The Dangerous Source provides the critical link between your ears and the music. Every tracking and mixing decision hinges upon what you hear: how to locate the microphone’s sweet spot for the perfect vocal, where to place the panning to define each instrument’s space, creating the perfect marriage of kick and bass in the track…
Plug in two pairs of headphones and get inspired with a Dangerous caliber headphone amp.
Select any of the four sources individually or at the same time- plug your iPod into AN2 and jam along in AN1.
Listen to any combination of sources from either section. For example, let the singer hear their own personal headphone mix from the AN2 input, while you engineer the real mix, coming from the USB input.
There’s even a line level control room output, mirroring the speaker selector for dubbing, sampling or running external meters.
Switch between two sets of speakers... or use one output for a subwoofer... or play them both at once to blow up the neighborhood.
Built for life on the road, slide the Source into your backpack and hit the streets.
Input 1 to Selected Line Out and Speakers:
Frequency Response: +0, -0.5dB from <10 Hz to >80 kHz
THD+N: < 0.0025% @+4dBu
IMD (SMPTE): < 0.0025% @ +4dBu
Crosstalk rejection: >108dB
Noise: < -93 dB, unweighted
NOTE: Speaker outs can run at -6dB (factory setting) or unity gain (remove jumpers 3 and 4)
Maximum input level: > +26 dBu
Input 2 to selected line out and Speakers:
Frequency Response : +0, -0.5dB from <10 Hz to >80 kHz
THD+N: < 0.0025% @ +4dBu
IMD (SMPTE): < 0.0026% @ +4dBu
Crosstalk rejection: > -98dB
Noise: < -90 dB, unweighted
NOTE: Input 2 can run at -10dBV or -16dBV (by setting JP1 and JP2. Remove for -10dBV)
Default factory setting is -16dBV to accommodate 1/8” headphone outputs of iPhones and cell phones
Frequency Response: +0, -0.5dB from <10Hz to >50kHz
The meter and speakers outputs are fully balanced and 600 ohm drive capable to >+26dBu.
Volume knobs track better than +- 0.5dB from unity to -40dB.
The headphone amp can easily drive several sets of cans.
Maximum output level: > +26 dBu
Shipping weight (in carton): 7 lbs.
Dimensions: 12 3/4" Wide x 8" Deep x 1 5/8" High
The AES inputs lock from 32kHz to 192kHz sample rates with the following: <0.004% THD+N
-0.2dB at 10 Hz and 22kHz (48kHz sample rate)
-0.2dB at 10Hz and 34kHz (higher rates)
Crosstalk Rejection: >103dB
Power Supply: 12 volt, 2 Amp (Part number PSU-SRC)
Optional Rack Kit: SRC (Source Rack Kit), $49.99
Mac: Requires Mac OS 10.6 or higher for driverless plug and play
PC: Requires a driver for Windows operating systems (available in downloads section)
Warranty: Free 2 year extended warranty with online registration.
Standard warranty: 90 days parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians.
2-Bus LT with Source Antelope Orion, Source, & 2-Bus LT (x2) Apollo 16 with 2-Bus LT & Source Aurora 16 with 2-Bus LT & Source Source Mobile Laptop Setup Source Simple Tracking Setup Source Speaker Options Source Talkback Options
"The Source is doing a lot of stuff, it's the speaker monitor controller and it's bringing in sound from the Internet, iTunes, Spotify on the laptop - it's mult...
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...
Dan Black, Producer
"The sound quality is somewhere beyond excellent. Mixing with Source becomes a superior audio experience."
Craig Anderton, Mastering Engineer
"[The Source] is an extremely high-quality and surprisingly flexible monitoring device that's very compact and cost-effective."
Hugh Robjohns, Sound On Sound
"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...
Mike Metlay, Recording Magazine
"I bought a Dangerous 2-Bus and Source, and now I am the happiest man in Glasgow! Amazing equipment!"
Ray Mchard, Producer/Engineer
"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-m...
Joseph Fraioli, Sound Designer
"The midrange is articulate and well defined, and the overall imaging is just massive."
Trent Thompson, Producer/Engineer
"The Source's fidelity is open and uncolored but seriously musical. I loved listening to music through the Source and just found myself wanting to crank it all ...
Thom Monahan, TapeOp Magazine
"I noticed a profound improvement in detail with the Source, it was like a veil was lifted."
Dan Black, Producer