+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 stereo audio track (we like to label this track “print”), there are 2 ways to get the file out of your DAW: 1. Simply export the audio file. This will be your final mix. In ProTools, select the region and hit Shift+Command+K. In Logic, File->Export->Region As Audio File. In Cubase, File->Export->Selected Tracks. 2. If you prefer to avoid export functions altogether, just open the audio files folder for that session. Then locate the file that is labeled with the name you chose for your final mixdown track (i.e. “print”). Make certain to choose the most recent file. You may then use any two track audio editor or conversion program to adjust the bit depth and/or sample rate to your needs.

+ 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 used for monitoring. It is very important to use clean, transparent converters for this, such as the ones we use in the Dangerous Monitor, D-Box, and Monitor ST.

+ 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.

+ IS THE SUMMING AMP THE SAME FOR THE 2-BUS AND 2-BUS LT??

Yes.

+ 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.

+ SHOULD I JUST USE IT FOR MIXING?

No. The summing mixer should be utilized throughout the entire process from mic placement to mastering. For example, don’t cloud the mic selection process by listening through a bottleneck; reveal all the detail, punch and stereo width throughout the entire project.

+ SHOULD I USE IT WHILE TRACKING?

Absolutely! The summing mixer should be utilized throughout the entire process from mic placement to mastering. For example, don’t cloud the mic selection making process by listening through a bottleneck; reveal all the detail, punch and stereo width.

+ WHAT IS THE DIFFERENCE BETWEEN A STEPPED ATTENUATOR VS A POT?

A stepped attenuator (As found on Monitor ST, Monitor, and 2-Bus) is more accurate and repeatable. It switches resistors of varying values into the audio path, which have no inductance. A potentiometer (as found on the D-Box, 2-Bus LT, etc) on the other hand, creates a variable resistance, depending upon it’s position (i.e. 9 o’clock vs. 3 o’clock). Along with this, comes some phase shift. The Dangerous gear that does use pots, such as the D-Box utilizes a Bournes Pot (one of the best on the planet) to minimize phase shift.

+ WHAT’S THE BEST WAY TO ROUTE MY MIX INTO A SUMMING MIXER?

Setup your software to mix in stems. See our videos for a full tutorial on how to do this with ProTools, Cubase, or Logic.

+ WHERE ARE ALL THE FADERS AND PAN POTS ON THE SUMMING MIXERS?

Every additional component in the signal path degrades your music, and makes recall more complicated. 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 youve got the functionality in your software mixer, you dont need to repeat it in a hardware version.

+ WHY SHOULD I USE SUMMING? WHY NOT JUST MIX IN MY SOFTWARE APPLICATION?

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.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 stereo audio track (we like to label this track “print”), there are 2 ways to get the file out of your DAW: 1. Simply export the audio file. This will be your final mix. In ProTools, select the region and hit Shift+Command+K. In Logic, File->Export->Region As Audio File. In Cubase, File->Export->Selected Tracks. 2. If you prefer to avoid export functions altogether, just open the audio files folder for that session. Then locate the file that is labeled with the name you chose for your final mixdown track (i.e. “print”). Make certain to choose the most recent file. You may then use any two track audio editor or conversion program to adjust the bit depth and/or sample rate to your needs.

+ 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 used for monitoring. It is very important to use clean, transparent converters for this, such as the ones we use in the Dangerous Monitor, D-Box, and Monitor ST.

+ 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.

+ IS THE SUMMING AMP THE SAME FOR THE 2-BUS AND 2-BUS LT?

Yes.

+ 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.

+ SHOULD I JUST USE IT FOR MIXING?

No. The summing mixer should be utilized throughout the entire process from mic placement to mastering. For example, don’t cloud the mic selection process by listening through a bottleneck; reveal all the detail, punch and stereo width throughout the entire project.

+ SHOULD I USE IT WHILE TRACKING?

Absolutely! The summing mixer should be utilized throughout the entire process from mic placement to mastering. For example, don’t cloud the mic selection making process by listening through a bottleneck; reveal all the detail, punch and stereo width.

+ WHAT IS THE DIFFERENCE BETWEEN A STEPPED ATTENUATOR VS A POT?

A stepped attenuator (As found on Monitor ST, Monitor, and 2-Bus) is more accurate and repeatable. It switches resistors of varying values into the audio path, which have no inductance. A potentiometer (as found on the D-Box, 2-Bus LT, etc) on the other hand, creates a variable resistance, depending upon it’s position (i.e. 9 o’clock vs. 3 o’clock). Along with this, comes some phase shift. The Dangerous gear that does use pots, such as the D-Box utilizes a Bournes Pot (one of the best on the planet) to minimize phase shift.

