Summing Mixers

Economical Active Analog SummingThe Dangerous Music 2-BUS-XT is an economical 16-channel active analog summing mixer with a circuit devised by renowned designer Chris Muth. This unit really delivers the goods, nailing kicks and vocals to the center of your mix, while yielding a super-wide soundstage, near-zero channel crosstalk, and expansive headroom. With the 2-BUS-XT, your mixes will be glued together in an organic way. You'll mix faster, better, and with fewer plug-ins. This summing box includes two onboard audio processors for adding tone and color to your mixes, and it's fully expandible with additional 2-BUS-XTs, as well as Dangerous Music's other summing offerings. If you're searching for a way to elevate your mixes into the big leagues, then the 2-BUS-XT just might be the secret weapon you've been waiting for.A duo of custom audio processorsIn sync with Dangerous Music's doctrine of tonal coloration as a per-project artistic choice, the 2-BUS-XT features two custom audio processors that selectively add tone and color to your mixes. X-Former kicks in transformers for an ear-grabbing taste of second-order harmonics, yielding girthy low-mid warmth while preserving top-end clarity. Coherence increases your mix's harmonic content progressively by bringing up the detail as levels are reduced, then enables you to blend the effected signal with your source mix, parallel-compression-style. At Sweetwater, we've applied both of these effects with excellent results.Outstanding flexibilityDangerous Music knows that each engineer — and session — is unique, so they designed the 2-BUS-XT for outstanding professional flexibility. Channels 1/2 and 9/10 can be set to mono to rout; for instance, vocals/bass and kick/snare each to its own mono input. They also gave the 2-BUS-XT XLR connections for both the main and monitor outputs.Gang 'em for high channel countsNeed a full-on analog "console" summing experience? Gang together multiple 2-BUS-XT units via the stereo expansion inputs XLR to create a customized channel count. You can also team the 2-BUS-XT with a Dangerous 2-BUS+, for three different color circuits, or the D-BOX+ for comprehensive monitor control.2-BUS+ sold separately.Dangerous Music 2-BUS-XT Analog Summing Mixer Features:Stunning 16-channel active analog summing mixer injects your mixes with exceptional headroom and dimensionalityCreates a super-wide soundstage with near-zero channel crosstalkDelivers expansive headroom — more than enough for any DACFully expandible with additional 2-BUS-XTs, as well as Dangerous Music's other summing offerings2 analog options (X-Former and Coherence) for adding tonal coloration to your mixChannels 1/2 and 9/10 can be set to monoIncludes XLR connections for both the main and monitor outputsHigh-quality components ensure audiophile-grade sound

Mastering Router with dual Parallel Mix Hermes revolutionizes mastering. Now it is possible to have an audio signal processed by up to eight 2-channel processors in any order that can be stored. At the push of a button you can compare up to four complex processing chains. Connect, route, store, compare Hermes accelerates mastering workflows in an unprecedented achievable way. The time-consuming replugging of the patchbay alone had made true comparison almost impossible. Now you can change, store and compare processing chains in seconds. All with real buttons, relays and without additional software. Simply push the processor buttons A to H in the order in which the audio signal should pass through the processors and store it.  All processors can be named for a better overview. The name always appears briefly in the display when an insert button is pressed. Free routing of two parallel mix stages Hermes has two parallel mix stages that can be freely assigned to each of the eight processors and stored with a processing chain. This means that even two compressors with different parallel mix settings can be compared quickly and easily. The routing is completely passive with gas-encapsulated and gold-plated high-end relays. All active stages, such as the input/output stages and the parallel mix stages work in 120V technology. Sends & Returns The stereo channels are strictly separated on two boards to achieve the highest possible channel separation. The inserts are connected with XLRs for the first four stereo processors and with DB25 for the second four stereo processors. Specifications: Analog inputs & output; XLR & DB25 (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 4 Hz to 300 kHz Common mode rejection: -75 dBu Crosstalk (1 kHz, 0dBu): -130 dBu Crosstalk (1 kHz, 0dBu, P-Mix on): -110 dBu Noise (A-weighted): -121 dBu Noise (A-weighted, P-Mix on): -104 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 9 kg Shipping weight (incl. packaging): 12 kg

