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

The Dangerous D-BOX+ is a ground-up dramatic redesign of the award-winning controller and summing mixer that provided countless studios the superior sound and versatile control of an analog mixer, all in just one rack space. The newly designed 8-channel summing mixer and D-A stereo converter provide Dangerous Music’s bold and clear sound, while newly added features like Bluetooth connectivity and an app for remote control of all major functions unleash a cutting edge feature set that puts the D-BOX+ far ahead of the competition. As with all Dangerous Music products, the D-BOX+ is proudly made to exacting audiophile standards in the USA. TOTAL CONTROL Like a large console’s center section, the D-BOX+ provides elaborate routing and switching of your studio’s inputs and outputs, both analog and digital. At the push of a button, you can select from five input sources: analog stereo, the onboard analog summing mixer, USB, AES/SPDIF and—brand new for the D-BOX+—a wireless Bluetooth stream from any Bluetooth-enabled device. Outputs include three stereo speaker ports, and these can be programmed to be mono and/or to include a subwoofer. Further, you can use output 3 as source for an independent sub with individual level and mute control. VERSATILE MONITORING OF MULTIPLE SOURCES Any studio situation, but especially tracking sessions, call for independent monitor routing for artist and engineer. With the D-BOX+ you have two totally independent monitoring sections: Control Room and Headphones. With the simple push of a button, you can assign any of the five input sources to either of these monitoring paths, making what would otherwise be elaborate patches into instant choices. Want to check on your monitors what your artist is hearing in their headphones? Seamless source switching is simple. REMOTE CONTROL VIA BLUETOOTH AND THE D-BOX+ APP Using the new D-BOX+ Bluetooth app, on any current phone, tablet, or computer, you are no longer bound to your chair when you need control your studio. All major functions of the D-BOX+ show up in the highly intuitive and rock solid program, providing limitless new solutions to age-old studio problems. Want to listen to an artist’s instrument in the live room while switching monitoring sources in their headphones? No problem. Want to give a couch-bound producer control over the talkback mic through their phone? Simple. Want to listen to your mixes from the hallway while still swapping monitors or switching a sub in and out? You got it. If you can dream it up, the D-BOX+ app will deliver. THREE MASTERING GRADE DIGITAL-TO-ANALOG STEREO CONVERTERS Our D-A converters have been at the heart of award winning tracking, mixing, and mastering studios for decades. Advanced clock stabilization, top-of-class chip sets, and our uncompromising analog signal path add up to a D-A that’s as powerful as it is nuanced. Clarity and musicality of your digital sources are no longer trade-offs, but will come together for the best possible monitoring available in any price category and the D-BOX+ is loaded with three: USB, AES/SPDIF and Bluetooth. TWO POTENT HEADPHONE AMPS A great session requires a great headphone mix, and a great headphone mix requires a great headphone amp. With the D-BOX+ you get two of them. These potent amps are so clean, powerful, and accurate that many engineers use them exclusively for fine-grained quality control listening right before delivering a record to market. With the easy yet elaborate routing capabilities of the D-BOX+, you’ll be able to send any source to either headphone amp from either the front panel or remotely from within the D-BOX+ app. TALKBACK FROM ANYWHERE DAWs are incredible tools, but they don’t offer all the tools you need to make your studio sessions run like clockwork. The onboard talkback mic of the D-BOX+ offers a simple, time-honored solution to one of a studio’s most basic needs. Now that you can control that talkback mic from anywhere via the D-BOX+ app, you’ll find yourself waving your arms far less and communicating more effectively with your collaborators. ROCK SOLID USB CONNECTIVITY FOR WINDOWS AND MAC USB audio connectivity has come a long way over the past decade, and Dangerous has been at the forefront of its development the entire time. With the D-BOX+ you not only get an ultra-fast, low-latency USB port, you also get the latest driverless connectivity on macOS and flawless driver support on current Windows computers. Say goodbye to fussing around with software just to get up and running, and say hello to plug-and-play connectivity. AN UPGRADED EIGHT-CHANNEL SUMMING MIXER Anyone who has heard what a Dangerous summing mixer can do to improve the sonic impact, panning, depth, and width of a mix knows that there’s no substitute for analog summing when its done right. We’ve heard stellar results from traditional routing of subgroups to separate analog channels all the way to routing multiple effects returns to their own analog paths for unrivaled dimensionality. Mixing is an art form, and our analog summing mixer will help you create masterpieces. FEATURES Newly upgraded 8-channel analog summing mixer delivers enormous soundstage and superior sonic impact Five analog and digital inputs at your fingertips (analog stereo, analog sum, USB, AES/SPDIF, Bluetooth) Bluetooth wireless audio streaming Free D-BOX+ app offers remote control of all major functions (volume, dim, talkback, I/O select, and more) Dedicated app runs on current macOS, Windows, IOS and Android devices and computers Driverless USB connectivity for macOS; simple USB driver installation for Windows On-board talkback mic with push-button activation (on front panel or remotely from app) Dual best-in-class headphone amplifiers with independent source selection and level control (front panel or app) Three independent speaker outputs (selected from front panel or from app) Programmable speaker selector allows for dedicated mono and/or sub inclusion on all outputs

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.

The MixDream is a cascadable, 16-in-2 analog outboard mixer in a 19“/2U format. Any DAW or digital console can be expanded with active analog stereo summing and insert functionality. MixDream advantages High-grade analog summing on just 2U rack space Sophisticated, active Class A/60V stages for analog summing in the quality of the best consoles 16 balanced inserts allow for integrated analog effects with individual and overall hard bypass relays Reduction of A/D conversions (14 A/D conversions can be spared with all inserts connected). All analog tracks can be summed before A/D conversion. Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW so the user loses no digital efficiency Lower DAW processor utilization rates The most efficient possible re-sampling of individual tracks with latency free monitoring Surround capable (from up to 3 MixDream units) Channel capacity expandable through linked units Sensitive and transparent stereo expansion control Analog peak limiter for impressive loudness Master inserts and switchable output transformers from Lundahl Optimized signal pathes, all switching functions via relays Proprietary differential amplifiers for each input Discrete, exceptionally low-noise power supply

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.

This Special Limited Edition Fat Bustard II is introduced for those purists who want the facilities of the Fat Bustard summing mixer (special equalisation for the mix, stereo width, bass to centre) but a little less colourisation and even lower distortion and noise, though not as much max “Attitude”. The top response now extends to 50+ kHz with consequently less phase shift.It uses 12AY7 double triode input valves in place of 5965s. Both Fat Bustards have exactly the same 14 inputs, and same controls. The black more Aggressive Fat Bustard continues to be made, so the user has a choice until all the Green ones have been sold. Both are the same price.The updated version  of the hugely popular Fat Bustard  now includes in master section a INT/EXT switch and a pair of associated rear mounted jack inputs for attaching a playback device to route through the monitor buss. This can also be used to check the effects of a Phoenix compressor that has been connected to the output of the Fat Bustard. The level of the EXT signal can be adjusted via the rear mounted trim pot.More than just a straight summing mixer, this new offering provides sound shaping possibilities too, with a simple yet powerful bass ( 50Hz ) and treble ( 10kHz ), Stereo Width and Depth controls, and the new ‘Attitude’ distortion section. The inputs are arranged as 4x stereo pairs and 4 mono, all with mutes, the mono inputs also have pan pots too. Two additional Aux inputs are provided for echo returns and the optional forthcoming Little Bustard 16 channel expander. The Fat Bustard lives up to its name-guaranteeing Big Fat Sounds Specifications:Input 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. Features: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.