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Fort Wayne, Indiana — June 12, 2015 — Dangerous Music, who revolutionized digital mixing with the original 2-BUS analog-summing mixer, has redefined summing again with the ground-up redesign of the Dangerous 2-BUS+. The unveiling ceremonies will be conducted at Sweetwater’s GearFest in Fort Wayne, Indiana with engineer/producer Fab Dupont officiating.
Dangerous Music pioneered the dedicated rack-mounted analog summing device for the back-end of any digital audio workstation in the late 1990s, and the Dangerous 2-Bus proceeded to take its place as the industry standard solution for the analog/digital mixing workflow.
Bob Muller, President of Dangerous Music says, "We went with a clean slate when designing the new 2-BUS+ while at the same time retaining the sonic feel and identity that made the original 2-BUS legendary. We managed to beat the original design specs and achieve superior crosstalk, distortion and noise floor performance for even greater imaging, punch and center focus. Two years of exhaustive experimentation and development yielded the three unique on-board audio processors that infuse color and tone to individual stems or to the stereo mix, with the simple push of a button and twist of a knob. At Dangerous we believe tonal coloration is an artistic choice that varies greatly from project to project. The 2-Bus+ allows the engineer to be selective about when, where and how to apply color as opposed to a sonically one-dimensional box forcing itself on every mix. We craft tools to empower the artist."
The new 2-BUS+ is a 2-space rack-unit, 16-channel analog-summing mixer, with both XLR and D-sub inputs. New innovative features include 3 separate custom audio processors to add tone and color to mixes. The ‘Harmonics’ processor is a tuned harmonic distortion generator executed in parallel-processing mode with a blend control, ‘Paralimit’ is a FET limiter on stun, also in parallel mode. Both of these processors can be applied across the stereo mix, or on a pair of stems. ‘X-Former’ inserts a pair of custom transformers on the stereo mix and has a control for core saturation. All three tone controls can be active at once, and the order of signal flow through distortion and limiting can be flipped.
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