Recording
2-BUS LT Downloads
Manuals
2-BUS LT Manual
Other
2-BUS LT Chop Shop/Fact Snack
Live Summing with Horace Ward – FOHM
2-BUS LT Panel Drawings
Cubase & Logic Summing Templates
Setup Diagrams
2-BUS LT with Avid 16×16
2-BUS LT with Source
Antelope Orion with 2-BUS LT (x2)
Antelope Orion, Source & 2-BUS LT (x2)
Apollo 16 with 2-BUS LT and SOURCE
Aurora 16 with 2-BUS LT & SOURCE
Apogee Symphony with 2-BUS LT & MONITOR ST
2-BUS with Apogee Symphony Diagram
D-BOX with 2-BUS LT Diagram… READ MORE 2-BUS LT Downloads

2-BUS LT Press Kit
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2-BUS+ Downloads
Manuals
2-BUS+ Manual

Adam Gonsalves
Mastering Engineer
“The switching of inserts is managed by beefy relays that are as transparent as any I’ve ever heard.”

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!”

Adam Gonsalves
Mastering Engineer
“The LIAISON as a whole imparts no noise or distortion to your signal.”
ADDITIONAL SWITCHING SYSTEM Downloads
Manuals
A.S.S. Manual
Other
DAC-SR Chop Shop/Fact Snack
DAC-ST Chop Shop/Fact Snack
Uniswitch Chop Shop/Fact Snack
Uniswitch Rear Panel Drawing (PDF)
Uniswitch Front Panel Drawing (PDF)
DAC-ST Rear Panel Drawing (PDF)
DAC-ST Front Panel Drawing (PDF)
DAC-SR Rear Panel Drawing (PDF)
DAC-SR Front Panel Drawing (PDF)

Alan Evans
Producer, Musician, Engineer
“The low end is tight and punchy. The mids and highs are extremely detailed and musical. The stereo separation is incredible. I find myself using less EQ in mixes using the Dangerous SOURCE.”
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.”

Andy Hong
Writer/Reviewer
“LIAISON has the potential of turning you into an audio ninja”

Andy Hong
Writer/Reviewer
“…using the LIAISON is dead simple”

Andy Hong
Writer/Reviewer
“I think of LIAISON not as an insert switcher, but as a creativity enabler.”

Andy Hong
Writer/Reviewer
“LIAISON gives you the impetus to rethink how you record, mix, and master your music”

Antoine “Chab” Chabert
Mastering Engineer
“It’s a really creative tool. I can work quickly with it. I can add a bit of sibilance or brilliance, I can compress without the bass using the Side Chain. I like the way I can add just a little compression, it does just the… READ MORE Antoine “Chab” Chabert

Antoine “Chab” Chabert
Mastering Engineer
“It compresses without any artifacts. It’s like the other Dangerous Music equipment, really transparent.”

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
Are the controls stepped?
The Ratio control employs stepped attenuators, however the others do not. This is because analog attenuators have a maximum of 23 positions. This is not enough for very fine mastering-level adjustments to the controls.
Are the cut frequencies always in my signal path- even in bypass?
The frequency cut filters feature individual relay bypasses. Relays remove the filters entirely from the signal path until desired, for true A/B comparisons, but it is a good idea to leave cuts engaged most of the time, as discussed above.

Ariel Borujow
Engineer
“With the MONITOR ST I can finally hear my mixes they way I always wanted to.”
BAX EQ Plugin Downloads
Manuals
BAX EQ Manual

BAX EQ Press Kit
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bigtree
“The MONITOR ST is actually an education into doing it right. The guys at Dangerous obviously designed this thing from years of experience.”
Can I adjust the crossover / Low Pass filter?
Technically this is a Low Pass Filter, not a crossover, because it simply removes the midrange frequencies and above from the sub, without removing the low frequencies from the main speakers. This allows full range monitoring from the mains with or without the sub extension.… READ MORE Can I adjust the crossover / Low Pass filter?
Can I monitor all 4 sources (SUM, ANALOG, DAW, CD) simultaneously?
No. Up to 3 maximum. To monitor from up to three sources simultaneously (instead of the default single source), first enter setup mode. To enter setup mode press the mono and alt spkr buttons simultaneously. Both switches will flash alternately indicating that the D-Box is… READ MORE Can I monitor all 4 sources (SUM, ANALOG, DAW, CD) simultaneously?
Can I record the output of the Source’s DAC?
Yes, you can use the selected line output of the Source to feed the DAC output to another device for mixing, mastering, etc. HOWEVER, you cannot feed the final result out of your DAW and back into the speaker section of the Source, or you… READ MORE Can I record the output of the Source’s DAC?

