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Net Label Chooses Legendary API's New A2D Converter

Parlin, New Jersey:
Post-Pop Music House is a net label and publishing group. It represents the advance wave of smaller, DIY operations that have cast off every vestige of physical music distribution. Post-Pop distributes its pop-influenced electronic dance bands solely through the Internet, either through its own website, or through popular sites like iTunes. Said principal Shane Fontane, "I believe that vinyl is an art for collectors not for business models. Worst can be said for CDs - they represent little more than cool business cards these days. Kids today want their music to be mobile and they want it on demand. They want their MP3s."

But inexpensive distribution does not suggest that Fontane's production values are lax; if anything, the fact that his bands' music will often stand without any visual marketing places a premium on high production values. Fontane recently upped those values with the purchase of an API A2D mic preamp/AD converter. From a company whose stock and trade is a legendary analog sound, the A2D is the first product with an integrated digital output. At a reasonably priced $1,995 list, the API A2D houses two independent 312 preamps (which use API's famous 2520 op amps), line inputs, polarity reversal, phantom power, input pads, six common sample rate options, external super clock input, and inserts between the analog and digital sections. To put it more succinctly, the API A2D perfectly melds API's signature analog sound with flexibility and digital outputs to fit any situation.

Fontane recently finished recording the first song for his band, HELLADRAMATIC, with friend, guitarist, and singer Michael McLaughlin, and the API A2D played a pivotal role. The song, "It's OK," is about the excesses and occasional absurdity of pop stardom and features vocals and electric guitar against a backdrop of analog synthesizers and electronic beats. The song will be released on Post-Pop Music House.

McLaughlin, an experienced guitarist and no stranger to the studio, was floored by A2D's direct ins. "We jacked his Gibson SG right into the API," recalled Fontane. "We had tried that before with other DIs, and it didn't fly. The sound of the A2D was solid and in your face!" Fontane ran the A2D digital outputs to his RME fronted Digital Performer system with no additional processing before tracking. The vocals were recorded with similar austerity. McLaughlin sang into a Shure SM7B, and the A2D did the rest.

"The most visceral impression I have of the A2D is 'loud and clean'," said Fontane. "It pulls everything right up to the front of the mix in a crisp, clean, lively way. On the more nuanced side, it has a little bite and can be induced to saturate and color beautifully. So now I'm all set. I have the best drum machines, the best analog synths, and the best preamp!" Fontane looks forward to using the API A2D on upcoming collaborations with renowned Producer/DJ Junior Sanchez as well as upstart band Pretty Wasted, featuring Berlin vocalist Randy Twigg.