Dangerous Music 2-BUS LT Analog Summing Unit  From Dangerous

For those seeking a powerful, straightforward summing mixer, or those who wish to expand the number of channels in their current analog summing rigs, meet the 2-BUS LT. Built with the same award-winning active summing electronics that have made our head designer Chris Muth legendary, the 2-BUS LT strips away non-essentials in order to bring the world’s best analog sound within reach of anyone. You get sixteen channels of pristine analog summing, dual stereo outputs to feed both your monitoring chain and your mix path, and an expansion port for linking any of our summing mixers together for even more channels.

Dangerous Music

$1,499.00

Retail:  $1,799.00

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Manufacturer's Description from Dangerous

UNVEIL YOUR SOUND WITH ACTIVE ANALOG SUMMING

Unlike passive summing boxes that require huge amounts of make-up gain to restore the lost audio, or line mixers masquerading as “summing mixers,” the active electronics in the 2-BUS LT result in what Dangerous users describe as “a huge soundstage,” “holographic sound,” and “audible three-dimensionality.” Panning is wide and precise, reverbs spacious and deep, bass powerful and engaging, treble and mids articulate and interesting. And within all that spacious sound, you get an incredibly focused and strong center image. When summing in analog, you’re also allowing multiple converter channels to share the workload of getting your sounds into the analog environment. Once there, the 2-BUS LT’s exceptional summing circuits will provide all the headroom plus a vast soundstage, allowing your mixes to truly shine.

EMULATION IMPOSSIBLE

Many analog processors – from delays and reverbs to EQs, compressors and more – have been beautifully modeled in the digital realm, but analog summing remains impossible to emulate digitally. We’ve all experienced the frustration of a mix collapsing when relying on a single digital master fader to handle it all. The middle gets crowded, panning becomes blurry, reverbs lose dimension, and soon the mix just lacks appeal. By summing individual tracks or subgroups of tracks (often called “stems”) with the 2-BUS LT’s analog circuits, you get crystal clear sonic imaging and a wide-open soundstage. No matter how high your track count, all your recorded audio, software instruments, samplers, effects, and plug-ins will sing with the detail, punch and clarity that only real analog summing can deliver. You’ll struggle less, work faster and enjoy mixing more!

Dangerous Music

About Manufacturer

The company’s mission is to solve the problems of the ‘hybrid studio’ by leveraging the best of both worlds: seamless integration of analog and digital equipment’s strengths and eliminating their weaknesses. Since product designer Chris Muth’s time has been spent almost exclusively designing custom equipment for many of the world’s preeminent mastering engineers and facilities, the combination of a mastering quality audio path with an intuitive feature set became the company’s baseline. It is worth noting that these designs evolved not in a vacuum but with input from some of the best ears in the business, refined in a working mastering environment instead of on paper. In the end, listening makes all the difference.

Born out of the shop at Dangerous Music recording studios, the equipment company was officially founded in 2001 with the commercial release of the Dangerous 2-Bus analog summing amplifier.  Dangerous Music product designs were created to answer the sonic and ergonomic challenges presented by the changing studio environment as it moved from analog consoles and analog multi-track tape recorders to hard-disk recording and software-based digital mixer/editors, collectively known as digital audio workstations, or DAWs.

The process of recording and mixing without an analog console or tape deck created the opportunity to develop products that allowed engineers to embrace all the power and convenience of a DAWs automation, editing and recall, while continuing to work as they had, with console-style tone and headroom, hardware monitor control, metering, speaker and input source switching, and the ability to insert analog processors into the signal path easily and with the highest quality results.

Company co-founder Bob Muller says, “The ideas behind Dangerous Music products are driven by the needs of the music community, who continuously finds new ways to work in the studio. Early on we concluded that once the smoke cleared it was not going to be an all-analog or all-digital studio, but a hybrid environment.  We all embrace the benefits of new technologies, but the inevitable problems that arise need to be solved. As the analog console yielded to the DAW mixer as the focal point of the control room we recognized that certain equipment was now missing that is required to actually make a studio fully functional, sonically pleasing and ergonomically sensible. When you aren’t spending all your time clicking around computer menus, you can actually concentrate on the performance, the music, and the other creative elements of what recording and mixing is supposed to be.”

Specifications

Frequency Response:
1 Hz-100 kHz within 0.1 dB

Total Harmonic Distortion:
0.005% in audio band

Intermodulation Distortion: 
0.006% IMD60 4:1

Crosstalk @ 1 kHz: 
-97 dB

Noise floor: 
-83 dBu total energy in audio band

Max level:
+27 dBu

Nominal operating level:
+4 dBu

Input impedance: 
25kohm balanced

Output impedance: 
50 ohms balanced (600-ohm drive capable)

Power consumption: 
25 watts

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.

Downloads

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Name

Description

2-Bus LT FACT SNACK Feature Summary Diagram

2-Bus LT w/ D-Box Integration Diagram

2-Bus LT CHOP SHOP Overview Diagram

2-Bus LT w/ Apogee Symphony and Monitor Station Integration Diagram

2-Bus LT w/ Apogee Symphony Diagram