“Mainly I use them on stem bounces to accentuate and trim certain frequencies, then bouncing each post-EQ stereo waveform back into ProTools,” explains Stanfield. “I also find them to be quite amazing when bouncing stereo mixes in a ‘faux mastering’ type of application, which is good for most of the indie album and film clients I work with.

“Using the Audient Black EQs as a ‘pre-stage one/faux mastering’ has been working out very well for some of my clients who can’t initially afford an actual mastering facility,” continues Stanfield. “Depending on each client’s need and budget, the Black Series EQs also help me do all I can for those who are en-route to that final stage, too.”

Stanfield says, “Although they are quite useful on the front end while recording on the way in to ProTools, I use them primarily on the back end during the bounce process, so a pair of Audient Black EQs is a definite asset to my studio and has lessened my previous dependence on plug-ins.”

Black EQ is just one of the unique Black Series modules available from Audient, which demonstrates David Dearden’s expertise in audio path design using classic transformer and discrete Class A technology to provide the ultimate tool for creating and controlling tonal character and complexity.

Trujillo has worked on albums for such acts as The Offspring, Alice In Chains and Sheryl Crow, various projects for legendary producer Dave Jerden and is one of the co-creators of the original BFD drums software recordings. Both he and Stanfield are enthusiastic about their new acquisitions: “I just love the sound of Audient’s Black EQs!” Stanfield confirms.

For more information on Brad Stanfield, and his Music Production Studio & Library please visit www.bradstanfieldmusic.com.