+ WHAT’S THE BEST WAY TO ROUTE MY MIX INTO A SUMMING MIXER?

Setup your software to mix in stems. See our videos for a full tutorial on how to do this with ProTools, Cubase, or Logic.

+ WHERE ARE ALL THE FADERS AND PAN POTS ON THE SUMMING MIXERS?

Every additional component in the signal path degrades your music, and makes recall more complicated. 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 youve got the functionality in your software mixer, you dont need to repeat it in a hardware version.

+ WHY SHOULD I USE SUMMING? WHY NOT JUST MIX IN MY SOFTWARE APPLICATION?

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.

+ 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 stereo audio track (we like to label this track “print”), there are 2 ways to get the file out of your DAW: 1. Simply export the audio file. This will be your final mix. In ProTools, select the region and hit Shift+Command+K. In Logic, File->Export->Region As Audio File. In Cubase, File->Export->Selected Tracks. 2. If you prefer to avoid export functions altogether, just open the audio files folder for that session. Then locate the file that is labeled with the name you chose for your final mixdown track (i.e. “print”). Make certain to choose the most recent file. You may then use any two track audio editor or conversion program to adjust the bit depth and/or sample rate to your needs.

+ 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 used for monitoring. It is very important to use clean, transparent converters for this, such as the ones we use in the Dangerous Monitor, D-Box, and Monitor ST.

+ WHAT IS THE DIFFERENCE BETWEEN A STEPPED ATTENUATOR VS A POT?

A stepped attenuator (As found on Monitor ST, Monitor, and 2-Bus) is more accurate and repeatable. It switches resistors of varying values into the audio path, which have no inductance. A potentiometer (as found on the D-Box, 2-Bus LT, etc) on the other hand, creates a variable resistance, depending upon it’s position (i.e. 9 o’clock vs. 3 o’clock). Along with this, comes some phase shift. The Dangerous gear that does use pots, such as the D-Box utilizes a Bournes Pot (one of the best on the planet) to minimize phase shift.

+ WHERE ARE ALL THE FADERS AND PAN POTS ON THE SUMMING MIXERS?

Every additional component in the signal path degrades your music, and makes recall more complicated. 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 youve got the functionality in your software mixer, you dont need to repeat it in a hardware version.

+ WHY SHOULD I USE SUMMING? WHY NOT JUST MIX IN MY SOFTWARE APPLICATION?

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.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ I DON’T SEE ANY XLRS IN THE BACK, HOW DO PLUG IN MY INS AND OUTS?

The DAC utilizes a 25 pin D-Sub connector, which has 8 inputs on the one connector. If you need XLR inputs, just purchase a D-Sub to XLR snake to plug into your gear.

+ WHAT DO I DO ABOUT CLOCKING THE ON-BOARD 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.

+ WHY IS IT CALLED THE A.S.S. RACK?

It stands for Additional Switching System.

+ 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.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ WHY ARE THE CURVES SO WIDE?

The broad bandwidth shelving EQ affects several octaves simultaneously. This intentional design minimizes phase delay and creates subtle, natural sounding EQ. Remember, steep EQ slopes often generate harsh reflections.

+ WHY ARE THE CUT FILTERS ON RELAYS?

Relays remove the filters entirely from the signal path until desired, for true A/B comparisons. In comparison, many EQs leave the filter in the circuit, even when it is bypassed. This potentially adds noise, distortion and phase shift. The BAX EQ places only the single selected frequency (or none) into the audio chain.

+ WHY ARE THE FILTERS SET ABOVE AND BELOW HUMAN HEARING?

Filter out infrasonic and ultrasonic noise. Let your analog to digital converters focus on the import stuff and get your punch, headroom, and low-end clarity back.

+ WHY CUT THESE FREQUENCIES, DON’T WE WANT TO LEAVE THEM ALL IN THERE UNTIL MIXDOWN?

Infrasonic rumble and ultrasonic interference are pc terms for the audio trash that lurks unnoticed in the extreme frequency wings. This garbage devours dynamic range and creates converter slew rate overload. Its elimination dramatically improves the performance of any A/D-D/A converter, realized as increased low end definition, upper order clarity and higher levels for every playback medium. Combine this power with the high and low shelf to create an ideal tone sculpture.

+ WHY ONLY 5 DB OF BOOST OR CUT?

Finer adjustments for the perfect sound. Repeatable steps in .5 dB increments help you dial in the right amount of boost/cut needed.

+ 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.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 are.