Mastering M/S Processor Gemini is the first mid/side processor in 120V technology. In mastering, M/S processing is often the best way to get targeted access to individual elements of a mix. M/S ? The decomposition of the stereo signal in mid (voice, snare, bass …) and side (guitars, pads, cymbals …) allows their separate processing. The center signal (Mid) is the sum of the left and right channel of the stereo signal (L+R), i.e. the “in phase” part of the stereo signal. The side signal (Side) is the difference of the left and right channels of the stereo signal (L-R), i.e. the “out-of-phase” part of the stereo signal. Gemini can also be used to enlarge or reduce the stereo image. An elliptical filter for shifting the low frequency component from the side to the mid is also on board. The Mid When the M/S button is activated, the input signal (L/R stereo) is split into a mid and side signals. The exact center position can be adjusted with the Balance control and the exact level with the Trim control. Both functions are switchable to be in the signal path only when in use. Exclusive monitoring of the center is possible when the solo function is activated. Processors can be inserted to process the mid signal and activated with the Insert button.  The Side The side signal also has a solo function and a switchable insert for external processing.  In addition, the elliptical filter can be used to shift the bass frequencies from the side to the mid. This improves the punch and precision of low frequencies. The Stereo Width control changes the level of the side signal, with a level increase broadening the stereo image. These two functions can also be switched on to be in the signal path only when used.  I/Os and Inserts All inputs and outputs as well as sends and returns are balanced using Neutrik XLR connectors. Processors can be connected to the inserts for external processing. Especially interesting is the integration of the Gemini into the Hermes Mastering Router. In this way, processing chains can be created that combine classic L/R processing with M/S processing. Gemini & Hermes The M/S encoder and decoder stages of the Gemini can each be connected to an insert of the Hermes and freely positioned within the processing chain. Processors that are in a chain between M/S encoder and decoder process the mid/side signal. These processors can also easily be mono devices. In the example above, Insert Send A is routed to Gemini for M/S encoding. The mid/side sends of the Gemini go back to Return A of the Hermes. Send B goes from Hermes back to the Gemini to be encoded back to L/R, which flows from the output of the Gemini back to Return B of Hermes.  For example, it is possible (see figure above) to place the M/S encoder at processing position 3, an equalizer at processing position 4 for separate processing of the mid and side signals, and then the M/S decoder stage of the Gemini at processing position 5 to generate an L/R stereo signal again. If a compressor is now to be used as an additional device for M/S processing, it can simply be set to processing position 5 in the chain, and the M/S decoder stage would move to processing position 6 accordingly. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32,5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -79 dBu Frequency range (-3 dB): 10 Hz – 150 kHz Crosstalk (1 kHz): -108 dBu THD + N (0 dBu, 1 kHz): -110 dBu Noise (A-weighted), all stages active): -98,2 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 300 mm Unit weight: 5 kg Shipping weight (incl. packaging): 8,1 kg

Mastering Router with dual Parallel Mix Hermes revolutionizes mastering. Now it is possible to have an audio signal processed by up to eight 2-channel processors in any order that can be stored. At the push of a button you can compare up to four complex processing chains. Connect, route, store, compare Hermes accelerates mastering workflows in an unprecedented achievable way. The time-consuming replugging of the patchbay alone had made true comparison almost impossible. Now you can change, store and compare processing chains in seconds. All with real buttons, relays and without additional software. Simply push the processor buttons A to H in the order in which the audio signal should pass through the processors and store it.  All processors can be named for a better overview. The name always appears briefly in the display when an insert button is pressed. Free routing of two parallel mix stages Hermes has two parallel mix stages that can be freely assigned to each of the eight processors and stored with a processing chain. This means that even two compressors with different parallel mix settings can be compared quickly and easily. The routing is completely passive with gas-encapsulated and gold-plated high-end relays. All active stages, such as the input/output stages and the parallel mix stages work in 120V technology. Sends & Returns The stereo channels are strictly separated on two boards to achieve the highest possible channel separation. The inserts are connected with XLRs for the first four stereo processors and with DB25 for the second four stereo processors. Specifications: Analog inputs & output; XLR & DB25 (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 4 Hz to 300 kHz Common mode rejection: -75 dBu Crosstalk (1 kHz, 0dBu): -130 dBu Crosstalk (1 kHz, 0dBu, P-Mix on): -110 dBu Noise (A-weighted): -121 dBu Noise (A-weighted, P-Mix on): -104 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 9 kg Shipping weight (incl. packaging): 12 kg

