Audio Workstations have taken over the world of recording and there is no going
back. While we all embrace the wonderful benefits of the computer-based
workflow, we also have to deal with the issues and limitations of digital
recording and mixing.
Dangerous 2-Bus analog summing mixer was created to bring back the analog sound
quality you’ve been craving in your digital audio environment, while
maintaining the fast workflow and recall capabilities we all depend on. 16
channels in, 2 channels out, one great sounding mix.
- The Choice
of Top Mix Engineers Worldwide
- More Punch
Your Analog Gear into the modern DAW studio
Dangerous 2-Bus is a 16X2 summing device designed to help DAW users achieve
better mix performance through the use of cutting-edge analog audio circuit
design. As engineers and musicians, the Dangerous Music team has noted that the
resulting mix from DAW systems doesn’t equal those of high-end analog recording
consoles. The solution is the 2-Bus’s pristine audio path - delivering nuance,
depth and clarity to your mix without any added coloration or distortion.
Dangerous Music 2-Bus allows the full potential of your digital audio
workstation to be realized - audibly, in terms of sound quality, spatial detail
and headroom as well as ergonomically in terms of outboard analog equipment
integration. The transparent sound allows you to enjoy the true colors of your
chosen outboard gear without clouding the issue.
by hand using the highest quality components and a no-compromise attitude, the
Dangerous 2-Bus sums 16 channels of audio to a stereo pair in a tried and true
analog environment, delivering sound quality you would expect from a full-scale
large format analog console, but from a compact 2RU device that was
specifically designed for the modern studio.
Quality Signal Path
Attenuator output control
- Fully Linkable
with 2-BUS, 2-BUS LT and MIXERDAW studio
Response: 1 Hz-100 kHz within 0.1 dB
- 0.0045% +4
dBu input level
- 0.0008% +22
dBu input level
- 0.0055% +4
dBu input level
- 0.0015% +22
dBu input level
> 101 dBu
floor: <-83 dBu total energy in audio band
- Max level:
operating level: +4 dBu (1.228 volts)
impedance: 25kohm balanced
impedance: 50 ohms balanced (600 ohm drive capable)
accuracy: >0.02 dB @ 1 kHz for any gain setting
consumption: 30 watts
- Warranty: 2
years parts and labor, subject to inspection. Does not include damage incurred
through abusive operation or modifications/attempted repair by unauthorized
"I'm getting fantastic mixes
straight out of my computer since I started using the Dangerous 2-BUS. There's
more headroom than I know what to do with, and the computer busses aren't
folding up like origami anymore. This is truly a great product, and a real
alternative to the outboard mixing console."
McCartney's "Memory Almost Full" Kahne has worked on previous
McCartney outings "Driving Rain," "Back in the U.S.,"
"From a Lover to a Friend," "In Red Square," and
"Freedom." As a top pop-music producer and engineer Kahne's work
spans a huge list of artists including the brand-new Kelly Clarkson album
"My December", Imogen Heap, The Strokes, Sublime, Sean Lennon, Sugar
Ray, Wilco, Tony Bennett, Fishbone, The Bangles, Shawn Colvin, Stevie Nicks,
Matthew Sweet, K.D. Lang, 311, and many others
"I have been using the
Dangerous Music 2-Bus summing system for several years now on everything I mix
and I absolutely love it. Barbiero added, "I put the Dangerous 2-Bus system
in because I hated the two dimensionality of in-the-box mixes, summed in the
digital domain. I like the clarity of the Dangerous sound and the reliability
of the gear. I've never had a moment's trouble with it."
engineer/producer for numerous Grammy nominated and Grammy winning albums,
Barbiero has a long list of credits (1973 - 2007!) He has worked with Maroon 5
on 'Songs About Jane' ("Harder to Breathe"), just received news of
multi-platinum status on a Danish record he did for Thomas Helmig entitled
"Helmig Herfra," as well as recent mixing work for Blue October,
Evan's Blue, Gov't Mule, Mike Farris, and Goodbye Tomorrow. Past heavyweight
credits for Barbiero include the Allman Brothers, Jeff Beck, Ziggy Marley, Cypress
Hill, Hinder, Peter Frampton, Counting Crows, Joe Cocker, Soundgarden, Kiss,
Metallica, Guns & Roses, Velvet Underground, Mick Jagger, John Lennon...
we'll stop there.
"I come from the realm of
mixing based on analog consoles," says Robert Carranza. "I had been
mixing extensively with DAWs but I never felt they gave me the sound that I
wanted. I went on a mission to try all the different summing amps out there and
when I hit the Dangerous I said 'That's IT!' Running my DAW with the Dangerous
2-BUS on the back end added all this depth and width to the mix. There's such a
noticeable benefit using the 2-BUS compared to mixing in-the-box."
that artists and musicians who are really in tune with the recording process
always notice the improvement in the sound of their tracks mixed or recorded
through the Dangerous 2-BUS. "They ask me, 'Why does that sound so good?'
- The 2-BUS sounds so open and yet it's so tight on the bottom."
Carranza recently finished recording and mixing Ozomatli's new album and has
started work with Baller Banks (Record Collection/Warner Brothers). He recently
mixed Ricky Martin and Dirtie Blond and recorded Mars Volta and Los Lobos. He
produced, engineered and mixed the most recent Jack Johnson release, which entered
the Billboard charts at Number 1. Carranza's discography includes multiple
titles by Los Lobos, Jack Johnson, Molotov, Ozomatli as well as albums by Beck,
Supergrass, Blackalicious and Lucious Jackson to name a few. Carranza is a
three-time Grammy winner with Ozomatli (2004/2005) and Molotov (2005). To
contact Robert Carranza visit Tsunami Entertainment at www.tsunamient.com
"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
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.