+ 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 meter (left or right) until perfectly in line with zero.

+ WHAT CONTROLS ARE LINKED IN STEREO MODE?

When Stereo is engaged on the Compressor, only the Threshold and Gain controls are linked. Attack and release remain independent when manual mode is engaged and the Compressor is in Stereo mode.

+ IS THIS THE SAME CONVERTER AS THE SOURCE, D-BOX, OR DAC-ST?

No, the Convert line of D/A products are redesigned from the ground up, featuring a highly sophisticated clocking system and the latest generation Analog Devices DAC components. Being Dangerous these converters continue the previous legendary lineage as the next generation; utilizing the Dangerous/Muth analog back-end design with improved sonics, feature count and versatility.

+ MY MONITOR ST REMOTE IS NOT CONTROLLING THE INPUT SELECTION OF MY CONVERT?

Try doing a soft reset on the ST’s remote so that the remote “pings” the Convert. You can do this by holding down the setup button for one second until it stays blue, then pressing the PPI button.

+ THE TOSLINK (SPDIF OPTICAL) INPUT DOESN’T HAVE ITS OWN SELECTION BUTTON, HOW DO I SELECT IT?

To activate OPTICAL SPDIF (TOSLINK), simply hold the ADAT Ch. 1-2/OPTICAL button for 5 seconds until the green OPTICAL SPDIF LED lights.

+ WHAT IS THAT LITTLE USB LED?

The input source connected to AES/SPDIF-2 can actually be routed back up USB and into the session. This can be leveraged as a digital through for a final mixdown, thus allowing the engineer to toggle between AES/ SPDIF-2 and USB (pre plug-in treatments and post plug-in treatments). To activate this feature, simply press and hold the AES/SPDIF-2 button until the green TO USB light engages. Note: AES/SPDIF-1 & ADAT inputs are disabled in this mode to maintain clock bidirectionally.

+ WHY ARE THERE DIGITAL THRU’S FOR THE AES/SPDIF INPUTS?

Monitor an external A/D converter while simultaneously utilizing the thru for sending to another recorder or route the audio back into the session for more processing. Send the thru to a secondary D/A (i.e. Dangerous Source in the client lounge) or into an external digital meter.

+ WHY DOES THE METER SHOW TWO LEVELS FOR THE SIGNAL?

Simultaneously view Peak Over Average. This reveals the audios crest factor by supplying both RMS information and Peak information, aiding the quest to retain dynamics and musics emotive properties.

+ WHY IS THERE AN ADAT INPUT ON A 2-CHANNEL CONVERTER?

Send a stereo signal (channels 1 and 2 of the ADAT device) with a sample rate up to 192 KHz with only one ADAT optical cable/connection.

+ IS THIS THE SAME CONVERTER AS THE SOURCE, D-BOX, OR DAC-ST?

No, the Convert line of D/A products are redesigned from the ground up, featuring a highly sophisticated clocking system and the latest generation Analog Devices DAC components. Being Dangerous these converters continue the previous legendary lineage as the next generation; utilizing the Dangerous/Muth analog back-end design with improved sonics, feature count and versatility.

+ MY MONITOR ST REMOTE IS NOT CONTROLLING THE INPUT SELECTION OF MY CONVERT?

Try doing a soft reset on the ST’s remote so that the remote “pings” the Convert. You can do this by holding down the setup button for one second until it stays blue, then pressing the PPI button.

+ WHEN THE LED’S TURN RED DOES THAT MEAN I’M DISTORTING SOMETHING?

When the 3 Word Over Indicator turns the LED from green to red, this signifies that three consecutive samples have clipped. This is the limit of tolerance for a CD pressing plant to reject the project and a warning that you are close to audible distortion.

+ WHY ARE THERE DIGITAL THRU’S FOR THE AES/SPDIF INPUTS?

Monitor an external A/D converter while simultaneously utilizing the thru for sending to another recorder or route the audio back into the session for more processing. Send the thru to a secondary D/A (i.e. Dangerous Source in the client lounge) or into an external digital meter.

+ 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 waiting to set the input selection mode and the analog monitor gain. Then press the sum switch. It will light up. Next, exit setup mode by pressing one of the flashing switches and like magic, monitor a combination of inputs mixed together. When in setup mode, pressing the lit sum switch extinguishes the light and returns the D-Box back to normal monitoring mode. (i.e. one input at a time.) So for example, monitor from the sum switch, analog switch and either the daw or cd switch. (The digital switches will not combine).

