Aaron Symonds

Film Composer

“My jaw dropped! Night and day! I’m hearing things I never knew existed! Increased depth of field and stereo horizon! Just…wow!”

Adam Gonsalves

Mastering Engineer

“One of the best features of the LIAISON is the monitor outs…you can monitor the signal at four points in the chain: before and after Bus A and B. The usefulness of this feature is huge, and Dangerous deserves major props for including it!”

Alan Evans

Producer, Musician, Engineer

“With the SOURCE as my D-to-A, I۪m hearing my mixes EXACTLY the way they came off the console, and because of the variety of inputs and routing possibilities I can monitor before or after my recording A-to-D converter.”

Alberto Rizzo Schettino

“The Dangerous LIAISON fels like engaging light-speed for my workflow..and make no mistake: workflow IS sound. The sheer speed at which you can do critical comparisons of entire signal chains does have a direct and positive impact how your music will sound.”

Allen Farmelo

Producer/Engineer

“I just love listening to sounds through them for long stretches. I’m fascinated with three- dimensionality and space in recordings, and with the CONVERTS, I am hearing convincing dimensionality.”

Allen Farmelo

Producer/Engineer

“As far as I can tell (and I’ve really looked and listened), there are very few stereo units that will sound as good as the CONVERT-2, and (I will go on record here) no multichannel converters that can top the CONVERT-8.”

Allen Farmelo

Producer/Engineer

“The low end is not just ‘phat’ or whatever the latest adjective is — it takes on boulder-like qualities. At slow tempos, I can see what I have come to call ‘sonic asteroids’ in orbit as bass sounds enter the room. The mids are not… READ MORE Allen Farmelo

Allen Farmelo

Producer, Engineer

“When I plugged in the Dangerous Music CONVERT-8, I finally sat back and thought that digital pro-audio might have finally arrived. After hours and hours, and then days and now weeks of listening to the same material, it still sounds beautiful.”

Antoine “Chab” Chabert

Mastering Engineer

“The LIAISON is really important – I can do a lot of combinations of chaining gear and I am able to work a lot faster. Before the LIAISON [I had to] switch the patchbay and compare the sounds. Now I am 20-times faster than before,… READ MORE Antoine “Chab” Chabert

Arnold D’Souza

Engineer

“The headphone amp is so crisp and detailed. I recorded one of my regular artists through it and the D-BOX helped get him to the emotion quicker than ever. It blew him away!”

Barry Rudolph

Mix Magazine

“Mixing down a stereo pair [on the 2-BUS]…you’ll have more headroom and dynamic range, a wider stereo spread and clearer sound…than mixing inside Pro Tools.”

Barry Rudolph

Mix Magazine

“With its small size, transparent sound, elegant design, simple hookup, D-BOX is packed with everything you need for studio or mobile applications.”

BigTree

Engineers around the world that never have the opportunity to work with people like Chris Muth, how would you ever know what they do and how they listen and get it right. Well, when you buy products from guys like this, they are designed the… READ MORE BigTree

Bob Power

Mastering Engineer

“So happy with the LIAISON. Being able to switch gear in and out from the listening position without leaning over a patch bay is fantastic. After sitting in this chair for so many years, it actually improves my mixing ergonomics considerably.”

Bob Power

Mastering Engineer

“Comparing different chains of outboard gear with the touch of a single button is a total win.”

Brian J Anthony

Engineer/Studio Owner

“Woah! The stereo image is definitely wider than I’ve ever heard here in the control room. And I’m catching details I never have before in songs I’ve heard a million times.”

Brian J Anthony

Engineer/Studio Owner

I”t’s been TWO years and the ST has been ROCK solid with NO glitches, crackles, hiccups, etc. I’ve never been more pleased. It just WORKS! Thanks for making such a reliable unit.”

Chris Athens

Mastering Engineer

“I don’t need a new converter, but I’m damn sure gonna buy this one. Economy, utility, innovation, and excellence. Designed and built by professional engineers for professional engineers.”

Chris Bialuski

President, Recording.org

“The MONITOR ST is the single most valued piece of gear I have ever owned. It’s a giant asset to my studio. When I got that, it all started making sense.”

