Foreword from the Mutator Manual

After more years than I would care to mention, as a recording engineer, I have come to a definite conclusion. True stereo filtering seems to alter spatial perceptions in a bizarre and unexpected way. I first came to this conclusion many years ago whilst slaving away on reggae sessions trying to create the ultimate dub. After hours of total self gratification - fiddling with the EQ sweeps of my mixing desk, I sheepishly turned round to see whether the band had lost the will to live or at the very least abandoned all hope of leaving the studio with a finished master. To my utter astonishment and ego enhancement I was presented with several pairs of feet pointing towards the heavens with quivering smiles of ecstacy plastered across their lips. It wasn’t their music any more - it had turned into something strange and indescribable - but somehow it didn’t seem to matter.

Several years later I was re-creating this effect on the majority of my sessions and was beginning to feel slightly miffed at the dull, nagging ache I was developing in my back from bending over the desk like a bloody contortionist to get to all those darned EQ pots.

“Hark!!” I thought to myself “What if all these knobs were in one unit - what if all these wonderful sounds could be produced from one box - what if Pamela Anderson really was my girlfriend - what if one piece of outboard could produce stereo filtering, Frequency dependent panning, gating, LFO blah blah blah blah .........”

The Mutator was born.

 Mark Lusardi
 Mark Angelo Recording Studios, and co-creator of the Mutator


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