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 stereo audio track (we like to label this track “print”), there are 2 ways to get the file out of your DAW: 1. Simply export the audio file. This will be your final mix. In ProTools, select the region and hit Shift+Command+K. In Logic, File->Export->Region As Audio File. In Cubase, File->Export->Selected Tracks. 2. If you prefer to avoid export functions altogether, just open the audio files folder for that session. Then locate the file that is labeled with the name you chose for your final mixdown track (i.e. “print”). Make certain to choose the most recent file. You may then use any two track audio editor or conversion program to adjust the bit depth and/or sample rate to your needs.

+ DOES THE MONITOR ST SOUND BETTER THAN THE D-BOX?

No. The D-Box has less features, but the identical, mastering grade sound quality.

+ 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! (Mogami assembles this part XLRM-RCA SPDIF).

+ 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 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 of headphones. (Based on 600 ohm headphones).

+ 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.

+ 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 selection mode and the analog monitor gain. Then press the sum switch. It will light up. Next, exit setup mode by pressing one of the flashing switches and like magic, monitor a combination of inputs mixed together. When in setup mode, pressing the lit sum switch extinguishes the light and returns the D-Box back to normal monitoring mode. (i.e. one input at a time.) So for example, monitor from the sum switch, analog switch and either the daw or cd switch. (The digital switches will not combine).

+ 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.

+ WHAT IS THE CD INPUT FOR? CAN I PLUG IN AN IPOD THERE?

The CD Input is a digital input (AES/SPDIF) that utilizes the D-Box’s mastering-grade D/A converter for monitoring. This allows you to listen to songs through the same converter and at the same reference level as your mix. You can plug in any device that has an AES or SPDIF output, such as a digital CD player, or iPod dock. The Cambridge Audio ID100 is the most commonly used digital iPod dock.

+ WHEN I SELECT THE “ANALOG” INPUT, THE SIGNAL IS WAAAY LOUDER THAN THE OTHER INPUTS?

The analog input can be set to either -10dBV or +4dBu. If the signal is too loud, you probably have it set to -10dBV when it really needs to be +4. To switch this, enter setup by pressing the mono and alt spkr buttons simultaneously, and then hit the analog button so that the light goes off. Next, exit setup and listen.

+ WHEN I SELECT THE “ANALOG” INPUT, THE SIGNAL IS WEAK?

The analog input can be set to either -10dBV or +4dBu. If the signal is too low, you probably need to boost it up to -10dBV. To do this, enter setup by pressing the mono and alt spkr buttons simultaneously, and then hit the analog button so that it lights up. Next, exit setup and listen.

+ WHY ARE THERE PANS ON SUMMING INPUTS 7 AND 8?

The pan pots for channels 7 & 8 allow the placement of their signals anywhere in the mix and for treating individual instruments. For example, assign both the bass and vocal track to a mono output in the computer software. Now patch their signals into your favorite outboard gear and then on into the D-Boxs sum inputs 7 and 8. Pan these up the center and youre summing with analog outboard, with zero latency. Dont forget you can always strap stereo processors across the other pairs as well.

+ WHY DO MY BUTTONS SOMETIMES LATCH AND OTHER TIMES THEY DON’T?

“They function based on what we call “”momentoggle””. There are two modes: momentary and latching. In LATCH MODE, if a button is pressed and released quickly, it will lock. In TOGGLE MODE, if a button is pressed and held for more than a second, the function remains on until the button is released. For example: If you need to say something quick on the talkback, simply hold the button down while you are speaking and release when you are done (toggle mode). If you want to have a longer conversation, you can tap the talkback button and it will remain engaged until you tap it again (latch mode).”

+ WHY DO THINGS GET LOUDER WHEN I PRESS THE MONO BUTTON?

Mono sums the left and right channels together. If anything is out of phase between the two channels, they will boost each other, thus making the mix quieter, or losing specific instruments. This button is there to help ensure that the mix is “in phase” and will translate well on mono systems.

+ WHY IS THE DAW BUTTON LOUDER/SOFTER THAN THE SUM BUTTON?

When switching between DAW and SUM on the D-Box, you are switching between 2 different D/A converters- the converter in the D-Box, and the converter in your interface. Different converters will be calibrated to different reference levels, therefore one may be louder than the other.

+ WILL THE D-BOX ACCEPT S/PDIF IN?

Yes, just plug in a S/PDIF cable that is terminated to M-XLR on the D-Box end. This cable must be kept under a few feet long in order to not lose data.

+ CAN I MONITOR ALL 5 SOURCES (ANALOG, SUM, BT AUDIO, USB, AES/SPDIF) SIMULTANEOUSLY?