Chris Bialuski
President, Recording.org
“The MONITOR ST is actually an education in doing it right. The guys at Dangerous obviously designed this thing from years of experience.”

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.”
Claude VonStroke
“I believe the main hang-up for most people is that they just don۪t want to deal with cables and patching. They want it to be fast, and the LIAISON is very fast.”

COMPRESSOR Press Kit
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D-BOX Downloads
Manuals
D-BOX Manual
Setup Documents
“Read This First” Document
Setting Up D-BOX with Apogee Ensemble
Setting Up D-BOX with Focusrite Saffire
Setting Up D-BOX with Lynx Aurora 8
Setting Up D-BOX with RME UFX
Setting Up D-BOX with UA Apollo
8-Channel Summing Example
Other
D-BOX Front Panel Drawings (PDF)
Cubase & Logic Summing Templates
Setup Diagrams
D-BOX / Apollo Interconnects
D-BOX / Apollo Setup
D-BOX 003 and Rosetta 800
D-BOX and Presonus FireStudio
D-BOX with Ensemble TB *NEW*
D-BOX with FF800 Diagram
D-BOX with Prism Orpheus
D-BOX with Symphony 8×8
D-BOX Analog Summing Setup for Focusrite Saffire Mix Control
… READ MORE D-BOX Downloads

D-BOX Press Kit
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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

Dan Black
Producer
“I instantly heard lots of detail, the SOURCE made the music instantly a lot less fatiguing. I am also able to work at a lower volume and still be ‘into the vibe’ of the track.”

Dan Black
Producer
“I noticed a profound improvement in detail with the SOURCE, it was like a veil was lifted.”

Dan Black
Producer
“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 multitasking.”

Dangerous Master Review From TapeOp Magazine
The Dangerous Master has taken my mastering console up quite a notch. Integrating it with the Dangerous Monitor (Tape-Op issue # 34) has truly given me the processing and routing capabilities I’ve always dreamed of but could never afford. That’s not to say that the… READ MORE Dangerous Master Review From TapeOp Magazine

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
Do I need to leave blank rack spaces above/below my gear?
Dangerous gear does not get extremely hot. However, we always recommend leaving blank spaces anyway. More ventilation always equals longer gear life, no matter how hot or cool your gear runs. Do not rack your Dangerous gear next to very hot gear such as power… READ MORE Do I need to leave blank rack spaces above/below my gear?
Do I still use “Bounce to Disk” to record my mixes when using Dangerous Summing?
No- with Dangerous Summing, “Bounce to Disk” is unnecessary. Instead, record your mix into your DAW in real time by taking a pair outputs from your D-Box and plugging them into 2 line inputs on your interface. Once this mix has been recorded onto a… READ MORE Do I still use “Bounce to Disk” to record my mixes when using Dangerous Summing?
Do I still use “Bounce to Disk” to record my mixes when using Dangerous Summing?
No- with Dangerous Summing, “Bounce to Disk” is unnecessary. Instead, record your mix into your DAW in real time by taking a pair outputs from your 2-Bus+ and plugging them into 2 line inputs on your interface. Once this mix has been recorded onto a… READ MORE Do I still use “Bounce to Disk” to record my mixes when using Dangerous Summing?
Does a Talkback remote switch come with the Monitor ST?
No. Order a Dangerous Music TBREM from your favorite pro audio dealer if you’d like one or build it. See “How is the Talkback Remote Wired?”
Does anyone noteworthy use the Dangerous Master?
Absolutely! The Master can be found in many of the worlds top mastering facilities. Check out our testimonials list for specifics.
Does the Monitor ST sound better than the D-Box?
No. The D-Box has less features, but the identical, mastering grade sound quality.
Does the Smart Dyn function change the stereo image?
The separation does not change, but the perceived image depends on the program material. Smart Dyn adds a limiter with a fast release, so on certain tracks the middle may come forward, but the channel separation is better than 115dB no matter what the controls… READ MORE Does the Smart Dyn function change the stereo image?
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.”

Doug Doppler
M Magazine
“The SOURCE excels at delivering pristine audio. Two independent D/A convertors and just about every routing format and connectivity option you could imagine allows one to hear music as never before.”