Mastering Console The DMC is the heart of the mastering studio. The converters, the players, the DAW, the recorders and the speakers are connected to them. The audio quality of the console is therefore crucial. And like all devices of the mastering series, the DMC also works on unparalleled 120V operating voltage. Inputs & Sources Audio signals that shall be processed are connected to the Inputs and audio signals for comparison or playback are connected to the Sources. Four stereo inputs pairs are available for each. Each input channel can be switched on/off, phase reversed and trimmed in 0.25 dB steps. A stereo input can be switched to mono. The large potentiometer for the recording gain allows sensitive gain rides. If it is not used, it should not be activated. This keeps the entire control stage outside the signal path. Monitoring & Inserts Three pairs of speakers can be operated for full-range, mid-field and near-field monitors. Speakers D is for a mono loudspeaker. Preferably a Phonitor headphone amplifier is connected to the Phonitor HP Out, whereby it can be programmed whether the loudspeaker is automatically switched off during headphone operation or not. The same applies to the subwoofer. It can be programmed with which monitor it is paired and activated together. The insert return can also be trimmed in 0.25 dB steps to compensate for the finest level differences after an insert chain. The Hermes Mastering Router is preferably connected to the inserts, with which up to eight stereo processors can be connected and freely routed and stored. In the monitoring section, each loudspeaker channel can be solo’ed and phase reversed. The large monitoring level potentiometer has an illuminated indicator so that the monitor level can be easily assessed even from a greater distance. A loudness compensation (+/- 10 dB) can be activated. Alternatively it can be linked to the Insert, Sources or Inputs switches allowing loudness compensation at any stage. DMC & MC 16 Yeah, it looks kind of wild. Makes sense, though. The DMC can be linked to the MC16 for surround and immersive audio applications. Dolby Atmos® or Auro 3D® projects can also be realized. The MC16 is the world’s first analog 16 channel monitoring controller. Mastering studios often use the L/R speakers and subwoofer for stereo and multi-channel monitoring. The combination of DMC with MC16 makes it unnecessary to replug these speakers. Pressing the Speaker A button for two seconds transfers the volume control of L/R and Sub to the MC16 and pressing it again brings it back to the DMC. In this way, stereo and surround projects in a studio can easily be performed one after the other. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dB Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz to 300 kHz Noise (A-weighted, +24 dBu, Rec Out, Insert On): -101.6 dBu Noise (A-weighted, +24 dBu, Speaker Out): -103.9 dBu THD & N (+24 dBu, Rec Out, Insert On): > 112 dB THD & N (+24 dBu, Speaker Out): > 108 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 10.6 kg Shipping weight (incl. packaging): 14 kg

Mastering M/S Processor Gemini is the first mid/side processor in 120V technology. In mastering, M/S processing is often the best way to get targeted access to individual elements of a mix. M/S ? The decomposition of the stereo signal in mid (voice, snare, bass …) and side (guitars, pads, cymbals …) allows their separate processing. The center signal (Mid) is the sum of the left and right channel of the stereo signal (L+R), i.e. the “in phase” part of the stereo signal. The side signal (Side) is the difference of the left and right channels of the stereo signal (L-R), i.e. the “out-of-phase” part of the stereo signal. Gemini can also be used to enlarge or reduce the stereo image. An elliptical filter for shifting the low frequency component from the side to the mid is also on board. The Mid When the M/S button is activated, the input signal (L/R stereo) is split into a mid and side signals. The exact center position can be adjusted with the Balance control and the exact level with the Trim control. Both functions are switchable to be in the signal path only when in use. Exclusive monitoring of the center is possible when the solo function is activated. Processors can be inserted to process the mid signal and activated with the Insert button.  