Stereo Monitor Control System
The Dangerous Monitor ST
is a remote-control accessed input source switcher/speaker switcher/cue
system/talkback system /headphone amplifier all in a one rack space package.
The Monitor
SR is a companion expansion module, providing full 5.1 capability. You can
start in stereo with the ST and expand to surround later simply by adding the
SR. No redundancy or obsolescence!
Configure
and control your entire system from the comfort of your sweet spot.
Featuring:
- Analog
stepped-attenuator volume control - No level control IC’s used – pristine,
accurate and repeatable.
- 4 input
sources - Switch between your DAW outputs, DVD player, CD player, tape
machines, etc.
- 3 speaker
outputs - Switch between up to 3 sets of monitors
- Programmable
input gain offsets - Adjust for and store level offsets for different source
devices
- Input level
compensation for –10dBV and +4dBu sources - Instantly adjust and store gain
compensation for consumer devices
- Input 4 has
continuously variable level offset - Compensate for commercial CD levels and
perform true A/B comparisons without compromising sound quality.
- Programmable
output level offsets - Fine-tune and store offsets to achieve equal apparent
loudness on all your control room speakers- SR unit has continually variable
level trims for L-R rear, center and LFE.
- Assignable
subwoofer output - Choose and store which sets of speakers you want to use with
your sub
- Programmable
subwoofer level offset - Adjust and store subwoofer levels, easily alternate
between sub function and LFE function
- Selectable
subwoofer filtering - Select and store subwoofer filter options for each set of
speakers. Switch between full bandwidth for surround mixing and bottom octave
only for stereo work.
- Comprehensive
speaker Mute and Solo - Easily mute and solo speakers in any combination
- Flexible
stereo cue system with main and auxiliary inputs - Make your performers happy
with a great headphone mix or use the aux input as a Beep channel to monitor
computer alert tones or click tracks on the main speakers.
- Onboard cue
power amp - 40 watts of clean power for your headphones
- Talkback
system with dual control and dedicated slate output - Give the producer his own
talkback button! Easily slate tracks, or send the slate output to a powered
speaker for open-air talkback
- SR Unit has
selected source output - Send source signals to meters or any other external
device
Specifications
- Gain
Tracking Accuracy: better than 0.05dB for 6 channels
- THD+N: 0.002%
- IMD: 0.003%
- Frequency
Response: 1Hz-100kHz -0.1dB
- Crosstalk
Rejection: >96dB
- Nominal
Input Level: +4dBu or -10dBV
- Crossover:
-3dB @ 57Hz 18dB/octave modified Butterworth/Chebyshev
- Headphone
amp: 0.002% THD+N
- Headroom:
+25dBu to main outputs
- Warranty: 2
years parts and labor, subject to inspection. Does not include damage incurred
through abusive operation or modifications/attempted repair by unauthorized
technicians.
User
Testimonials
"Dangerous quality! Really
great monitoring tools - clean, precise and amazing features on board."
Hans-Philipp
"H-Peh" Graf
Hans-Philipp
Graf is one of Germany´s most sought-after freelance mastering engineers. The
recordings H-Peh has mastered have become a regular feature in the German sales
and club charts, with some going all the way to number one.
"I love all the Dangerous Music
equipment. I use the Monitor ST
as my monitor section, the Dangerous Master as my mastering transfer console,
and two Dangerous 2-Bus LTs for my mixing and stem-mastering path, which is fed
by two Lynx Aurora 16s for 32-channels of input and output. That sounds like a
lot of outputs but that’s what got me hooked on mixing and mastering - being
able to replicate the analog console sound and headroom while simultaneously
allowing me to use a DAW and all the capabilities of the computer. I started
using computers 20-years ago, I’m an ultra-geek. I program a lot, I do a lot of
recreational activities on the computer aside from music. Being able to use the
computer and still get the analog sound is the best thing for me and my
clients."