Dustin Burnett
Mixer / Producer / Songwriter
“I feel like I have the Force!”

Dustin Burnett
Mixer / Producer / Songwriter
“I feel like I have brand new speakers.”

Dustin Burnett
Mixer / Producer / Songwriter
“I know my mix is 25% or so wider than it was before, and the top end is so much more defined.”

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.”

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

Engineer Dave McNair Plugs Into Dangerous Master
New Mastering Suite at NY Masterdisk Adds Dangerous Music ‘Monitor’ to ‘Master’ Transfer Console
Edmeston, NY – Mastering Engineer Dave McNair has a new suite at Masterdisk Studios in New York. Previously at Scott Hull’s studio, McNair made the jump recently when Hull purchased… READ MORE Engineer Dave McNair Plugs Into Dangerous Master

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

Fab
Producer/Engineer
“With the CONVERT Series, Dangerous Music managed to beat their own DAC-ST as my favorite Reference D/A.”

Frederick Noren
Sound On Sound Magazine
“It’s way more versatile than most of its competitors – and so much more than just another ‘summing box’.”

Frederick Noren
Sound On Sound Magazine
“I instantly heard a difference: the mid-range became smoother and more detailed, and the stereo width even better defined.”

Frederick Noren
Sound On Sound Magazine
“The X-Former effect adds some heft and body to the mix, but a little goes a long way… It’s great to have the possibility of adding analogue coloration to the mix.”

Frederick Noren
Sound On Sound Magazine
“The [Paralimiter] is very refreshing on drums, acoustic guitars, vocals, and so-on.”

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.”

Garrett Haines
Mastering Engineer
“From hip hop to classic rock, I was able to bring a more aggressive back beat out of a variety of sources [with the Dangerous COMPRESSOR].”

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
“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
“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.”

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
“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.”
How can I go from my interfaces’ S/PDIF out to the AES DAW input on the Dbox?
Connect a S/PDIF to AES cable and use the front panel controls to select the source (DAW or CD). The converter will recognize and lock to either AES or S/PDIF sources. Only one digital source may be monitored at a time. Purchase high quality cables!… READ MORE How can I go from my interfaces’ S/PDIF out to the AES DAW input on the Dbox?
How can I set up a click track for the talent?
Connect the click track to the Aux inputs. Then adjust the level knob from the front of the Monitor ST rack “Aux Input to Cue” until the correct balance has been achieved.
How come the S&M doesn’t seem to be working on the inserts?
Only insert 2 works with S&M inserts. Plan accordingly when plugging in your gear.
How do I add the Source as an aggregate in ProTools?
Please view the Aggregate document on the Source product page, which details the steps needed to add it as an aggregate device.
How do I audition sample libraries or audibly monitor software updates?
Connect the headphone output from your computer to the Aux inputs. Then adjust the level knob from the front of the Monitor ST rack “Aux Input to Main” until the correct balance has been achieved.
How do I clock the onboard D/A converters?
The D/A is clocked by the pulse that is embedded in the AES or SPDIF source that you are inputing to the converter.
How do I feed meters with an ST?
There are 2 ways to do this. The simplest is to use a half-normalled connection in a patchbay to feed a meter. The second way is to make a modified cable that can be used from the ST Cue Amp out. Please see the downloads… READ MORE How do I feed meters with an ST?
How do I get the output of the talkback mic by itself?
The talkback mic feeds the headphone output independently. This means that if you turn down your headphone output, but turn up your talkback level, you will hear just the talkback through the headphone output.
How do I hook up more than two pairs of headphones?
Each headphone output provides 20 watts of clean, high quality amplification. There is plenty of juice to feed headphone distribution boxes like the Redco Little Red Cue Box. Depending on the impedance of the headphones utilized, the headphone output can handle up to 16 sets… READ MORE How do I hook up more than two pairs of headphones?
How do I plug my SM57 into the talkback jack on the front of the Monitor ST rack?
Employ an inexpensive line transformer (600- 10k ohms) available at your favorite audio grocer.
How do I reinitialize or return to the factory settings?
Enter setup mode by holding the Setup button for 1 second. It will light up blue. Next, hold the PPI button and it will light up blue. While still holding the PPI button, press and release the LFE button, it will light up red. Now… READ MORE How do I reinitialize or return to the factory settings?
How does the quality of the D-Box compare to other Dangerous products?
The D-Box is made with all the same components as all Dangerous Gear. The summing section is identical to the 2-Bus (but cut in half), and the D/A and monitoring paths are mostly the same as what can be found in our other gear.
How many channels of analog summing do I get with the D-Box?
The D-Box summing section has 8 channels, but can also be linked with a 2-Bus to expand the amount of summing channels.

