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.”

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.”

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.”

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.”

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.”

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.”

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.”

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!”

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.”

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.”

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 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.”

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.”

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

Richard Sales

Engineer/Producer

“Many of my favorite mix peeps were using the Dangerous 2-BUS… now I have the improved clarity, cleaner high-end, but with the sweetening of the pristine analogue circuitry.”

Ryan Greene

Producer/Engineer

“Because of the stem mixing for video games I was doing, I tried the Dangerous 2-BUS, and my large format analog console went away very quickly after that!”

Ryan Greene

Producer/Engineer

“On comparison mixes, I was prepared for the console to sound better than the 2-BUS, but I didn’t really notice a difference between them.”

Thom Monahan

TapeOp Magazine

“For our journey, the 2-BUS+ provides the perfectly-paved superhighway, with a solid signal path and plenty of interesting detours to get us where we’re going.”

Thom Monahan

TapeOp Magazine

“[The Paralimiter] results in a beautiful, addicting backdrop of detail that doesn’t suffer from the disappointing wobble and flutter that normally corrupts low end in a mix that’s subject to heavy FET limiting.”

Thom Monahan

TapeOp Magazine

“The 2-BUS+, as with everything from Dangerous Music, is built rock-solid and seems to be made from last-foreverium. Knobs are sturdy and have a nice amount of friction, so adjustments can be made quite precisely.”

Thom Monahan

TapeOp Magazine

“The overall sound of my mixes just seemed a little more robust and clear. If the original 2-BUS was a superhighway for sound, then the 2-BUS+ is one that’s been freshly repaved, and I just got right back on and drove. “

Thom Monahan

TapeOp Magazine

“I found the new 2-BUS+ to be solid and incredibly musical, while still retaining the original’s openness and clarity that allows the unit to get out of the way of your signal.”