Chris Blackwell

Drummer/Composer

“The PARALIMIT and X-FORMER appear to be magic knobs. Special mention goes to the PARALIMIT because it does that lovely thing of bringing up the general ambience without slamming the track, something I particularly love on drums.”

Chris Tabron

Producer/Mixer

“With the 2-BUS+ I’m able to work at the speed my clients have come to expect, but also push quite a bit harder into the analog domain the way I like.”

Chris Tabron

Producer/Mixer

“The harmonic and transformer flavors are great options to have and the parallel limiter is a genius idea.”

Claude Zdanow

“Stadium Red Engineer Ariel Borujow’s [mix] chain is: out to the 2-BUS LT, to an SSL compressor, then to the BAX EQ. He swears by it, he won۪t mix any other way.”

Colin Leonard

Mastering Engineer

“With the S&M feature on the MASTER, you can really fix some problems in mixes, and address balance issues… Comparing it to Mid-Side processors in the digital realm I just think it’s a ‘Day and Night’ difference.”

Colin Leonard

Mastering Engineer

“I love the Dangerous MONITOR for its transparency and accuracy with tracking with the stepped volume control. As a mastering engineer it’s really a necessity to have instantaneous digital switching with a common converter — and that’s what the MONITOR supplies! I can get real… READ MORE Colin Leonard

Craig Anderton

Mastering Engineer

“The sound quality is somewhere beyond excellent. Mixing with Source becomes a superior audio experience.”

Craig Duman

Video Game Sound Design/Music, Snowblind

“The Dangerous 2-BUS and MONITOR ST were installed at the same time, immediately I could hear a big difference. I was very, very impressed.”

Dan Black

Producer

“I noticed a profound improvement in detail when I added the SOURCE – being able to hear problems and overall a much more pleasant listening experience. I write mainly, so a lot of what I do is listen to the same thing a thousand times… READ MORE Dan Black

Daniel Sadowski

Music Composer

“Everything coming out of the CONVERT-8 sounds so expensive. VST samples all sound so real now. Before I would have to work so hard at getting a sound or instrument to a place where I felt it was worthy of being in my composition. Now,… READ MORE Daniel Sadowski

Daniel Sadowski

Music Composer

“The perfect balance between clean, musical, precise, deep, wide, open, accurate, and fun. Now that last word fun seems out of place I know, but that’s exactly what I have been having in my studio ever since I plugged the Dangerous CONVERT-8 in, a ton… READ MORE Daniel Sadowski

Daniel Sadowski

Music Composer

“My mixes get done faster, my clients approve music cues faster with a huge smile, my music translates well everywhere, orchestration and arrangement comes easier and is now inspiring to do, selecting plug-in instruments or effects is a lot of fun because everything sounds so… READ MORE Daniel Sadowski

Dave Kutch

Mastering Engineer

“It۪’s no surprise that the first piece of signal processing from Dangerous is something that currently does not exist and something I need to have.”

Dave Kutch

Mastering Engineer

“Dangerous Music spent 5 years of R&D to make the CONVERT D/A converter. Great things come to those who wait! Finally a D/A that matches, and in some aspects exceeds the quality, of converters costing more than twice as much.”

Dave Kutch

Mastering Engineer

“Finally a D/A converter that exceeds the sound quality of the super expensive old guards at a fraction of the cost! The CONVERT D/A has the flexibility to cover all of our modern day connectivity needs, and a very friendly user interface to boot!”

Dave McNair

Masterdisk –Mastering Engineer

“The MASTER’s implementation of the S&M is truly amazing. I use it all the time. It’s definitely a big part of my sound.”

Dave McNair

Mastering Engineer

“The integrated DAC in the Dangerous MONITOR …sounds every bit as good as a Prism, DCS, Lavry, or anything else. It’s as good as any seven or eight-thousand-dollar DAC.”

David Hodges

Producer

“The D-Box as a monitoring system, it is intuitive and versatile, clean and powerful. As a summing unit, it gives a warmth and clarity to everything I work on.”