The Side The side signal also has a solo function and a switchable insert for external processing.  In addition, the elliptical filter can be used to shift the bass frequencies from the side to the mid. This improves the punch and precision of low frequencies. The Stereo Width control changes the level of the side signal, with a level increase broadening the stereo image. These two functions can also be switched on to be in the signal path only when used.  I/Os and Inserts All inputs and outputs as well as sends and returns are balanced using Neutrik XLR connectors. Processors can be connected to the inserts for external processing. Especially interesting is the integration of the Gemini into the Hermes Mastering Router. In this way, processing chains can be created that combine classic L/R processing with M/S processing. Gemini & Hermes The M/S encoder and decoder stages of the Gemini can each be connected to an insert of the Hermes and freely positioned within the processing chain. Processors that are in a chain between M/S encoder and decoder process the mid/side signal. These processors can also easily be mono devices. In the example above, Insert Send A is routed to Gemini for M/S encoding. The mid/side sends of the Gemini go back to Return A of the Hermes. Send B goes from Hermes back to the Gemini to be encoded back to L/R, which flows from the output of the Gemini back to Return B of Hermes.  For example, it is possible (see figure above) to place the M/S encoder at processing position 3, an equalizer at processing position 4 for separate processing of the mid and side signals, and then the M/S decoder stage of the Gemini at processing position 5 to generate an L/R stereo signal again. If a compressor is now to be used as an additional device for M/S processing, it can simply be set to processing position 5 in the chain, and the M/S decoder stage would move to processing position 6 accordingly. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32,5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -79 dBu Frequency range (-3 dB): 10 Hz – 150 kHz Crosstalk (1 kHz): -108 dBu THD + N (0 dBu, 1 kHz): -110 dBu Noise (A-weighted), all stages active): -98,2 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 300 mm Unit weight: 5 kg Shipping weight (incl. packaging): 8,1 kg

Mastering Console The DMC is the heart of the mastering studio. The converters, the players, the DAW, the recorders and the speakers are connected to them. The audio quality of the console is therefore crucial. And like all devices of the mastering series, the DMC also works on unparalleled 120V operating voltage. Inputs & Sources Audio signals that shall be processed are connected to the Inputs and audio signals for comparison or playback are connected to the Sources. Four stereo inputs pairs are available for each. Each input channel can be switched on/off, phase reversed and trimmed in 0.25 dB steps. A stereo input can be switched to mono. The large potentiometer for the recording gain allows sensitive gain rides. If it is not used, it should not be activated. This keeps the entire control stage outside the signal path. Monitoring & Inserts Three pairs of speakers can be operated for full-range, mid-field and near-field monitors. Speakers D is for a mono loudspeaker. Preferably a Phonitor headphone amplifier is connected to the Phonitor HP Out, whereby it can be programmed whether the loudspeaker is automatically switched off during headphone operation or not. The same applies to the subwoofer. It can be programmed with which monitor it is paired and activated together. The insert return can also be trimmed in 0.25 dB steps to compensate for the finest level differences after an insert chain. The Hermes Mastering Router is preferably connected to the inserts, with which up to eight stereo processors can be connected and freely routed and stored. In the monitoring section, each loudspeaker channel can be solo’ed and phase reversed. The large monitoring level potentiometer has an illuminated indicator so that the monitor level can be easily assessed even from a greater distance. A loudness compensation (+/- 10 dB) can be activated. Alternatively it can be linked to the Insert, Sources or Inputs switches allowing loudness compensation at any stage. DMC & MC 16 Yeah, it looks kind of wild. Makes sense, though. The DMC can be linked to the MC16 for surround and immersive audio applications. Dolby Atmos® or Auro 3D® projects can also be realized. The MC16 is the world’s first analog 16 channel monitoring controller. Mastering studios often use the L/R speakers and subwoofer for stereo and multi-channel monitoring. The combination of DMC with MC16 makes it unnecessary to replug these speakers. Pressing the Speaker A button for two seconds transfers the volume control of L/R and Sub to the MC16 and pressing it again brings it back to the DMC. In this way, stereo and surround projects in a studio can easily be performed one after the other. