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Dangerous Music Monitor ST
Dangerous Music Monitor ST
Dangerous Music
177 600 руб.


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.


  • 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


  • 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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