David Hodges

Producer

“The D-BOX as a monitoring system, it is intuitive and versatile, clean and powerful. As a summing unit, it gives a warmth and clarity to everything I work on.”

David Kutch

The Mastering Palace -–Mastering Engineer

“The Dangerous MASTER brings all of my analog processing gear together in one place, and I’ve tried other devices that claim to do S&M – Mid–Side but they do not even come close.”

David Minehan

Guitarist for The Replacements, Producer at Wooly Mammoth Sound

“I’ve been producing bands since the early 80’s, and my constant evolution of capturing great audio productions has led me straight to Dangerous Music.”

David Minehan

Guitarist for The Replacements, Producer at Wooly Mammoth Sound

“Dangerous is one of those companies that everyone gives the thumbs up to. We pros who make our living doing this rely on their stuff more and more.”

David Minehan

Guitarist for The Replacements, Producer at Wooly Mammoth Sound

“I’ve been producing bands since the early 80’s, and my constant evolution of capturing great audio productions has led me straight to Dangerous Music.”

David Minehan

Guitarist for The Replacements, Producer at Wooly Mammoth Sound

“Dangerous is one of those companies that everyone gives the thumbs up to. We pros who make our living doing this rely on their stuff more and more.”

David Minehan

Guitarist for The Replacements, Producer at Wooly Mammoth Sound

“I’ve been producing bands since the early 80’s, and my constant evolution of capturing great audio productions has led me straight to Dangerous Music.”

Dominique Roland

“I was certainly not expecting such a result! I am extremely satisfied, this system can certainly challenge many hifi products much more expensive!
The sound is very neutral, sounding like a NOS DAC, but still very detailed and dynamic.”

Duncan Sheik

Recording Artist, Composer

“I haven’t missed having the console. Using the Dangerous Music setup is cleaner and faster – a lot less to do, and a lot less worry. You turn the Dangerous gear on and it sounds great….it’s a simpler and nicer world.”

Eli Crews

Producer/Engineer

“The headroom and transparency of the Dangerous put it into a different category than the other stereo compressors I regularly use. I can say without hesitation that the Dangerous COMPRESSOR is the most hi-fi compressor I’ve ever had in my mix chain.”

Eli Crews

Producer/Engineer

“I found the Stereo setting way, way more useful than on most stereo compressors, since it still uses the independent left and right signals to trigger the compression. This means that mixes through the Dangerous COMPRESSOR won’t suffer from over-compression of centered elements and under-compression… READ MORE Eli Crews

Eli Crews

Producer/Engineer

“Even if you think of yourself as somebody who favors compressors with a sound, I’d recommend checking out the Dangerous COMPRESSOR to see if it can fill a hole in your toolbox perhaps one you didn’t even realize was there.”

Emily Lazar

Mastering Engineer

“The Dangerous gear has certainly created an advantage. Another reason we have been able to establish ourselves in a highly competitive field is that aside from the gear sounding great…our Dangerous gear has been truly steady and stable.”

Emily Lazar

Mastering Engineer

“I have always favored gear that allows me to effect changes without artificially coloring the sound too much.”

Emily Lazar

Mastering Engineer

“The BAX cut filters are a unique and an indispensable part of my corrective process. Rolling off specific low frequencies like 12 or 18Hz actually increases the low end of the final product.”

Emily Lazar

Mastering Engineer

“The shelving EQs just bring out the magic of the artist’s intentions, without stepping on the music.”

Emily Lazar

Mastering Engineer

“When boosting the shelves, it simply makes the music feel better- bringing a coherency and cogency to an album.”

F. Reid Shippen

Mixing Engineer

“The BAX EQ is an awesome piece of gear. I’ve been looking for years, maybe a decade, for an effective hi-pass filter that can take the infrasonic muck out of a mix, without destroying what’s going on in the bottom end. And the BAX EQ… READ MORE F. Reid Shippen

F. Reid Shippen

Mixing Engineer

“I tried every single summing box, and chose the Dangerous 2-BUS. It does what it’s supposed to do and doesn’t get in the way, which is really nice. If it’s good enough for Ted Jensen and Greg Calbi, it’s good enough for anybody.”