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dB Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz to 300 kHz Noise (A-weighted, +24 dBu, Rec Out, Insert On): -101.6 dBu Noise (A-weighted, +24 dBu, Speaker Out): -103.9 dBu THD & N (+24 dBu, Rec Out, Insert On): > 112 dB THD & N (+24 dBu, Speaker Out): > 108 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 10.6 kg Shipping weight (incl. packaging): 14 kg

Το Dangerous D-BOX + είναι o εντυπωσιακός επανασχεδιασμός του βραβευμένου controller και Summing-mixer που έδωσε σε αμέτρητα στούντιο τον υψηλής ποιότητας ήχο και τον άμεσο έλεγχο του αναλογικού μίκτη, όλα σε μέγεθος ενός U-rack. Ο νέος μίκτης 8 καναλιών και ο stereo μετατροπέας DA παρέχουν τον χαρακτηριστικό καθαρό ήχο της Dangerous Music, ενώ προστέθηκαν επιπλέων λειτουργίες όπως η συνδεσιμότητα μέσω Bluetooth και μια εφαρμογή για τηλεχειρισμό όλων των σημαντικών λειτουργιών, έτσι μας δίνει την δυνατότητα χειρισμού για ένα σύνολο λειτουργιών αιχμής που διαθέτει το D-BOX + πριν από κάθε εργασία. Όπως συμβαίνει με όλα τα προϊόντα της Dangerous Music, το D-BOX + υπόκειται στα αυστηρά audiophile standards των ΗΠΑ. Συνολικός έλεγχοςΌπως το κεντρικό τμήμα της μεγάλης κονσόλας, το D-BOX + παρέχει λεπτομερή δρομολόγηση και διαχείριση όλων των εισόδων και εξόδων του στούντιο, τόσο αναλογικών όσο και ψηφιακών. Με το πάτημα ενός κουμπιού, μπορείτε να επιλέξετε από πέντε πηγές εισόδους: analog stereo, analog sum-mix, USB, AES / SPDIF και την ασύρματη σύνδεση Bluetooth D-BOX + από οποιαδήποτε συσκευή με δυνατότητα Bluetooth. Οι έξοδοι περιλαμβάνουν τρεις stereo output ηχείων, οι οποίες μπορούν να προγραμματιστούν σαν mono ή / και να περιλαμβάνουν ένα Subwoofer. Επιπλέον, μπορείτε να χρησιμοποιήσετε την έξοδο 3 ως πηγή για ανεξάρτητη μίξη με ξεχωριστό level και mute control. Tηλεχειρισμός bluetooth μέσω του D-BOX+ APP Χρησιμοποιώντας τη νέα εφαρμογή D-BOX + Bluetooth, σε οποιοδήποτε κινητό τηλέφωνο, tablet ή υπολογιστή, δεν χρειάζεται να είστε πλέον στην καρέκλα σας όταν δουλεύεται στο στούντιο. Όλες οι σημαντικές λειτουργίες του D-BOX + εμφανίζονται στο πρόγραμμα, παρέχοντας απεριόριστες νέες λύσεις σε παλαιά προβλήματα των στούντιο. Θέλετε να ακούσετε το όργανο στο Live room, αλλάζοντας τα monitor στα ακουστικά; Κανένα πρόβλημα. Μπορείτε αν θέλετε να ακούσετε τις μίξεις σας από το διάδρομο ή από άλλη θέση ενώ αλλάζετε monitors. Τώρα γίνεται . Ότι μπορείτε να το φανταστείτε, η εφαρμογή D-BOX + θα το κάνει πραγματικότητα. Ψηφιακός - αναλογικός μετατροπέας stereoΟι μετατροπείς D-A της Dangerous είναι η κορυφαία επιλογή για monitoring, μίξη και mastering εδώ και δεκαετίες. Η προηγμένη σταθερότητα του ρολογιού, τα κορυφαία σετ μικροεπεξεργαστών και η εξαιρετική πορεία του αναλογικού σήματος που προστίθενται σε ένα τελευταίας τεχνολογίας D-A είναι τόσο ισχυρό που δεν υπάρχει κάτι άλλο για να ανταγωνιστεί.Η πιστότητα και η μουσικότητα των ψηφιακών πηγών σας θα είναι ότι καλύτερο έχετε ακούσει στο παρελθόν,τα διαθέσιμα ψηφιακά πρωτόκολλα για το D-BOX + είναι τρία: USB, AES / SPDIF και Bluetooth.Διπλός προενισχυτής ακουστικών. Μια καλή ηχογράφηση απαιτεί ένα καλό mix ακουστικών και αυτό απαιτεί ένα δυνατό προενισχυτή ακουστικών. Το D-BOX διαθέτει έναν διπλό ! Αυτοί οι πανίσχυροι προενισχυτές είναι τόσο καθαροί και ακριβείς που πολλοί ηχολήπτες τους χρησιμοποιούν αποκλειστικά για την ακριβή παρακολούθηση της μίξης πριν φτάσουν στην αγορά.Με τις απλές αλλά εξελιγμένες δυνατότητες δρομολόγησης του D-BOX +, θα μπορείτε να στέλνετε οποιαδήποτε πηγή στον προενισχυτή ακουστικών είτε από το μπροστινό πάνελ είτε από απόσταση από την εφαρμογή D-BOX + Η σύνδεση ήχου μέσω USB είναι η πιο συνηθισμένη την τελευταία δεκαετία και η Dangerous βρίσκεται στην πρώτη γραμμή της ανάπτυξής της από την πρώτη στιγμή. Με το D-BOX +, δεν έχετε μόνο μια εξαιρετικά γρήγορη θύρα USB με χαμηλή καθυστέρηση, μπορείτε επίσης να έχετε μια σύνδεση χωρίς την εγκατάσταση drivers για το macOS και την άψογη υποστήριξη των drivers για τους υπολογιστές με Windows Τελευταίας τεχνολογίας αναβαθμισμένος οκτακάναλος summing mixerΌποιος έχει ακούσει τι μπορεί να κάνει ένας Dangerous summing mixer για να βελτιώσει την ηχητική κρούση, το panning, το βάθος και το πλάτος του μίγματος, γνωρίζει ότι δεν υπάρχει υποκατάστατο του αναλογικού αθροίσματος όταν γίνει σωστά. Έχουμε ακούσει αστρικά αποτελέσματα από την παραδοσιακή δρομολόγηση των υποομάδων σε ξεχωριστά αναλογικά κανάλια μέχρι τη δρομολόγηση πολλαπλών εφέ επιστρέφει στις δικές τους αναλογικές