Individual & additive mode functionality is built into all the buttons contained in the phones, ctrl room and speakers sections. Additive mode allows you to select multiple input selections simultaneously. First enter setup mode. (See setup mode section.) Then in the section you would like to alter (either headphone or ctrl room) press the (sum) button once. The LED will light up green. Now press either the usb or aes/spdif setup buttons in the ctrl room section to exit setup mode. To return to individual mode, simply repeat the process and turn off the (sum) button LED. (Identical operation from the free remote app as well.)

+ CAN I MONITOR ALL SPEAKER OUTPUTS SIMULTANEOUSLY?

Individual & additive mode functionality is built into all the buttons contained in the phones, ctrl room and speakers sections. Additive mode allows you to select multiple output selections simultaneously. Enter setup mode. (See setup mode section.) Then in the speakers section press the (1) button once. The LED will light up green. Now press either the usb or aes/spdif setup buttons in the ctrl room section to exit setup mode. To return to individual mode, simply repeat the process and turn off the (1) button LED. (Identical operation from the free remote app as well.)

+ IF USING THE THIRD SPEAKER OUTPUT FOR A SUBWOOFER, CAN I SET IT TO AUTOMATICALLY BE SELECTED WITH SPECIFIC SPEAKER OUTPUTS?

You can Link a sub to your monitors, so every time you select them the subwoofer is activated (i.e. press speaker 2 and the sub button turns on). This is called SUB PAIRING. To activate sub pairing, enter setup mode. (See setup mode section.) Then in the speakers section check to ensure that the (1) button is unlit. You are now set to individual mode. Next, press and hold the desired speaker (1) or (2) until it blinks quickly. Then light up the speaker 3/sub button. (The sub may be assigned to (1) or (2) or both.) The pairing may be confirmed by pressing the speaker button again. It will remain in setup mode. Exit setup mode by pressing either the usb or aes/spdif setup buttons in the ctrl room section to exit setup mode. It will now track with the speaker. (Identical operation from the free remote app as well.)

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 stereo audio track (we like to label this track “print”), there are 2 ways to get the file out of your DAW: 1. Simply export the audio file. This will be your final mix. In ProTools, select the region and hit Shift+Command+K. In Logic, File->Export->Region As Audio File. In Cubase, File->Export->Selected Tracks. 2. If you prefer to avoid export functions altogether, just open the audio files folder for that session. Then locate the file that is labeled with the name you chose for your final mixdown track (i.e. “print”). Make certain to choose the most recent file. You may then use any two track audio editor or conversion program to adjust the bit depth and/or sample rate to your needs.

+ DOES THE MONITOR ST SOUND BETTER THAN THE D-BOX+?

No. The D-Box+ has the identical, mastering grade sound quality.

+ HOW CAN I GO FROM MY INTERFACES’ S/PDIF OUT TO THE AES/SPDIF INPUT ON THE D-BOX+?

Connect a RCA male to XLR male (OR TRS) 75 ohm S/PDIF cable and use the front panel controls to select the source (AES/SPDIF). The converter will recognize and lock to the digital source. Purchase high quality cables! (Mogami assembles this part XLRM-RCA SPDIF).

+ 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 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 plenty 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.

+ 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), 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.

+ WHEN I SELECT THE “ANALOG” INPUT, THE SIGNAL IS WAAAY LOUDER THAN THE OTHER INPUTS?

The analog input can be set to either -10dBV or +4dBu. If the signal is too loud, you probably have it set to -10dBV when it really needs to be +4.

+ WHEN I SELECT THE “ANALOG” INPUT, THE SIGNAL IS WEAK?

The analog input can be set to either -10dBV or +4dBu. If the signal is too low, you probably need to boost it up to -10dBV.

+ WHY IS THERE A MONO BUTTON FOR CHANNELS 7 AND 8?

Channels 7 & 8 can be used for mono tracks. Send the lead vocal to channel 7 on the D-Box+, and the bass to channel 8. Then press the mono button so both tracks are panned in the center.

+ WHY DO MY BUTTONS SOMETIMES LATCH AND OTHER TIMES THEY DON’T?

They function based on what we call “”momentoggle””. There are two modes: momentary and latching. In LATCH MODE, if a button is pressed and released quickly, it will lock. In TOGGLE MODE, if a button is pressed and held for more than a second, the function remains on until the button is released. For example: If you need to say something quick on the talkback, simply hold the button down while you are speaking and release when you are done (toggle mode). If you want to have a longer conversation, you can tap the talkback button and it will remain engaged until you tap it again (latch mode).