Fab Dupont

Mix Engineer

“The Dangerous Music equipment is the centerpiece of my mixing rig. Everything I do goes thru a Dangerous MONITOR, 2-BUS, MASTER and BAX EQ. Everything.”

Fab Dupot

Mix Engineer

“The Dangerous Music equipment is the centerpiece of my mixing rig. Everything I do goes thru a Dangerous MONITOR, 2-BUS, MASTER and BAX EQ.”

Garrett Haines

Mastering Engineer

“This is a high-headroom, high-speed, high-fidelity analog unit. And once you hear it in action, you’ll understand how useful that kind of design can be.”

Glenn Bucci

Engineer, Revelation Sound Studios

“The filters help remove rumble, and when using the 70 kHz filter, it provides more headroom for your mixes. The added M/S just adds more flexibility to the unit as well. This is now one of my go to EQ’s in my studio.”

Glenn Bucci

Engineer, Revelation Sound Studios

“Pure Magic! The BAX EQ was amazing in gently removing the low end 30Hz and below, adding a little more punch in the low’s at 84 Hz, and bringing the guitars and keyboard forward and a little fresher at 2.1 kHz and removing unwanted high… READ MORE Glenn Bucci

Glenn Bucci

Engineer, Revelation Sound Studios

“After hearing the UAD BAX EQ I was amazed how great the unit sounds. It adjusts the signal without getting in the way. It offers a clear crystal sound without sounding sterile or boring. What it does is enhance the music is a wonderful way.”

Glenn Bucci

Engineer, Revelation Sound Studios

“WOW!!!! The music is more spread out. All the instruments have their own space…What a difference! A more polished sounding mix…”

Glenn Bucci

Engineer, Revelation Sound Studios

“After hearing the UAD BAX EQ I was amazed how great the unit sounds. It adjusts the signal without getting in the way. It offers a clear crystal sound without sounding sterile or boring. What it does is enhance the music is a wonderful way.”

Glenn Bucci

Engineer, Revelation Sound Studios

“WOW!!!! The music is more spread out. All the instruments have their own space…What a difference! A more polished sounding mix…”

Greg Calbi

Mastering Engineer

“The most remarkable feature is its uncanny ability to push the melodic elements of the mix forward while maintaining all the separation in the low end, which always seems to collapse when hitting other stereo compressors.”

Greg Calbi

Mastering Engineer

“In my setup, the Smart Dynamics button is in all the time, and it seems to enable me to get just a little more level on my mastering for all those level- hungry clients without sacrificing the sense of dynamics.”

Greg Calbi

Mastering Engineer

“From simple dynamics control to complete mix balance transformation, the Dangerous COMPRESSOR does both and everything in between.”

Greg Lukens

Producer

“The CONVERT-2 has a 3D image that holds clear no matter how narrow the dynamic range becomes, which is especially useful in today’s ‘make-it-loud’ mastering environment.”

Horace Ward

FOH Engineer

“I need the depth that I get with the 2-BUS so that I can place everything in the mix. With the 2-BUS, I can get the vocal to the front for the audience to hear, without being so loud.”

Horace Ward

FOH Engineer

“…it’s like 3D, even coming from behind you. You get none of that with a typical digital live console.”

Hugh Robjohns

Sound On Sound Magazine

“Very easy to use and performs superbly, controlling the dynamics in an extremely transparent but effective manner. Impressive.”

Hugh Robjohns

Sound On Sound Magazine

“The astonishing sense of transparency and complete absence of audible distortion, even when compressing hard, are seriously impressive.”

Hugh Robjohns

Sound On Sound Magazine

“As a bus compressor, the COMPRESSOR does a superb job of gluing all the elements together to form a cohesive sound, and it does this without ever sounding controlled or constrained; it always seems to sound open and transparent, crisp and clean.”