διαδρομές για αξεπέραστη διαστάσεων. Η ανάμειξη είναι μια μορφή τέχνης και ο αναλογικός αναμεικτήρας ανάμειξης θα σας βοηθήσει να δημιουργήσετε αριστουργήματα Χαρακτηριστικά: Ο νέος αναβαθμισμένος αναλογικός summing mixer 8 καναλιών προσφέρει τεράστια ευκολία και εξαιρετικό ήχο Πέντε αναλογικές και ψηφιακές εισόδους στα χέρια σας (αναλογικό στερεοφωνικό, αναλογικό sum, USB, AES / SPDIF, Bluetooth)Ασύρματη διασύνδεση ήχου Bluetooth Η δωρεάν εφαρμογή D-BOX + προσφέρει τηλεχειρισμό όλων των σημαντικών λειτουργιών (ένταση ήχου, dim, talkback, επιλογή I / O και πολλά άλλα) Η αποκλειστική εφαρμογή εκτελείται σε τρέχουσες συσκευές MacOS, Windows, IOS και Android και υπολογιστές Σύνδεση USB χωρίς drivers για macOS, απλή εγκατάσταση του προγράμματος οδήγησης USB για Windows Ενσωματωμένο talkback μικρόφωνο με ενεργοποίηση με κουμπί (στο μπροστινό πάνελ ή απομακρυσμένα από την εφαρμογή) Δύο ενισχυτές ακουστικών κορυφαίας ποιότητας με ανεξάρτητη επιλογή πηγής και έλεγχο στάθμης (μπροστινός πάνελ ή εφαρμογή) Τρεις ανεξάρτητες έξοδοι ηχείων (επιλέγονται από το μπροστινό πάνελ ή από την εφαρμογή)  

Το Dangerous 2-Bus παρουσιάστηκε το 1999 και δημιούργησε μόνο του μια νέα κατηγορία αυτή των summing mixers που βοηθούν τον ήχο των DAW  να αποκτήσουν κάτι απο την μαγεία της μίξης σε  αναλογική κονσόλα.Με ανασχεδιασμένο κύκλωμα το νέο  2-BUS+  προσφέρει αξεπέραστη στερεοφωνική εικόνα, σφικτό  ήχο και μεγάλη δυναμική περιοχή.Ταυτόχρονα στη νέα σχεδίαση περιλαμβάνονται 3 κυκλώματα με 3 διαφορετικούς ήχους που μπορεί κάποιος  να προσθέσει στο σήμα και να έχει έτσι μια παλλέτα με διαφορετικές αρμονικές, ανάλογα το κομμάτι και το στύλ μουσικής.Το Paralimit είναι ένα FET-style limiter και  το X-Former είναι ένα ζευγάρι απο  Cinemag output transformers που οδηγούνται απο ένα ειδικά σχεδιασμένο κύκλωμα. Εύκολο στη χρήση και με δυνατότητα σχεδόν απεριόριστων συνδιασμων ήχου, σχεδιασμένο απο τον θρυλικό  Chris Muth το 2-BUS+  είναι άλλο ένα προιόν Dangerous που απευθύνεται σε όσους αναζητούν πάντα τον καλύτερο ήχο για τις παραγωγές τους.Επίσης είναι σημαντικό να ξέρουμε πως μπορεί να έχουμε πολλά πετυχημένα emulation για επεξεργαστές ήχου σε ψηφιακό domain αλλά το analog summing παραμένει αδύνατο να γίνει emulation ψηφιακά.Χαρακτηριστικά:16 channels of the world’s best active analog summing, that even surpasses the original.Three distinctive analog color options: Harmonics, Paralimit and X-Former.Effortless routing and blending of analog color circuits via elegant user interface.Switchable stereo analog insert for easy outboard gear integration.Massive sounds, sacrificing no detail.Crystal clear sonic imaging and three-dimensionality.Endless headroom for modern digital signal levels.Stepped output gain control for exact recalls.Both XLR and D-Sub input connectivity.Audiophile-grade components throughout.

Class-A Summing Mixer The MixDream is a cascadable 16-in-2 summing device that adds Class-A stereo summing, extensive analog insert functionality, stereo expander, limiter and switchable transformers to any DAW. Analog Summing Analog summing with the MixDream brings intense depth, precise localisation and impressive spatiality. Individual instruments mix with smooth transitions.  Insert of each channel Each of the 16 input channels has a switchable insert for inserting EQs, compressors, Transient Designer, etc. Reverb and multi-effect devices can of course also be connected to the inserts. In the DAW, the aux send is then routed to the corresponding output. Master Insert In the Master Insert, a combination of compressor and equalizer is usually recommended. The insert send level determines the level at which the insert device is controlled. Stereo Expander The Stereo Expander can add more width and depth to a mix so that the stereo width gained from analog summing can be increased even further. No Mix With the No Mix switch position, the channel is muted for summing, but is retained at the Direct Out output and can thus be recorded again. The No Mix function is especially useful when, for example, a compressor is inserted: the compressed signal can be recorded again and assigned a level automation. Without this function, also known as “bounce back”, signals with level automation could not be compressed, because the compressor is looped in behind the post fader control and therefore the compressor threshold could not be adjusted during level runs. Direct Outputs Each channel has an active Direct Out, which allows individual channels to be recorded back into the DAW after insert editing. Peak Limiter The limiter can provide good protection for subsequent A/D converters. On the one hand, it can be used to intercept individual peaks that are too loud, and on the other hand it can also be used to increase loudness when used more intensively. How much loudness is possible with the limiter depends strongly on the nature of the music. With larger dynamic peaks, such as those coming from drums, loudness of up to 6dB can be obtained. Master Insert In the Master Insert, a combination of compressor and equalizer is usually recommended. The insert send level determines the drive level to the inserted device. Stereo Expander The Stereo Expander can add more width and depth to a mix so that the stereo width gained from analog summing can be increased even further. Output & Transformers The output has a level switch, which can be used to optimize the level to subsequent A/D converters.  