+ WHY DO THINGS GET LOUDER WHEN I PRESS THE MONO BUTTON?

Mono sums the left and right channels together. If anything is out of phase between the two channels, they will boost each other, thus making the mix quieter, or losing specific instruments. This button is there to help ensure that the mix is “in phase” and will translate well on mono systems.

+ WHY DO THINGS GET QUIETER WHEN I PRESS THE MONO BUTTON?

Mono sums the left and right channels together. If anything is out of phase between the two channels, they will cancel each other out, thus making the mix quieter, or losing specific instruments. This button is there to help ensure that the mix is “in phase” and will translate well on mono systems.

+ WHY IS THE DAW BUTTON LOUDER/SOFTER THAN THE SUM BUTTON?

When switching between DAW and SUM on the D-Box, you are switching between 2 different D/A converters- the converter in the D-Box, and the converter in your interface. Different converters will be calibrated to different reference levels, therefore one may be louder than the other.

+ WILL THE D-BOX ACCEPT S/PDIF IN?

Yes, just plug in a S/PDIF cable that is terminated to M-XLR on the D-Box end. This cable must be kept under a few feet long in order to not lose data.

+ WILL THE HEADPHONE AMP WORK WITH MY HIGH IMPEDANCE HEADPHONES? (300OHM, 600OHM, ETC.)

Yes! The D-Box+ headphone amp is quite powerful, and can drive even 600ohm headphones. Just remember that you will not get the same amount of volume that you would with low impedance headphones.

+ WHY IS THERE A DIGITAL THRU’S FOR THE AES/SPDIF INPUT?

Monitor an external A/D converter while simultaneously utilizing the thru for sending to another recorder or route the audio back into the session for more processing. Send the thru to a secondary D/A (i.e. Dangerous Source in the client lounge) or into an external digital meter.

+ USB connection?

It is USB Generation 2.0, but with only two channels of audio there is no difference in latency. Superspeed USB really only comes into play when there are many channels, because data rate and multiplexing start to make a practical difference in latency. With just two channels, the latency of CoreAudio should still be higher than the USB connection itself.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 capacitive coupling between the primary and secondary coils of the tube output transformer. If the output transformer has a center tap, a 100k resistor could go to ground there or two resistors can be employed (like the barrel is wired), one on each end of the winding to ground. No big difference. In other words, a center tap does not alleviate the need for a bleeder. But it does allow you use just a single resistor from the center tap to ground instead of using 2 from pins 2 and 3.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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.

+ 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 COMPARE THE ORIGINAL TO THE MASTERED VERSION WITHOUT VOLUME DIFFERENCES?

Adjust the input monitor knob to match the output level to reference the original and mastered versions without volume bias clouding ones judgment.

+ WHAT IF I WANT TO CONNECT MORE THAN 3 PIECES OF OUTBOARD GEAR?

We recommend chaining certain pieces together, or putting everything on your patchbay. The other option is to add the Dangerous Liaison to your setup.

+ WHY IS THE S&M FUNCTION IMPORTANT FOR ME AS A MASTERING ENGINEER?

S&M allows you to process the middle channel of the mix separately from the sides. This means you can do things such as raise vocal level without having to revisit the mix, de-ess cymbals on the sides channel without affecting everything in the middle, change the stereo width of the track, etc.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ WHAT DO I DO ABOUT CLOCKING THE ON-BOARD 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.

+ WHAT’S UP WITH THE INDIVIDUAL PHASE SWITCHES?

Reverse phase on the left channel, right channel or both. This is a Powerful tool: Flip phase when the entire mix is 180 out of phase or use it in conjunction with the mono switch. Select both the mono & one phase switch for listening to the difference channel, individually (sides only).

+ WHY DOESN’T THE MONITOR HAVE A REMOTE?

The Monitor was designed for use in Mastering, where gear usually lives within arms reach.

+ WHY SHOULD I SPEND THIS KIND OF MONEY ON A MONITOR SECTION? WILL I REALLY HEAR A DIFFERENCE?

The monitor path is the most critical component in any studio. Every decision from mic placement all the way down to mastering is based on what you hear through your monitor system. If you want to make the right decisions, you have to hear everything exactly as it is. The cheaper the signal path, the less accurate the monitoring.

+ WHY WOULD I BUY THIS INSTEAD OF THE MONITOR ST?