Hugh Robjohns

Sound On Sound Magazine

“Whether working on a solo voice or a complete stereo mix, the COMPRESSOR reigns in the dynamics effortlessly and naturally and, in many cases, so well that I questioned whether it was switched in! The same was true of percussive and transient elements: no holes,… READ MORE Hugh Robjohns

Jack

Engineer

“I bought a bunch of gear, which got me to 80%. Then I researched this little gem out, and the rest is analog history for me. It’s like I poured glue all over my mixes. Fat, Warm, Depth, Clarity and Punch. Did I mention Fat?… READ MORE Jack

Jeff Juliano

Mix Engineer

“The Dangerous COMPRESSOR is absolutely the best thing that ever happened to lead vocals. It gives you the ability to sit a super dynamic vocal on the tip of your nose with ZERO artifacts and it never moves. This thing was clearly designed by an… READ MORE Jeff Juliano

Jeff Juliano

Mix Engineer

“The optional color circuits just gave me the sound of an SSL or Neve console in just 2 rack spaces… The low end punch, depth and width is just insane.. Im blown away!”

Jeff Lipton

Mastering Engineer

“Being able to switch devices from one bus to the other is extremely useful. The fast switching is amazing!”

Joe Mullen

Musician, Engineer, Writer (Professional Sound)

“From the second I listened to the mix through the SOURCE, it was as if, after staring at a painting for hours on-end, all of the sudden I could really see what it was all about.”

Joe Mullen

Musician, Engineer, Writer (Professional Sound)

“The mix had room to breathe; the SOURCE really does restore the headroom that is so lacking in today۪s standard home studio interfaces. You get more punch, a clearer stereo image, a ton more detail, and headroom that seems to go on forever.”

John Butler

Composer, Diamond Mine Music (Dr. Phil, Rachel Ray, etc.)

“I love how while I’m tweaking the knobs I hardly hear the changes and then when I take it out, it’s like ‘wtf, my mix just shrank!’ “

John Butler

Composer, Diamond Mine Music (Dr. Phil, Rachel Ray, etc.)

“I love how while I’m tweaking the knobs I hardly hear the changes and then when I take it out, it’s like ‘wtf, my mix just shrank!’”

John Paterno

Producer/Engineer

“The BAX has been awesome as my drum overhead EQ on tracking dates. It enhances the sound of the whole kit, but it doesn’t sound processed – just clear and 3D.”

Jonathan Wyner

Mastering Engineer

“The Dangerous LIAISON is incredibly exciting. To have a device that lets you so easily switch between processors, swap the order of processors, do quick A-B comparisons of signal chains. It makes my work better!”

Jonathan Wyner

Mastering Engineer

“The Smart Dynamics feature helps address the level issue in a really great way that let’s me use less of, or even turn off, my digital limiter!”

Jonathan Wyner

Mastering Engineer

“The Side-Chain facility that’s built into the COMPRESSOR [is] very well implemented. Just having that facility integrated and being able to go with their relatively gentle high-pass filter – or something a little bit more specific if that’s what you need – that makes it… READ MORE Jonathan Wyner

Jonathan Wyner

Mastering Engineer

“It gives a subtly warm presence while remaining open and retaining transparency. The sound of the box is superlative.”

Jonathan Wyner

Mastering Engineer

“The thing that really sold me on the BAX EQ is the high pass filter. I haven’t found a plug-in high-pass filter that sounds nearly as smooth. I think that the BAX has a high-pass that sounds very transparent [and] there’s less phase shift.”

Jonathan Wyner

Mastering Engineer

“The Dangerous LIAISON is incredibly exciting. To have a device that lets you so easily switch between processors, swap the order of processors, do quick A-B comparisons of signal chains. It makes my work better!”

Joseph Fraioli

Sound Designer

“Whats really noticeable with the analog stage is tightness in the different frequency bands – more clarity in the sub and better detail in the highs and high-mids. The source D/A, I have to say, is a really pleasant listen. So musical.”

Joseph Fraioli

Sound Designer

“From the second I plugged it in I could tell it was very pristine and transparent. The low frequencies feel tighter and less intermingled with the other frequencies. The mids feel really lively in a good way, and the highs are clear and present.”

Josh Fields

Producer/Songwriter/Mixer

“My mixes are sounding really good now, it’s crazy how much detail I was missing before. I can hear
subtle things that got completely lost before.”