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
“[The SOURCE] is an extremely high-quality and surprisingly flexible monitoring device that’s very compact and cost-effective.”

Hugh Robjohns
Sound On Sound
“The Source is, quite simply, superb. It easily matched the resolution, transparency and detail of my reference monitor controllers.”

Hugh Robjohns
Sound On Sound
“Effortlessly transparent and accurate, yet still musical and enthralling: all the characteristics that define top-flight analogue circuitry.”

Hugh Robjohns
Sound On Sound Magazine
“The COMPRESSOR’s potential dynamic range is an impressive 120dB, while distortion is below 0.005 (THD+N) and 0.007 percent (IMD).”

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

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
“Smart Dyn mode handles loud transients seamlessly, almost negating the need for a separate limiter.”

Hugh Robjohns
Sound On Sound Magazine
“On vocals, the COMPRESSOR is sublime – it’s one of the most natural and inaudible compressors I’ve ever used, even with quite heavy-handed ratio and threshold settings.”
I have a project coming up that’s 7.1…can I expand my ST/SR system to handle that?
Absolutely! Go nuts, do 10.2 if you want!
I have one subwoofer I want to share between my main stereo set and my 5.1 set. Which Sub output should I use?
The 3rd speaker output has a stereo feed for the front channels and a unique feature to switch signals for the subwoofers in the system. In Stereo mode, the Sub feeds get their signal from the front channels, output 6 having a mono combiner for… READ MORE I have one subwoofer I want to share between my main stereo set and my 5.1 set. Which Sub output should I use?
I need more inputs than the Monitor ST has, what do I do?
Adding a small sub mixer to the Aux Input can be a convenient way to patch and mix signals into the ST system. The mixer can set the listen back mic level (from the live room), the computer cue (headphone out) level, and still have… READ MORE I need more inputs than the Monitor ST has, what do I do?
I see no digital input for 5.1 on the system. How do I get my signals in if they’re digital?
The system is totally expandable. Add a DAC-SR and A.S.S. rack for digital inputs. All controllable from the same remote.
I want to connect gear with floating outputs, how do I wire bleeder resistors? Do I need them if my transformer is center-tapped? Do I need them on inputs and outputs?
The resistors are only needed on the outputs of your gear, and they will be 100k resistors wired from pin 2 to ground and pin 3 to ground. The idea is to have a resistor to ground in order to discharge any voltage caused by… READ MORE I want to connect gear with floating outputs, how do I wire bleeder resistors? Do I need them if my transformer is center-tapped? Do I need them on inputs and outputs?
I want to hear two sources at once, how do I do that?
To monitor from up to three sources simultaneously (instead of the default single source), first enter setup mode. To enter setup mode press the mono and alt spkr buttons simultaneously. Both switches will flash alternately indicating that the D-Box is waiting to set the input… READ MORE I want to hear two sources at once, how do I do that?
I’m running into the “Aux” input (XLR) and I when I turn the volume all the way down, I still hear the signal.. What’s the story?
The purpose of the Aux is to have a separate path that is independent of the remote and can be layered with the selected input. Aux is not going to give you an exact level match to your other inputs, so if you are performing… READ MORE I’m running into the “Aux” input (XLR) and I when I turn the volume all the way down, I still hear the signal.. What’s the story?
If my interface/converter has 16 outputs and I plug them all into the 2-Bus for summing, how do I monitor the final stereo print?
There are different scenarios depending on the audio interface and monitoring management solution being utilized. Generally a digital output is employed from the printed track to monitor it in its final stage. This digital output can go to another pair of d/a converters to be… READ MORE If my interface/converter has 16 outputs and I plug them all into the 2-Bus for summing, how do I monitor the final stereo print?
If ProTools can only go as loud as +22dB, why do I care that the 2Bus can handle +28?
This is headroom! Required to allow the music space to emote through dynamic range. For the record, certain Avid interfaces can be calibrated to -20, creating an output level of +24dB.

