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Dangerous Music 2-Bus
Dangerous Music 2-Bus
Dangerous Music
222 000 руб.


16x2 Analog Summing Mixer

Digital 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.
The 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
  • Incredible Imaging
  • More Punch and Detail
  • Unbelievable Headroom
  • Integrate Your Analog Gear into the modern DAW studio
The 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.
The 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. 
Assembled 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.
  • Superb Sonic Performance
  • Mastering Quality Signal Path
  • Stepped Attenuator output control
  • Fully Linkable with 2-BUS, 2-BUS LT and MIXERDAW studio



  • Frequency Response: 1 Hz-100 kHz within 0.1 dB
  • Total Harmonic Distortion:
  • 0.0045% +4 dBu input level
  • 0.0008% +22 dBu input level
  • Intermodulation Distortion:
  • 0.0055% +4 dBu input level
  • 0.0015% +22 dBu input level
  • Crosstalk: > 101 dBu
  • Noise floor: <-83 dBu total energy in audio band
  • Max level: +28 dBu
  • Nominal operating level: +4 dBu (1.228 volts)
  • Input impedance: 25kohm balanced
  • Output impedance: 50 ohms balanced (600 ohm drive capable)
  • Gain accuracy: >0.02 dB @ 1 kHz for any gain setting
  • Power 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 technicians.

User Testimonials

            "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."
David Kahne
Along with 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."
Michael Barbiero
As an 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."
He notes 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."
Robert Carranza
Robert 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 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


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