", "Powersource", and "Christian Music Perspective" magazines.

Having worked in a dozen or more of Nashville's finest recording facilities, Dan has enjoyed the privilege of recording with some of the world's finest microphones. "There are some great studios in and around Nashville and I've produced at the best of them. . .", says Dan. "Utilizing the services of so many Nashville studios has afforded me the opportunity to experience the differences between some of the greatest vintage microphones of all time and some of the most modern, high-end mics being made by contemporary manufacturers today. I've recorded with everything from AKG to Brauner, from CAD to DPA, from Electrovoice to Earthworks. . . I suppose there's one for just about every letter of the alphabet. Thank God I've had the chance to experience most of them first hand including Manleys, Rodes, Neumanns, Blue Microphones, Schoeps, Avantones, SE Electronics, Lawsons, Sonys, Sennheisers, and a dozen others."

"I have to say there are some pretty terrific benefits to trying all of them out first hand. It helps you know where to put you money when it comes time to invest in top-notch mics of your own. With the economy the way it is, everybody needs to learn to do it right the first time. Otherwise they'll be doing it over and over again until they finally get it right, and that, my friend, is the most expensive and disconcerting way to go about it. I know that through my own personal mistakes", Dan advises with a
smile.

Coleman's passion is to produce records that are so well recorded, so stunningly real, such sonic masterpieces that audiophiles will treasure them as collector pieces. He wants listeners to be so astonished by the realism, depth, and clarity of his work that they literally ask how he did it. Coleman believes that if he can accomplish that goal, people will automatically become fans of his recordings regardless of whether or not they are fans of his artists.

"There was an enormously huge influence on me growing up", Dan says. "There was this guy, Will Ackerman, who started a record company, Windham Hill, that produced records that way. His recordings were so stunningly real that folks became fans of his label more so than his artists. It worked on me, I guess; I was a devout fan of his label. Every time I saw a new record come out on Windham Hill I'd try to go out and buy it. I had never heard of his artists for the most part, but I learned to trust that they would only release recordings that I knew would become a part of my treasured collection.", Coleman stated.

In the year 2000, Coleman founded a new indie record label, MasterMix Music. The motif of MasterMix is to seek out the finest acoustic musicians, bands, and players in the south and make records for them quite unlike anything they have ever heard before. "We work hard for our artists because our success depends upon their success. We make better records than they can get at competing labels and we maximize their exposure by utilizing every digital means available. A lot of folks think the record industry is dead or dying. I tend to disagree; we are simply at a new beginning and I intend to make the best of it" Coleman exclaims proudly.

"Not too long ago I was working on an Alison Krauss style project over at a studio owned by a good friend of mine, Mark Burchfield. My artist, Amy Barcroft, from Brownsville, Tenn. was there to cut the master vocal tracks for her latest album on the MasterMix Music label. I had specified a Rode Classic Tube for her vocals because her voice is so pure and angelic, akin to Krauss's voice. Boy was I wrong, however. That mic was far too bright for her. The sibilance of the Rode Classic was horrible on her voice. We tried everything, but I'm not a big fan of a lot of EQ or compression going in. If you don't have a good sound at tracking, you're simply causing yourself a lot of time consuming complications at mix-time", says Coleman.

"The studio engineer suggested a KSM-44. We tried it, and while it was accurate and quiet enough, it simply lacked the character and robust sound of a good vintage tube. I asked the engineer if he had a 47. 'Nope', he replied, 'but I've got something even better.' He then pulled out his Peluso 22 47 LE. I had not heard of Peluso microphones prior to that session; however, it only took about one-minute to realize what I had been missing in all of my recordings. The studio owner along with the engineer and I looked at one another as grins broke out on all of our faces and we simultaneously exclaimed, 'Now that's the money right there!'. That microphone had no equal. It had depth, resonance, character, and a silky smooth high-end that flattered her voice unlike any other. Honestly, I had never heard a mic that was more flattering on Ms. Barcroft's voice. This was what we'd been looking for. That mic not only knocked a home-run, it knocked the ball clean-on out of the park. So we tracked the entire album with it", Dan boasted.

"About a month after that session, the withdrawal syndrome hit me hard and I ended up buying one for my very own. I chose the 22 47 SE because I am so into high-def, low noise recording that the 2dB lower noise floor enticed me, not to mention the fact that John Peluso himself assured me there were no discernable differences in the sound between that version and the LE version that I had recorded with."

"The 22 47 SE has become my new favorite microphone, even considering the extensive experience I have with some of the world's best microphones. The 22 47 SE is one of the world's best microphone and it gives the recording engineer/producer the best of both worlds. It has the warm smooth character and robust sound of the finest vintage mics, but it outperforms them in terms of a lower noise floor achieved through the utilization of modern high-end electronic components and purpose built circuitry."

"Now that I have a great deal of experience with my Peluso, I have come to relish the recordings that I get of all acoustic instruments and most especially vocals--all vocals. I've recorded acoustic guitar, saxophone, cello, and upright bass with it, and that mic never disappoints. Everything you put in front of it will sound fantastic! You will not be disappointed, that I can promise you", says Mr. Coleman.

Dan Coleman is the President of MasterMix Music
A record label for aspiring acoustic artists!

 

 

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