Josh Hayward

Engineer/A&R, Astral Plane Studios

“Everyone is loving the LT. Even my clients are getting more motivated to deliver, so it’s affecting creativity and drive!”

Junior Sanchez

Producer

“The 2-BUS offers every person that’s ever wondered or dreamt about working on a large format console that advantage of actually having that sound, that headroom, that sonic mass.”

Junior Sanchez

Producer

“The ST remote is awesome. I think it’s kick-ass, it’s sleek and doesn’t take up a lot of real estate on your desk.”

Karl Derfler

Engineer/Producer

“The Dangerous MONITOR ST is the essential piece of gear in my arsenal. I couldn’t work without it. I know that I’m hearing an accurate representation of the system output and the headphone output is the best I’ve ever heard.”

Karyadi Sutedja

Mix Engineer

“The Dangerous 2-BUS brings back the true depth of a mix, the space perception created in the mix or recording by using reverb, echo, or the actual room mics.”

Kevin Becka

Engineer, Blackbird Studios

“The BAX EQ takes us into the mastering realm – there has to be a little bit of a finish on your final mix, and the BAX EQ is a really simple and great-sounding way to do that.”

La Forest Gray

“The ST is a GOD-send from Dangerous Music, I’ve put this in conjunction with my Apogee Symphony I/O and both the Focal CMS 40’s & Dynaudio BM-5A’s….NO-Coloration what so ever. Easy set-up, connectivity, you can completely trust your mix.”

Larry DiVivo

Tape Op Magazine

“I could hear the difference between A/D D/A converters…choosing between them…for each session…has become effortless.”

Larry DiVivo

Tape Op Magazine

“I can’t say enough about the quality components and sonic integrity…it doesn’t get much better than this.”

Luca

“It’s exactly what we need. We get a lot of flexibility with the multiple input sources. We can have our mix, reference, rough, and whatever else we may want to monitor, all passing through the same conversion, even coming from different DAW’s.”

Lucas Keller

Producer

The Dangerous SOURCE is amazing. It۪s important for us [to] hear the music as clearly and accurately as possible. For our work with Sol Republic headphones it۪s all about audio, with very, very picky DJs, who are very choosy about which headphones they۪’ll use or… READ MORE Lucas Keller

Mackenold Jean Louis

“As an owner of the 2-BUS, BAX EQ, the MONITOR ST and the DAC-ST I have to admit my mixing has more depth, very clean and more headroom than I infrequently get ; most importantly it feels as if my mixings are done from a… READ MORE Mackenold Jean Louis

Maor Appelbaum

Mastering Engineer

“Transparency is not a dirty word and this compressor is full of it. It can be so gentle you would barely hear it, OR it can compress hard and yet it keeps the sound in tact and doesn’t break up or get grainy.”

Marc Bauman

Engineer, House Recording Studios

“I use my Dangerous 2-BUS LT on every mix. It instills a certain clarity and openness to the balance that is hard to achieve when mixing strictly in-the-box. All the tracks seem to sit more comfortably in their own niche. The 2-BUS LT is a… READ MORE Marc Bauman

Marc Einstmann

Mastering Engineer

“It’s especially effective in the low range. Just half a dB or a dB of boost really brings out the bottom out without making it sound muddy.”

Matt Langston

Rock Candy Recordings, The Jellyrox

“I finally started mixing ‘into’ my D-BOX (instead of using analog summing as an afterthought), and my mixes just went to a completely other level. So much so that I feel confident at last to start charging more for them. I can’t thank you enough-… READ MORE Matt Langston

Matt Langston

Rock Candy Recordings, The Jellyrox

“I finally started mixing ‘into’ my D-BOX (instead of using analog summing as an afterthought), and my mixes just went to a completely other level. So much so that I feel confident at last to start charging more for them. I can’t thank you enough-… READ MORE Matt Langston

Michael James

Producer/Mixer

“Since the 2-BUS has so much headroom, it’s really easy for me to decide that I want the entire vocal submix to be brighter or warmer, or more or less compressed.”

