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Chris Peterson

Behind the scenes and in the heart of the trend-setting electro/industrial music community of Vancouver, B.C. is Chris Peterson. For almost twenty years, he has performed, recorded, mixed and produced records for an impressive array of artists on Nettwerk, Metropolis and other labels.

Along with Rhys Fulber (Front Line Assembly et al) and John McRae, Peterson worked in a group called Will. Around the same time, he programmed and mixed for Front Line Assembly side-projects: Noise Unit, Intermix and Delerium (including the Certified Gold album Poem). In the early '90s Peterson toured with Front Line Assembly as a percussionist. After joining the group on a more permanent basis, he also produced several of their most recent releases.

Peterson is currently working on his latest band Decree. Garnering acclaim in the industrial music community with two provocative releases on Metropolis Records, Decree continues to push the boundaries in the genre. The group were filmed recently, to be featured in an episode of the Masters of Horror series (Dance of the Dead), to be aired on the Showtime network.

In addition to Decree, Peterson continues to work on a variety of musical experiments and commercial video game soundtracks in his Vancouver studio. In the summer of 2005, Peterson acquired two PreSonus Eureka's with an AD192 digital output card in each. He did not hesitate to place serious demands on his new Eureka's, right out of the box.

He said, "I'm very impressed with the improvement in the quality of my recordings that has been attained. I work on a wide variety of styles and projects, with a slant towards experimentation and getting outside of the rigid desktop environment to create new sounds. I've thrown everything from screaming megaphone vocals to tortured, burning instruments at the Eureka's and they've given me outstanding headroom and quality of recording.

I highly recommend them to anybody wanting to make a huge improvement on their recordings, without making a huge dent in their pocket book. Their ease of use also makes them something I recommend to any novice wishing to learn the concepts of dynamic processing and take their engineering to the next level.

The preamp has everything you need for any microphone or instrument: lots of gain, a bass roll off that doesn't destroy the punch, phase reverse, phantom power. So, you can use that high end mic you just rented and most unique for a preamp at this price is the impedance selector, which very quickly lets you know when you've got the right setting. It also makes a unique distortion if you like that kind of thing.

The compressor is easy to set and is incredibly transparent for a device in this price range. Vocals become easier to mix and instruments more present, while the gentle ratio of 10 to 1 prevents the novice from getting into too much trouble and walking away with a bad recording. The much welcome analog meter makes settings a snap.

As for the EQ, it was different than what I'm used to - again with a gentle range: plus or minus 10 dB. Soon into using the Eureka, however, I found myself using the three band parametric to bring out the sweet spots instead of taking out the junk frequencies, which weren't such a problem anymore. Again, for recording, the novice will have a hard time getting into too much trouble, and the pro will appreciate that you can so quickly find the good stuff and bring it out as you like.

All of this means that you're going to spend less time trying to fix problems when you're mixing, which means you can use all those plug-ins on your computer for more creative things. Thus: spending more time 'enjoying' it, rather than 'fixing' it. By starting with a good recording that doesn't need a lot of fixing up, you will have a much better final result. That being said, the Eureka is a great first step towards that end."

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