The Dangerous 2-Bus LT 16x2 summing device restores the passion to a lifeless mix. It functions as an audio bridge between computer recording and ana...Click To Read More About This Product
A "lite" version of Dangerous Music's transparent, mastering-quality, 16x2 summing mixer.
The Dangerous 2-Bus LT 16x2 summing device restores the passion to a lifeless mix. It functions as an audio bridge between computer recording and analog outboard gear, thus allowing the best of both worlds to converge. Much like traditional vintage consoles brought together disparate streams of audio, the 2-Bus receives 16 analog outputs from any DAW interface and combines them to stereo. This is its' sole purpose and Dangerous performs it transparently.Born out of real world necessity, the 2-Bus was the first of it's kind.
"So open and yet, such a tight bottom end."-Robert Carranza, Grammy Winning Producer ¢ Engineer
The Dangerous Music Legacy:
"Audio Integrity: non-negotiable." This is the credo upon which Dangerous Music is founded. Conceived and designed by end users-not by engineers in lab coats--the results are products that resurrect dynamic range, punch, intelligibility and emotion. These high-fidelity, uncompromised signal paths are achieved by harnessing over 20 years of Chris Muth's design wizardry; creator of infamous custom black boxes for world class facilities like Hit Factory, Masterdisk, Absolute Audio and Sterling Sound Mastering. Then the critical listening skills of golden-eared luminaries are applied, with the result being musical tools that fulfill the actual needs of today's flexible computer based studio.
Mixing "in the box" has inherent limitations, identified by users as: "spongy", "collapsed image", "no headroom", "lack of detail" and "zero punch". Much like traditional vintage consoles brought together multiple streams of audio, the 2-Bus receives 16 analog outputs and combines them to stereo. It performs this transparently, tooled specifically for the DAW environment.
Where Are The Faders And Pan Pots?
Every additional component in the signal path degrades your music. True summing bus devices differ from mixers: they do not have faders, aux sends etc... They simply sum your audio together, while preserving all the functionality of your DAW! If you've got the functionality in your software mixer, you don't need to repeat it in a hardware version.
2-Bus LT vs. 2-Bus (H78435)
2-Bus LT: DB25 input connectors / 2-Bus: XLR input connectors
2-Bus LT: No +6 boost feature / 2-Bus: +6 dB gain boost feature
2-Bus LT: One rack space / 2-Bus: Two rack spaces
2-Bus LT +27dBu max input level / 2-Bus: +28dBu max input level
2-Bus LT: Switching psu (+/-15VDC) / 2-Bus: Custom linear psu (+/-18VDC)
2-Bus LT: Stereo Potentiometer / 2-Bus: Stepped attenuator (.01dB accuracy)
Image ¢ Punch ¢ Headroom
¢ Feature: Instead of overtaxing the internal stereo bus and limiting the mix to its available headroom, multiple stereo stems are utilized to run far hotter signals into separate busses. Summing these to a stereo pair is handled externally in a mastering-grade analog environment by the 2-Bus LT. Thus, far more of the track's original detail is retained along with superb imaging, clarity, punch, and musicality.
¢ Feature: Breaking the audio signal out into multiple analog outputs also permits the use of external analog compressors, EQ's, and other effects processing.
¢ Benefit: Utilizing external hardware to process stems, individual tracks or the entire mix saves unnecessary A/D/A conversions and solves DSP latency issues.
¢ Tip: Want some iron to color the mix? Run line-level into your favorite mic pre or compressor.
¢ Feature: With the switch out (clear), the inputs are distinct (left and right).
¢ Benefit: For sounds panned somewhere in between the two extremes, a pair of outputs is used and the panning is handled and recalled by the computer. (I.e. drum overheads, toms, guitars, synths...)
¢ Feature: (Not what you caught in high school). Depress the mono switch yellow) to place any channel pair in the center of the mix.
¢ Benefit: Place tracks assigned to mono outputs in the DAW "up the middle" of the mix like bass or lead vocal.
¢ Tip: Individually EQ and compress bass, vocal, kick, snare...
¢ Feature: The output gain knob has a range of 10dB.
¢ Benefit: Hit the subsequent A/D converter or 2-track with the perfect level.
¢ Tip: Fully clockwise is unity gain for a single output pair, but the 2-BUS typically runs around 12:00. This allows the track faders to ride hotter than allowed by the DAW's internal master fader, resulting in improved bit depth and accuracy. Let the 2-Bus LT take the heat - it can!
In 1-8 & 9-16
¢ Feature: Inputs are accessed on DB25 connectors.
¢ Benefit: (1) Screw in connectors avoid mishap and agony (2) Better surface area contact than balanced 1/4" jacks makes for more excited electrons.
¢ Tip: Wired to Tascam/Digidesign standard for simple Mogami cable procurement.
¢ Feature: Custom External Power Supply with +/-18 Volt Rails
¢ Benefit: Spec'd specifically to increase headroom and lower the noise floor.
¢ Tip: Plug in here first and then hit the power switch (always good PSU etiquette).
¢ Feature: In keeping with the ever-expanding waistlines, you can stack another 2-BUS or 2-BUS LT here.
¢ Benefit: Need 32, 48, 64 inputs? Just grab another 2-BUS or 3!
¢ Tip: Or use the expansion in as an effects return to the master mix.
¢ Feature: The main output feeds any 2-track mixdown medium (I.e. external A/D converter, laptop, field recorder, DAT machine, CD writer, analog 2-track or back into the session).
¢ Benefit: Allows mix processing to transpire (analog or digital) while A/B-ing against the sum-only mix.
¢ Feature: The monitor output feeds the analog input on a dangerous monitor, Dangerous Monitor ST, or the monitor section of an existing console.
¢ Benefit: Allows monitoring of the pre-processed and pre-A/D signal for instant A/B comparison.
Born In The USA
¢ Feature: Hand-built in theUSA.
¢ Benefit: Superb quality control and employment record.
Put the analog back in your mix. Order a Dangerous 2-BUS-LT 2-DAY!
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