The biggest difference is that the Monitor does not have a remote, whereas the ST does. This is because the Monitor was designed for a mastering setup. The Monitor also has a built-in D/A converter, with 4 stereo inputs, whereas to have 4 stereo digital ins on the ST, you must purchase our DAC-ST. Monitor has 3 stereo Analog ins, whereas ST has 4 stereo analog ins (plus a stereo aux in). Monitor has 2 sets of speaker outputs, whereas ST has 3 speaker outputs, plus a stereo sub output. In the end, the decision comes down to features- sonically, the two devices are almost identical.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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 systems with one subwoofer. In surround, the Sub/LFE outputs send the LFE channel signal to the subs. This facilitates easy accommodation of systems with one or two subwoofers and combined with the roll-off function and level offsets on the ST, allows easy setup of signal assignment, realizing the full potential of various speaker setups.

+ 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.

+ SOMEONE TOLD ME I SHOULD BE USING BASS MANAGEMENT. DOES THE MONITOR ST/SR EMPLOY THIS? DO I NEED IT?

The Monitor ST/SR employs 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. Tech note: The low-pass filter is set at 57Hz, and is a 3 pole Bessel/Chebyshev hybrid. Bass management generally implies a crossover for the full range monitors as well.

+ 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. Tech note: The low-pass filter is set at 57Hz. It’s a 3 pole Bessel/Chebyshev hybrid.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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?”

+ HOW CAN I INSTALL THE MAIN UNIT IN A MACHINE ROOM OR QUIET RACK WITHOUT LOSING TALKBACK?

The front panel sports a spot for a remote mic connection and the rear provides a jack for its remote activation.

+ 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 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 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 section on the ST page for a schematic.

+ HOW DO I ORDER A TALKBACK REMOTE SWITCH?

Order a Dangerous Music TBREM from your favorite pro audio dealer.

+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 release the PPI button and it will exit setup mode and restore the factory settings.

+ HOW IS THE CUE AMP OUTPUT WIRED?

Pin 1: Common Ground. Pin 2: Right Amp. Pin 3: Left Amp.

+ HOW IS THE TALKBACK REMOTE WIRED?

When pin 2 is connected to pin 3, the talkback circuit is engaged. When disconnected, so is the circuit.

+ 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 inputs left over for a click track and other signals.

+ 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 an A/B comparison, then inputs 1-4 are your best bet. If you just have to review samples from a library to drop into a session etc… then Aux rocks.

+ WHAT CAN I USE THE CUE AMP OUT FOR? IS IT POWERED OR UNPOWERED?

The CUE AMP output provides 20 watts of amplification to feed headphone distribution boxes like the Redco Little Red Cue Box. Depending on the impedance of the headphones utilized, the CUE AMP output can handle up to 16 sets of headphones. (Based on 600 ohm headphones).

+ WHAT DOES THE PPI BUTTON DO?

In normal mode, the PPI (Producers Pacification Indicator) button is designed for thorny producers who want one more version of the perfect mix. Toggle between the blue and clear modes, then print which ever pass they select. After all, theyre identical. While in setup mode, pressing the PPI button will reboot the remote’s computer without saving changes. Or holding the PPI button while pressing the LFE mute button, then releasing the two, will reset the memory back to the factory defaults. This is useful when starting from a known system configuration.

+ WHAT IS THE DIFFERENCE BETWEEN -10DBV AND +4DBU?

11.7 (trick question). But the real answer you are looking for is “when and why do I use the Gain button?” When plugging in an unbalanced, consumer level source like a headphone computer output, iPod, DVD player, the level is low (.773 volts vs. 1.23 volts), so set the input to -10dBV. The gain switch boosts it to professional, +4dBu for use with your pro-level studio equipment (converters, mixing consoles, etc).

+ WHERE IS THE DIGITAL INPUT?

To add digital inputs, expand the system with the “Additional Switching System” and “DAC-ST” or “DAC-SR” depending upon the application.

+ WHY CAN’T I GET ANY MORE LEVEL OUT OF INPUT 4? I HAVE IT TURNED UP ALL THE WAY AND IT’S NOT BLASTING!

The Input 4 knob is cut only. The purpose is for comparing a mastered CD with the current project at the same volume. When the knob is all the way up, the input is set at Unity.

+ WHY DO MY BUTTONS SOMETIMES LATCH AND OTHER TIMES THEY DON’T?

They function based on what we call “momentoggle”. There are two modes: momentary and latching. In LATCH MODE, if a button is pressed and released quickly, it will lock. In TOGGLE MODE, if a button is pressed and held for more than a second, the function remains on until the button is released. For example: If you need to say something quick on the talkback, simply hold the button down while you are speaking and release when you are done (toggle mode). If you want to have a longer conversation, you can tap the talkback button and it will remain engaged until you tap it again (latch mode).