Ilia Kobrinsky
Producer/Engineer
“This has been the single most worthwhile piece of gear I ever bought.”

Ilia Kobrinsky
Producer/Engineer
“The clarity from the conversion and the low end just floored me. I don’t think I’d want to mix anything without monitoring through the DAC and signal path of this box.”
Is the summing amp the same for the 2Bus and 2BusLT and Dbox?
Yes! The Dbox is simply half the inputs (8 channels of summing vs. 16). Dangerous Music NEVER compromises your music. We may remove features to get to a price, but never sound quality.
Is there any sonic difference between the 2-Bus and 2-Bus LT?
No. The price difference is strictly based on extra features and the labor to hand wire items like individual XLR vs. DB25 connectors and the added cost of 16 boost switches, a stepped attenuator and custom power supply.

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

Jared M.
Recording Artist
“The BAX EQ Plugin got me that vocal sound I have been after. It really adds a beautiful simplicity to the overly complicated process of properly EQ’ing a vocal.”

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)
“The Dangerous SOURCE changes how you hear your work in a big way and reveals the information you need to create a truly informed and inspired mix.”

Joe Mullen
Professional Sound Magazine
“The COMPRESSOR stands alone in its class, offering a unique hybrid of features, functionality, and flexibility.”

Joe Mullen
Professional Sound Magazine
“The Smart Dynamics feature is mind-blowing!”

Joe Mullen
Professional Sound Magazine
“With its feature set, the Dangerous COMPRESSOR would be equally useful through all steps of the recording process- tracking, mixing, and mastering.”

Joe Mullen
Professional Sound Magazine
“Transparency, accuracy, stereo image integrity, ease of use, and performance are all a part of what this new stereo compressor brings to the market.”

Joe Mullen
Professional Sound Magazine
“The auto attack and release is so intelligent, that I had a hard time producing a better sound with manual adjustments.”
John Paine
“I’m really enjoying the sounds I’m getting, and the amazing versatility of the COMPRESSOR!”

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.”

John Schirmer
Producer, Engineer
“My ears, my record player and my Dangerous D-BOX are the three most irreplaceable tools in my box.”

John Scrip
MASSIVE Mastering
“It’s very rare that a project doesn’t pass through the BAX EQ… So easy to tweak – It just kicks everything up a notch.”

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 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 smart dynamics feature helps address the level issue in a really great way that let۪s me use less of or even turn off my digital limiter.”

Jonathan Wyner
Mastering Engineer
“The sound of the signal path through the Dangerous COMPRESSOR, and the quality of the sound even when you just deploy the gain, is really quite lovely.”

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
“The sound of the signal path through the Dangerous COMPRESSOR, and the quality of the sound even when you just deploy the gain, is really quite lovely.”

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 detector is so very smooth, it reminds me of the classic compressors we have all come to love. The Auto-Time constants, the attack and release, work very well.”

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 Adds New ‘Dangerous Compressor’ to his Very Dangerous Mastering Studio
Edmeston, NY – May 27, 2014 – Longtime mastering engineer Jonathan Wyner has added the newly released Dangerous Compressor to his already well-stocked Dangerous Music-equipped studio. Wyner’s Cambridge, MA based studio sports the Dangerous Music Master, Liaison and BAX EQ as well. Wyner is a Grammy-Nominated engineer who has… READ MORE Jonathan Wyner Adds New ‘Dangerous Compressor’ to his Very Dangerous Mastering Studio

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.”

Joseph Fraioli
Sound Designer
“I am really impressed by the SOURCE. In fact, if you were to ask me how much this unit costs without knowing, after using it i would say at least double what it lists for.”

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, Remixer
“It’s super transparent. It’s amazing.”

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.”

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 Dangerous Music MONITOR ST let’s me hear my mixes, it moves out of the way and let’s the vocals and music come through as it was recorded.”
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.”
LIAISON Downloads
Manuals
LIAISON Manual
Other
LIAISON Chop Shop/Fact Snack
LIAISON Front Panel Drawing
LIAISON READ THIS FIRST Document
Setup Diagrams
LIAISON Mastering Diagram
LIAISON Mixing Diagram
LIAISON Stand-Alone Mastering Diagram
LIAISON Tracking & Mixing Diagram
LIAISON Tracking Diagram 1
LIAISON Tracking Diagram 2

LIAISON Press Kit
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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
“Great for making the tone more focused and tight in the low-end, while adding brightness to the high end without being brittle.”