In addition, the MixDream is equipped with two Lundahl LL1539 output transformers, whose special sound gives the master a final polish. Expansion If 16 channels are not enough when summing, the expansion input can be used as another stereo input. The output of another MixDream or MixDream XP can also be connected here. Mono 1 - 6 The channels 1/2, 3/4 as well as 5/6 can be switched mono, so that two signals can be converted by one D/A chip. For this purpose, the signals that are placed in the phantom center of the stereo mix (e.g. kick, snare, lead vocal, bass) are panned hard left/right in the DAW. Inserts On This allows all inserts to be switched on and off together. Specifications: Analog inputs & output: XLR & DB25 (balanced) Maximum input & output gain: 28 dBu Input impedance: 10 kΩ Output impedance (Master & Monitor w/o transformer, Insert Sends): 82 Ω Output impedance (Master & Monitor w/ transformer): 65 Ω Frequency range (-3 dB): 1 Hz – 220 kHz THD + N (A-weighted, +10 dBu, all channels active): -104 dBu Noise (A-weighted, all channels active): -97 dBu Common mode rejection (1 kHz): 70 dB Dynamic range: 125 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 30 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage 230 V: 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 800 mA Fuse for 115 V: T 1.6 A Power consumption: max. 75 W Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 237 mm Unit weight: 6.6 kg Shipping weight (incl. packaging): 8.05 kg

Following on from the phenomenal success of The Fat Bustard summing mixer whose features include Attitude, EQ, stereo width, and of course a big fat sound, we find there’s a demand for a similar warm sounding summing mixer with more channels at a lower price, keeping the unique Attitude control.This new unit utilises the same input circuit and Attitude section as the Fat Bustard, using the same type twin triode valves.Instead of having eqs and Stereo Spread, etc., there is only the “AIR” control which works on the very high end.  Because the unit contains no solid state in the audio path, the use of this control will enhance the sound with a lovely velvety sheen typical of the best all-valve equipment with none of the harshness found in some solid state units.The output stage is very similar to that of The Fat Bustard, except that for reasons of space and heat, smaller double triodes are employed.   All valves are “mil spec” NOS types.  The max output level is still well above +20 dBv, adequate for any DAW.All inputs and outputs are on XLRs, with inputs “semi floating” and outputs unbalanced.  A balancing box containing 2 Sowter transformers is available if required at additional cost.Front panel :There are 8 toggle switches to switch in pairs of channels, and 2 more toggles to switch channels 13,14,15 & 16 to make 4 mono channels.   AIR, a rotary pot, ATTITUDE, a 6 position switch, and a matched pair of pots controlling output levels.    There’s also a mains power switch and of course the Little Red Bustard’s eyes light up and go bloodshot as the sound gets louder!Futures :All valve 16 input summing mixer;Each pair of inputs has its own on/off switch;Inputs 13 to 16 can be switched to centre;Attitude control adds musical 2nd harmonics;Air control increases high top end without solid state harshness;Frequency response extends well above and below audio range;Easily enough output to drive your DAW and very low noise;All inputs are “semi-floating” on XLRs;Outputs are unbalanced. A separate Balancing Box is an optional extra;Shares the same natural warmth as the Fat Bustard;Extremely low distortion (< 0.1%) before Attitude is added.