Noël
Jackson
Mastering
engineer Noël Jackson began getting into music and recording and then moved
into mastering when he realized just how good music could sound. Jackson recalls when he was
a teenager growing up, “Instead of watching TV, I listened to records.” And
listening on a great system inspired Jackson.
“That’s how I got into mastering and what I love about it.” Jackson’s studio is filled with handpicked
gear from many of the top names, including Dangerous Music. He has the Dangerous Monitor ST
monitor control, Dangerous Master analog transfer console, and two Dangerous
2-Bus LT analog summing amps.
You can
reach out to mastering engineer Noël Jackson at: http://eeeqd.com/ and
http://noel.io
"The Dangerous MQ, Monitor and
Master together create the modern-day transfer console.
I have the
Dangerous Master routed out to an XLR patch-bay that I built. I'm using about a
quarter of the amount of cables with the Master, Monitor and MQ than I used in
my old system, with the ability to re-patch the system at any time. With the
three-insert points on the Master, it allows me to keep a basic starting point,
and I can fine-tune it per session as necessary. The second insert on the
Master has the magic S&M button - a sum-and-difference encoder/decoder that
lets you affect stereo width and also process the material in mid-side. You can
engage the sum-and-difference mode and insert analog processing in the loop if
you want to for example de-ess the vocal in the center channel only and add
bottom-end to the guitars panned to the sides without making the center muddy.
And in combination with the Dangerous Monitor, you can separately monitor the
sum and difference paths and hear the effect of your processing, which has been
a very powerful addition I wasn't able to do in the past.
The
Dangerous Monitor is fantastic - it allows me to do some really cool things
that I couldn't do before. It can monitor a number of digital and analog
sources, so one of the ways I use it is to monitor the signal from the DAW pre
and post. I have two digital signals from my Lynx Aurora card, one before and
one after the A-to-D stage, and they both go through the Dangerous Monitor
D-to-A, so you are comparing different sources using the same D/A converter at
the same level. This process allows me to do a 100-percent, pure A-B, before
and after my mastering system, all gain matched perfectly. In my old system I
couldn't do this. I couldn't monitor the resulting last stage of A-to-D, which
does color the signal, in real-time. Using the Lynx interface with dual/matched
Lavry A/D converters in combination with the dual outputs of the Dangerous
Master, I am able to capture two paths in real-time, one using the outboard
analog signal path as the 'Vinyl Pre-Master' and one going through a final
limiter in the digital domain for the CD Master and assets for Digital
Distribution."
The MQ has
VU meters, as well as a digital simultaneous peak-over-average meter that are
fed from the selected output of the Dangerous Monitor. When listening to the
outputs of the Dangerous Master I am able to see what my total level is as a
result of the analog processors being inserted through the Master. If its
bypassed or engaged I can instantly see where I am at, gain-wise,
before-and-after. With the MQ I can better project where I want to be when I'm
back in the digital domain at the end of the processing.
The three
products making up my Dangerous mastering transfer console are my real key
studio components," states Wells. "The Dangerous Master's patching is
so clean and the signal path so well thought out, when artists enter my studio
and ask me what the coolest piece of gear I have is, I always point to the
Dangerous Music equipment and smile wide, it's just that cool."
Mike Wells
Mike Wells
Mike Wells spent most of the 1990's as a recording and mixing engineer for
projects by electronic music and metal acts in the San Francisco Bay Area. In
2001, he founded Mike Wells Mastering, an all-analog, Class-A, mastering
facility located in San Francisco's
historic Hyde Street Studio building. Of the hundreds of worldwide clients he
has mastered projects for over the past few years, his recent clients include
Jello Biafra, Jackie Greene, John Vanderslice, WHY?, The Mother Hips, and Sound
Tribe Sector Nine. He is also a regular fiscal sponsor of local Bay Area music
events such as Noise Pop, The Tidal Wave festival, and the Blue Bear School of
Music benefit. Wells offers occasional teaching seminars on-site at his
mastering facility and at Bay Area schools and universities. Contact Mike Wells
at (415) 595-5446 or through his website at:
www.mikewellsmastering.com
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