A Harmony Central Conversation with Craig “Shorty” Bernabeu of SBS Designs

SBS Designs, owned and operated by Craig “Shorty” Bernabeu, has made a name for itself with its pro-level audio processing units for clubs and recording studios with an emphasis on vivid sonic reproduction and getting that elusive final 10% out of source audio. This relates back to his experience designing sound systems for prominent clubs, where sound is crucial and anything that can be done to improve it is greeted with open arms. He eventually realized the only way he was going to get the sound he wanted was to design his own gear.

Shorty recently met with Harmony Central to plan a series of upcoming articles around unorthodox mixing and mastering techniques, and the following excerpts from our initial conversation captured the reasons why we’re excited to join Shorty on a couple of deep dives into the important minutiae of getting the best sound possible.

HC- What’s the story behind SBS Designs?

CB- I started by designing audio systems for nightclubs, installing hi-fi home audio equipment for true audio-geeks, and building these beefy custom-car installs with multi-level trunk designs. As I was working the home audio world, I was seeing this excitement building around these massive systems in clubs by pioneers like Alex Rosner and Richard Long. Eventually, my interest resulted in me working NY clubs like Twilo, Zanzibar, and the like with Phil Smith. I started getting more and more work because I knew and had worked on the old Richard Long systems. This was how SBS really started, as I found these pieces in the signal chain that just weren’t cutting it.

HC- And you decided to fill in that void?

CB- Look, you shouldn’t drag down audio with weak links in the signal chain. If you’re going to do that, why even bother?

HC- No argument here! Describe the SBS ethos.

CB- Everything I do is about getting the most brilliance possible from the source audio. As everything moved to digital, there was this gap that started developing in the sound. DJs at a club using MP3s, digital recording in studios … a lot of the feel and animation of the sound went to the wayside. That’s where something like the Iso-Q2 or the SP1 comes in. [Note: The Iso-Q2 is an isolator - a processor that typically inserts in the master outs, and modifies crossover-type circuitry to create more of a program equalizer that's optimized specifically for DJ tone control applications. The SP1 is a tube-based "warming" device that also increases dynamics via SP-1 a sub bass expander and an extended range top treble expander.] When you’re working a crowd as a DJ, you want to be able to drive the crowd. There’s excitement and a true emotional reaction that happens with a crowd when a skilled DJ works the EQ; they throw their hands in the air at the right time and you know you’ve got them. The Iso-Q2 is intended to give them that control.

What I found is that all my designs, because they’re based on getting the most out of a recording, apply equally well in recording, mixing, and mastering. They’re both about finding all those sweet spots in the source that need to be brought out to shine.

Take the SP1 … I originally called it The Warmer. It’s basically a high-end tube processor that warms up and animates recordings. I made it to bring the life back into dead audio in a club where a DJ may be relying on so-so quality digital files, but it is also perfectly situated to “vinylize” sound clips or add dimension and life to samples. I’ve had people run their entire sound library through the SP1 to make their virtual instruments pop, and it’s night and day.

HC- So it’s more about accurate production than adding to the sonic pile?

CB- It’s about offering a product with technology and capabilities that aren’t available elsewhere but are part of the fundamental sonic experience. Bringing out dynamics… that’s the cleanest way to put it. For example, in the recording world there’s the standard toolset everyone goes to. I recently spent some time with Francis Buckley (Grammy award-winning engineer/producer) and, after talking technique, I mentioned using the Iso Q2 as a focusing EQ while mixing to smooth out the rough edges and work through shadow frequencies. It gets you more involved in the mixdown for those essential tweaks, and makes it fun. There’s an emotional experience that can get lost in the details of the mix, and this brings it back. Pros and the guy in his hobby studio alike can use it to add weight and authority to a mix.

HC- What inspires your designs? How do you come up with your products?

CB- It’s about identifying things people have somehow missed or just accepted that there wasn’t a better solution. I work hands-on in clubs, hi-fi, and studios and there are pieces of the audio processing path that just don’t get addressed. Take the Iso Q2…when I was working club systems, you’d have this immaculate sound system made by Richard Long and there’d be this crappy isolator in the signal path. They just sounded bad, would create power supply sag and put a general glare over the sound that took the energy out of the mix. DJs use isolators like a hyper-extended EQ with infinite cut to control the energy of the music, and what was available was just killing the vibrancy of the mix. Put the Iso Q2 in the mix, and BAM, there’s the excitement back in your music.

HC- Everything’s made stateside?

CB- Everything is made here in America. I could go cheap and get SBS in more hands if I went overseas for production, but then quality control and, more importantly, the innovation that goes along with production goes out the window. That was important to me in choosing my distributor. I’m a sound guy and product guy; I needed to be able to work with someone who got why what I’m doing is important to sound, and wasn’t going to ask me to compromise on quality or components to hit a lower price point and move a few more units.

HC- What’s next for SBS Designs?

CB- I have six new designs that are kind of waiting in the wings while my current lines establish themselves. Sometimes I’ll go dark on the design front for a while and come up for air with maybe three new designs. I just want to give end users features they’ve never had available before and make it sound killer.

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Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty ale.