Maor Appelbaum
Mastering Engineer
“Cleans up the edges of the high and low end.”

Maor Appelbaum
Mastering Engineer
“The BAX EQ is one of the cleanest analog EQ’s I have heard to date… So clean that with no boost or cut it sounds just like hard bypass.”

Maor Appelbaum
Mastering Engineer
“The side chain options are very useful and easy to engage, and the stereo imaging is amazing!”

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
MASTER Downloads
Manuals
MASTER Manual
Other
MASTER Chop Shop/Fact Snack
Panel Drawings (PDF)
Setup Diagrams
MASTER with LIAISON Mastering Diagram

MASTER Press Kit
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Mastering
What is Mastering?
Was there always a function called audio mastering? With special boxes and super speakers, engineers hunched over a myriad of dials and knobs, in strange rooms with peculiar wall and ceiling coverings, magically making the music sound amazing? The short answer is no: It’s a… READ MORE Mastering

Mastering Engineer David Kutch Gets Dangerous in NYC
Mastering Engineer David Kutch Gets Dangerous in NYC
Grammy-Nominated Engineer Opens New Mastering Studio with Dangerous Music Equipment at its Center
Edmeston, NY — Grammy-Nominated mastering engineer David Kutch has opened The Mastering Palace, a new mastering studio in New York City. In only… READ MORE Mastering Engineer David Kutch Gets Dangerous in NYC

Mastering Engineer Mike Wells Gets Dangerous on ‘Emily’s Army’ Release
Engineers Chris Dugan and Chris Lord-Alge team up to record and mix album, while Mike Wells masters the Billie Joe Armstrong production at his Dangerous Music equipped LA studio
Edmeston, NY – May 21, 2013 – Mastering engineer Mike Wells recently completed a project for producer Billie Joe Armstrong, the new… READ MORE Mastering Engineer Mike Wells Gets Dangerous on ‘Emily’s Army’ Release

Mastering Engineers Emily Lazar & Joe LaPorta Get Dangerous on Foo Fighters Grammy Winning Release
The Lodge mastering studios use Dangerous ‘Master’ transfer console on multi-Grammy Winning “Wasting Light”
Edmeston, NY – March 7, 2012 – At the 54th Grammy Awards show Dave Grohl proclaimed proudly that his band recorded and mixed the Foo Fighters album in his garage and used all analog… READ MORE Mastering Engineers Emily Lazar & Joe LaPorta Get Dangerous on Foo Fighters Grammy Winning Release

Michael James
Producer, Engineer
“A must have in my world. It۪s a refreshing
complement to the currently fashionable
boxes that indiscriminately add color.”

Michael James
Producer/Mixer
“The very final piece that covers my ass, and makes sure a record can go to mastering without unwanted distortion, is the Dangerous COMPRESSOR.”

Michael James
Producer/Mixer
“It’s super quick and easy to determine where it will sound best at the push of a button. It’s so versatile that I can get it to feel like an SSL buss compressor or it can be grabby۪ or I can get it to stay… READ MORE Michael James

Michael James
Producer, Engineer
“I love the fact that the box is both easy and deep. It’s like driving a Ferrari with an optional autopilot.”

Mike Metlay
Recording Magazine
“[The SOURCE] delivered flawless audio quality to some half-dozen sets of monitors and countless sets of headphones.”

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
“Multiple sidechain options, the innovative ‘Smart
Dynamics’ feature, and the signature transparent musicality Dangerous brings to all their products- we have a winner!”

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
“This converter redefines spacial imaging, depth, and detail.”

Mike Wells
Mastering Engineer
“A new standard of excellence.”

Mike Wells Masters CDs and Vinyl Dangerously
Mastering Engineer Relies on Dangerous Music Equipment for Analog and Digital Releases
Edmeston, NY – Mastering Engineer Mike Wells swears by his Dangerous Music setup as the best rig he’s ever used, and record labels agree by giving him lots of business – in one… READ MORE Mike Wells Masters CDs and Vinyl Dangerously