+ WHY DOES MY MONITOR ST MAKE THAT CLICKING SOUND? CAN I TURN IT OFF?

You are hearing relays adjust the stepped attenuator inside the Monitor ST rack unit. This is a transparent, musical solution, as opposed to a VCA (voltage controlled amplification) which tends to smear the image and DCA (digitally controlled attenuation) where bit depth is degraded as the level is attenuated. It can’t be turned off, but if the sound bothers you the Monitor ST rack unit may be placed in a machine room or whisper rack, since the system may utilize up to 100 feet of Ethernet CAT 5e shielded cable.

+ WHY DOES MY REMOTE GO INTO DIM WHEN I TURN UP THE VOLUME ENCODER?

ST uses a relay-based analog stepped attenuator volume control design. An absolute value encoder at the remote transmits I2C code to the rack unit telling the relays when to change state. If the firmware detects any missed steps it places the unit into Dim to prevent the possibility of a blast of loud volume. Missed steps occur when a) the encoder contacts encounter wear (being an electromechanical device this is a fact of life,) or when b) the encoder is spun at a rate where it can’t track every step. Think of it like steering your car – if you jack the wheel back and forth like it is a joystick the performance will be a bit rough. If a large instantaneous jump in volume is needed for some reason employ the Dim button.

+ WHY DON’T THE MUTE AND DIM BUTTONS WORK WHEN I AM LISTENING TO THE AUX INPUT?

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. Use input 1-4 if you require the use of mute and dim.

+ 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 will create a feedback loop. You can monitor it through the Headphone Section, or send it to a different monitor controller.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ 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.

+ MY POWER ADAPTER HAS DIED, BEEN LOST, OR IS BEGINNING TO FAIL.

The Source was designed to have an easily replaceable power adapter. You can order one from an authorized Dangerous Music dealer (part# DMPSU-SRC) or pick up an equivalent at your closest electronic store. The specs are: 12 volt DC output, 1.5 A minimum, and center-positive on the connector. Tip size is 2.5mm x 5.5mm.

+ WHAT ARE THE SIZE MEASUREMENTS OF THE SOURCE?

12 3/4″ Wide x 1 5/8″ High x 8″ Deep

+ WHAT KIND OF DAC CHIP DO YOU USE IN THE SOURCE?

Burr Brown PCM1789PW

+ WHAT KIND OF UPSAMPLING DOES THE SOURCE D/A UTILIZE?

The Source D/A’s are 8x upsampling when playing at a 44.1kHz rate, 4x at 88.2 and 2x at 192. They run at either 352.8kHz (44.1, 88.2, 176.4) or 384kHz (48, 96, 192). The decoder detects the frequency and selects the upsampling mode automatically.

+ WILL THE HEADPHONE AMP WORK WITH MY HIGH IMPEDANCE HEADPHONES? (300OHM, 600OHM, ETC.)

Yes! The Source headphone amp is quite powerful, and can drive even 600ohm headphones. Just remember that you will not get the same amount of volume that you would with low impedance headphones.

+ 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 amps, interfaces, tube gear, etc. If you don’t have a choice, then putting it underneath the hot gear is preferable to on top of it.

+ DOES THIS RELATE AT ALL TO MID-SIDE MIC’ING?

Bingo! It disassembles stereo in the same manner.

+ WHAT IS SUM AND MINUS?

Instead of operating in traditional Left and Right stereo, the S&M uses phase to convert your tracks into Sides (think Left and Right with one control) and Mid (think Center with another control). You can now EQ or compress the sides and middle separately. For example, if you want to EQ the hard-panned guitars on an already mixed track without affecting the vocals, you can process just the “side” channel, and leave everything in the center alone.

+ WOULD SUM & MINUS BE HELPFUL FOR ME AS A TRACKING/MIX ENGINEER?

Yes! For example, when tracking: Throw the S&M on a stereo piano or drum overheads, and compress/EQ the center and sides separately. Compress a little of the center channel on your drum overheads to get some punch, while keeping the cymbals open and clear. EQ some lows out of the sides of your piano track to clear it up, while leaving full range on the center to keep some richness. When mixing: The pair of room mics on the drums rock when they are turned up in the mix, but the snare is just too loud. No worries. Simply hook a limiter into the S&M loop and set the attack time to be really quick and dial the middle (left) threshold down until the snare sits comfortably. Or maybe youve added some EQ and have the top-end singing, the snare and cymbals perfect, but the vocal is too sibilant now. Not a problem. Put a de-esser in the middle channel and voil! Forget wrestling with the hi-hat.