Michael James

Producer/Mixer

“The thing that’s great about the 2-BUS for me is that the ‘mastering aesthetic’ of the Dangerous gear allows me to keep the coloration that I have in its pristine state, rather than adding to it.”

Mike Bell

Darkart Mastering

“The low end was punching more, you could distinguish the sounds easier, the mix sounded more wide, the highs sounded more real and sat better and this was with only eight channels.”

Mike Crehore

Co-owner and Producer at Dubway

“I know Dangerous Music’s quality products from using the Dangerous 2-BUS on every mix I do. I can’t really work without them. I love the 2-BUS.”

Mike Metlay

Recording Magazine

“As you’d want in a router, the SOURCE has no ‘sound’ of its own; it’s clear and unobtrusive, effectively noiseless, and gives you every bit of the audio it’s fed, whether good or bad.”

Mike Wells

Mastering Engineer

“The cutting filters are a fantastic addition on top of the cut and boost shelving filters. I use the BAX EQ every day, I can’t really say there isn’t any master that I make that doesn’t have the BAX on it now!”

Mike Wells

Mastering Engineer

“I got a BAX EQ right after it came out and it’s taken over as my go-to EQ. It’s almost always at the beginning of the chain unless I need to do something specific with it.”

Mike Wells

Mastering Engineer

“This baby is a game changer. I’ve got plenty of compressors at my place, but just the fact that we have the ability to monitor the sidechain here, and we’ve got low cut and a sibilance boost, AND if that’s not enough, there’s an external… READ MORE Mike Wells

Mike Wells

Mastering Engineer

“The Dangerous Music gear is a far more elegant solution to anything I saw that was available…because of its simplicity, sonic power, and well thought-out design.”

Mike Wells

Mastering Engineer

“When I had the chance to try the Dangerous Music gear, it totally delivered on all that I had hoped for.”

Mike Wells

Mastering Engineer

“The Dangerous Music gear is a far more elegant solution to anything I saw that was available…because of its simplicity, sonic power, and well thought-out design.”

Mike Wells

Mastering Engineer

“The integrated DAC in the Dangerous MONITOR has become the tool I bench other DACs against. It has superior imaging, with no added color to distract me, and it lets me get to work right away.”

Nate Wood

Mastering Engineer

“I’m using every single function of the D-BOX, every single day. I use the headphones on the D-BOX all the time for mastering, for fades and cleaning up edits. It’s a huge improvement over what I was using before, way more power and way more… READ MORE Nate Wood

Pablo Arraya

Mix Engineer

“The Dangerous 2-BUS is extremely clean, has huge headroom, and it’s easy to use. The harder I hit the 2-BUS the better it sounds. I love this box.”

Paul Vnuk Jr.

Recording Magazine

“My hands-down blown-away moment came when tracking a vintage Gibson acoustic guitar, where it really helped the fingerstyle playing and strumming stay controlled, yet nicely pop forward in a smooth solid way.”

Paul Vnuk Jr.

Recording Magazine

“My hands-down blown-away moment came when tracking a vintage Gibson acoustic guitar, where it really helped the fingerstyle playing and strumming stay controlled, yet nicely pop forward in a smooth solid way.”

Pete Evick

Engineer

“The beauty of the Dangerous Music D-BOX is that we travel and do everything on the road, so the D-BOX makes it completely possible to make world-class recordings without having to stop in LA, New York or Nashville.”

Pete Evick

Engineer

“The D-BOX turns any room, bus or plane into the real deal. The analog summing creates a ‘space’ that you can’t get ‘inside-the-box’ – making records with the D-BOX and a laptop, you can make a real record.”

Phil Demetro

Mastering Engineer

“The visceral feel, and the look and aesthetic is beyond a step up. It’s next level. The minute I get that thing in my rack it’s going to be the centerpiece. It’s gorgeous.”

Reuven

Mix Engineer

“I love the low end, it’s very unique the way the low end flows —amazing. The stereo image is wider on the 2-BUS too. Over the years I would sometimes try out other summing boxes to see what happened, but always came back to the… READ MORE Reuven

Reuven Amiel

Mixer/Producer

“I feel like I bypassed hours of work by just plugging in the CONVERT-8!”