MIX Review: Field Test: Dangerous Music Master
Dangerous Music changed the very concept of mixing “in the box” by introducing the Dangerous 2-Bus, the first stand-alone, line-level summing mixer. Dangerous designer Chris Muth, prior to partnering with company co-founder Bob Muller, was known for designing custom mastering consoles for Sterling Sound and… READ MORE MIX Review: Field Test: Dangerous Music Master
MONITOR SR Downloads
Manuals
ST/SR Manual
Setup Documents
ST/SR 7.1 Setup Guide
Other
MONITOR SR Rear Panel (PDF)
Setup Diagrams
7.1 One-Sheet
CONVERT-8 and ST/SR
MONITOR ST and SR Connections

MONITOR SR Press Kit
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MONITOR ST Downloads
Manuals
ST/SR Manual
Other
“Read This First” Document
MONITOR ST Chop Shop/Fact Snack
Schematic for ST Cue to Meters
SR Panel Drawings (PDF)
ST Panel Drawings (PDF)
ST Remote Fact Snack
Setup Diagrams
2-BUS LT with MONITOR ST and Symphony
MONITOR ST and DAC-ST Connections
MONITOR ST and SR Connections

MONITOR ST Press Kit
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My analog meter is off.
In the unlikely case of drift, you can readjust your meters using the recessed trim on the back of the unit. Without anything connected to the input and after the unit has been on for 2-4 hours, select VU/COMP button and turn screwdriver in appropriate… READ MORE My analog meter is off.

Nate Wood Gets Dangerous on Mixes & Masters
Edmeston, NY – June 25, 2013 – The journey from being a musician to becoming a mastering engineer began with Nate Wood making his own album and preferring the approach of recording and mixing the music himself, compared to going to a studio and trying to get someone else to… READ MORE Nate Wood Gets Dangerous on Mixes & Masters

Paris Minzer
Frogtown Sound
“I’ve never in my life used a compressor where I felt confident using it on every master… until now! Plus it just looks great. Makes me smile every time I sit down at my desk.”

Paris Minzer
Frogtown Sound
“I’ve never in my life used a compressor where I felt confident using it on every master… until now! Plus it just looks great. Makes me smile every time I sit down at my desk.”

Paul Vnuk Jr.
Recording Magazine
“If your job description includes any kind of mastering work, you need to put this magazine down, go call your local retailer, and arrange for a demo immediately!”

Paul Vnuk Jr.
Recording Magazine
“If your job description includes any kind of mastering work, you need to put this magazine down, go call your local retailer, and arrange for a demo immediately!”

Paul Vnuk Jr.
Recording Magazine
“It kept the bass sounding raw and natural, yet thickened it upnot with added tone, but tight control. Very cool!”

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
“This compressor is top-drawer in every way.”

Paul Vnuk Jr.
Recording Magazine
“This is without a doubt the most transparent compressor I have ever used, and the more I learn it, the more uses I find for it.”
Phil Demetro
“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.”

Ray Benson
Musician/Artist
“I use gear that sounds good to me. The MONITOR ST and 2-BUS LT have been great purchases for our Mix Room!”

Ray Mchard
Producer/Engineer
“I bought a Dangerous 2-BUS LT and SOURCE, and now I am the happiest man in Glasgow! Amazing equipment!”
Ray Mchard
“Had been mixing in the box for 10 years. Bought a Dangerous 2-BUS and SOURCE and now i am the happiest man in Glasgow. Amazing equipment, the Dangerous COMPRESSOR is next.”

Reuven Amiel
Mixer/Producer
“Having such a pure, clean sound with so much headroom gives me this feeling of freedom to color and shape my stems in any way I want.”

Reuven Amiel
Mixer/Producer
“It’s so important to make a song feel right, and I feel like I bypassed hours of work by just plugging in the CONVERT.”

Reuven Amiel
Mixer/Producer
“The CONVERT-8 gave me the freedom to be more focused on the artistic and creative part of the mixing process because the audio quality and fidelity of the converters lets the music be free and balanced, and I don’t have to worry as much about… READ MORE Reuven Amiel

Reuven Amiel
Mixer/Producer
“I feel like I bypassed hours of work by just plugging in the CONVERT-8!”

Reuven Amiel
Mix Engineer
“The Dangerous COMPRESSOR opens up the top end, makes it more exciting and gives a euphoric sound, which is both subtle and complex.”

Reuven Amiel
Mix Engineer
“I put the Dangerous COMPRESSOR on after everything and the mix starts to sound together.”

Reuven Amiel
Mix Engineer
The Dangerous COMPRESSOR highlights a lot of the melodic elements of the mix in a way that just lets them sparkle. It’s so clean, but it has a certain vibe that is just so gorgeous.