Η Special Limited Edition Fat Bustard II είναι κατασκευασμένη για όλους αυτούς που θέλουν τις καταπληκτικές δυνατότητες του Fad Bastard αλλά με λιγότερους χρωματισμούς, χαμηλότερες παραμορφώσεις και πιο εκτεταμένη απόκριση συχνοτήτων.Η έκδοση αυτή χρησιμοποιεί 12AY7 double triode λάμπες στην είσοδο αντί για την 5965. Aνανεωμένη έκδοση του κλασικού πια Fat Bustard, με ενσωματωμένο INT/EXT διακόπτη στο master section και ένα ζευγάρι από αντίστοιχα jack inputs για σύνδεση ενός playback device που μπορεί να γίνει route στο monitor buss. Αυτό μπορεί χρησιμοποιηθεί και για να γίνει έλεγχος του σήματος ενός Phoenix compressor που έχει συνδεθεί στο output του Fat Bustard. Η στάθμη του σήματος EXT μπορεί να ρυθμιστεί με ένα trim pot.Το Fat Bustard είναι κάτι παραπάνω από ένα απλό mixer, παρέχοντας δυνατότητες διαμόρφωσης του ήχου με χειριστήρια bass και high cut και lift, καθώς και δυνατότητα ανοίγματος της στερεοφωνικής εικόνας. Οι είσοδοι είναι κατανεμημένες σε 4 stereo, 4 mono όλες με διακόπτη mute και οι mono με pan pots.Τεχνικά ΧαρακτηριστικάInput Impedance:8 kohm + (dependant on channel and setting), unbalancedOutput Impedance:600 ohms, unbalancedGain (ch. 1-8):0 at Attitude 1, + 15dB at Max AttitudeMaximum Output Level (MOL)+ 26 dBuDistortion : (at Att 1) 0.015% +8dBm output (at Att 3) 0.22% (at Att Max) 1+ % (dependent on how hard input valves are driven)Signal to noise (IEC weighted) 100dB below MOL (at Attitude 1)Frequency response +/-0.5 dB 9Hz to 30kHz (at Attitude 1)Max Bass Lift +11dB @ 50 HzMax Top Lift +12.5dB @ 10kHzAll audio connectors XLR wired pin 2 signal, 1&3 earthValve complement 2 x 5965, 2 x 6SN7, 1 x 12AU7

Aνανεωμένη έκδοση του κλασικού πια Fat Bustard, με ενσωματωμένο INT/EXT διακόπτη στο master section και ένα ζευγάρι από αντίστοιχα jack inputs για σύνδεση ενός playback device που μπορεί να γίνει route στο monitor buss. Αυτό μπορεί χρησιμοποιηθεί και για να γίνει έλεγχος του σήματος ενός Phoenix compressor που έχει συνδεθεί στο output του Fat Bustard. Η στάθμη του σήματος EXT μπορεί να ρυθμιστεί με ένα trim pot.Το Fat Bustard είναι κάτι παραπάνω από ένα απλό mixer, παρέχοντας δυνατότητες διαμόρφωσης του ήχου με χειριστήρια bass και high cut και lift, καθώς και δυνατότητα ανοίγματος της στερεοφωνικής εικόνας. Οι είσοδοι είναι κατανεμημένες σε 4 stereo, 4 mono όλες με διακόπτη mute και οι mono με pan pots.Τεχνικά ΧαρακτηριστικάInput Impedance:8 kohm + (dependant on channel and setting), unbalancedOutput Impedance:600 ohms, unbalancedGain (ch. 1-8):0 at Attitude 1, + 15dB at Max AttitudeMaximum Output Level (MOL)+ 26 dBuDistortion : (at Att 1) 0.015% +8dBm output (at Att 3) 0.22% (at Att Max) 1+ % (dependent on how hard input valves are driven)Signal to noise (IEC weighted) 100dB below MOL (at Attitude 1)Frequency response +/-0.5 dB 9Hz to 30kHz (at Attitude 1)Max Bass Lift +11dB @ 50 HzMax Top Lift +12.5dB @ 10kHzAll audio connectors XLR wired pin 2 signal, 1&3 earthValve complement 2 x 5965, 2 x 6SN7, 1 x 12AU7

Following on from the phenomenal success of The Fat Bustard summing mixer whose features include Attitude, EQ, stereo width, and of course a big fat sound, we find there’s a demand for a similar warm sounding summing mixer with more channels at a lower price, keeping the unique Attitude control. Enter The Purple Bustard.This new unit utilises the same input circuit and Attitude section as the Fat Bustard, using the same type twin triode valves.Instead of having eqs and Stereo Spread, etc., there is only the “AIR” control which works on the very high end.  Because the unit contains no solid state in the audio path, the use of this control will enhance the sound with a lovely velvety sheen typical of the best all-valve equipment with none of the harshness found in some solid state units.The output stage is very similar to that of The Fat Bustard, except that for reasons of space and heat, smaller double triodes are employed.   All valves are “mil spec” NOS types.  The max output level is still well above +20 dBv, adequate for any DAW. All inputs and outputs are on XLRs, with inputs “semi floating” and outputs unbalanced.  A balancing box containing 2 Sowter transformers is available if required at additional cost.Front panel:There are 8 toggle switches to switch in pairs of channels, and 2 more toggles to switch channels 13,14,15 & 16 to make 4 mono channels.   AIR, a rotary pot, ATTITUDE, a 6 position switch, and a matched pair of pots controlling output levels.    There’s also a mains power switch and of course The Purpl Bustard’s eyes light up and go bloodshot as the sound gets louder!The frequency response goes well above and below audio range until the Attitude is set to at or near max, similarly other specs are practically the same as The Fat Bustard, except cross-talk, phase shift and signal to noise are slightly better as there is no eq. etc.Χαρακτηριστικά:All valve 16 input summing mixer;Each pair of inputs has its own on/off switch;Inputs 13 to 16 can be switched to centre;Attitude control adds musical 2nd harmonics;Air control increases high top end without solid state harshness;Frequency response extends well above and below audio range;Easily enough output to drive your DAW and very low noise;All inputs are “semi-floating” on XLRs;Outputs are unbalanced. A separate Balancing Box is an optional extra;Shares the same natural warmth as the Fat Bustard;Extremely low distortion (< 0.1%) before Attitude is added.