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dangerous music d-box manualYour Studio’s Centerpiece The D-BOX is a transparent, audiophile-grade monitor controller for tracking, mixing and mastering with eight channels of Dangerous Music’s award-winning analog summing at an unbelievable price point. Legendary designer Chris Muth has developed a world-class circuit for the D-BOX that provides crystal clear fidelity and flawless performance across its flexible feature set. The D-BOX handles your input source monitoring, speaker switching, cue, talkback, headphone and mixing needs in just one rack space. You Must Hear Everything True craftsmanship is in the details. If you can’t hear the nuances of what you’re working on, then you simply can’t make informed decisions. Everything from placing a mic, to turning a knob on an EQ, to coaching a singer though a delicate passage depends on being able to hear exactly what’s going on. With the advent of “prosumer” gear, the monitoring path is typically sacrificed to meet a price-point, allowing what should be true craftsmanship to become guesswork. You simply can’t mix what you can’t hear. To solve this problem, the D-BOX incorporates audiophile-grade components in an unconditionally transparent design that reveals every last detail, allowing you to get things right the first time. Additionally, the D-BOX routes all your digital signals through the same onboard reference-grade digital-to-analog converter, giving you the same unified monitoring experience used by the world’s best mastering engineers. Hear Even More with Analog Summing Our award-winning active analog summing provides the increased headroom and vast sonic space needed to achieve truly stunning mixes. No more collapsing mixes from shoving everything into a single digital fader, with the D-BOX panning becomes precise, reverbs and delays more engaging and clear, bass punchier, mids more detailed and the top end more open. Require even more channels of analog summing.http://www.asi-filter.pl/files/ewfm-manual.xml

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Effortless Signal Routing As the centerpiece of your studio, the D-BOX handles all of your routing elegantly. Monitor Right and Never Guess Again It would be hard to overstate the number of modern productions that have gone all the way to the final mastering stage with all kinds of noises, over-compression, clipping distortion and other unintentional problems because the monitoring chain was not revealing these issues. Add in the D-BOX’s crystal-clear analog summing, and even the smallest project studios can have the best monitoring and mixing technology available in just one elegant and easy to use rack unit. Awards for D-BOX Electronic Musician Editor’s Choice Award TEC Award (winner) Resolution Awards (nominated) Future Music ACE Award Features Hand-built in the USA. Transparent monitoring from a meticulous Chris Muth design. 8 Channels of unmatched analog summing. Reference-grade digital-to-analog conversion. Enormous headroom, big soundstage, and superior sonic imaging. Select between two sets of monitors. Full talkback functionality with on-board mic. Effortless outboard gear integration. Standard warranty: 90 days parts and labor, subject to inspection. Related products In our business, sound is everything and there is no “plug in” that delivers this kind of depth and punch. It’s not ready for the shelves at retail until it has been thru my Dangerous gear!” GearAutopsy.com “The Dangerous D-BOX is one of the finest pieces of audio gear I have had the pleasure of working with recently.” Morgan Page Remixer “Dangerous Music gear is an essential part of my studio. I love the sound of analog summing and monitoring of the D-BOX.” Steven Miller “I love the D-BOX. No other unit that I’ve seen accomplishes what it does. Anything that inspires me daily like that is worth its weight in gold. I’m used to having great toys to play with, but this thing is essential.” Submit a testimonial here D-Box and UA Apollo Setup - Dangerous Music. All Rights Reserved.http://www.ethio3f.com/ehpea/userfiles/ewi4000s-manual-download.xml One of their latest offerings is a combined monitor controller and analogue summing-bus system — essentially merging the key elements of their bespoke Monitor ST and 2?Bus LT units into one convenient product. It is a neat and compact solution that has been designed to suit a specific sub?section of the relatively large home?studio market. The monitoring portion of the D?Box includes facilities to drive two sets of stereo monitors, has talkback and cue headphone feeds for performers, built?in D?A conversion for one of two digital sources and an external analogue input. On top of that,there's a separate eight?input summing section with monitoring of its output. The separate facilities — at this quality level — would ordinarily cost significantly more than the D?Box, which manages to combine them in a useful way to meet the needs of many home studios looking to maximise the quality of mixdowns and monitoring. It isn't necessary to read the manual to know how to use the product, but some additional insights can be gleaned from a quick perusal, and the configuration mods aren't entirely obvious without checking the manual first. Working through the front-panel controls, to the left is a pair of quarter?inch headphone output sockets, each with independent level control. However, both outputs are always fed with whatever's being auditioned on the monitors — which is probably the biggest limitation to the unit's flexibility and suitability. The headphone amps are very powerful, with plenty of headroom and low noise, and I doubt anyone will be disappointed with the level that can be generated in normal headphones, to the point that I'd warn against turning the level up fully for fear of damaging your hearing. In the centre of the panel are seven square, illuminated push?buttons. The first button activates the talkback mic, lighting red when active, the second switches the monitoring to mono (also red), and the third selects the alternative monitoring speakers (red again). These last two buttons are also used to access the machine's configuration mode, and I'll come back to that. Alternatively, if the button is pressed and held the function becomes momentary and is cancelled as soon as the button is released. This form of operation is increasingly common and very intuitive, but there are obvious dangers when associated with the talkback button. Fortunately a remote?switch option allows talkback operation with a momentary action, and that might be a safer option to use! The second pair access the two rear?panel digital inputs (nominally labelled DAW and CD), and illuminate yellow when active. Sources are normally selected exclusively, so that selecting one cancels the previous source, but one of the configuration options allows for a mixed selection to be formed, with multiple sources being selected or deselected as required. Only one digital source can be selected at a time, however, as there is only one D?A converter, so the selected digital source can be auditioned in a mix with the analogue and sum bus inputs, if required. LEDs indicate the presence of signals in each of the eight summing?bus inputs. The first six summing?bus inputs are configured as three stereo pairs routed directly to the mix bus, with the odd numbers feeding the left output and the even numbers feeding the right. Inputs seven and eight can be positioned within the stereo image via a pair of pan pots on the front panel — although these can also be cranked hard left and right to make a fourth stereo pair if you just want to mix four stereo stems, for example. Finally, at the extreme right of the front panel there's a large rotary monitor volume control for the main monitoring level. A latching or momentary switch could be used, but I'd recommend the latter — either as a hand switch or a footswitch. Either way, the remote control facility is a useful one to have. Next is a pair of female XLR sockets for the primary stereo balanced analogue monitoring input (labelled 'Analog').Next is a pair of three?pin XLR sockets for two digital inputs (labelled DAW and CD). The first two are the outputs of the stereo summing?bus section, followed by a pair for the main monitors and a second pair for the alternative speakers. Again, everything is clearly labelled and interfacing the unit is very obvious and straightforward — aided by some helpful hook?up illustrations in the manual. Interestingly, a little lateral thought and some replugging would allow the D?Box to be used to mix up to 12 channels instead of just eight, should the need arise. By configuring the monitoring section for source mixing, and then selecting the summing bus, analogue input and one of the digital inputs, you could mix the eight summing?bus inputs with the stereo analogue input and a converted stereo digital input — 12 channels mixed together at the monitor output sockets! The mix?bus circuitry is neatly partitioned from the monitoring circuitry to ensure minimal crosstalk, and for the digital inputs I spied an Analog Devices AD1854 D?A converter chip allied to a Cirrus 8416 digital receiver. I'm told the summing section is virtually identical to that of the 2?Bus LT (but with only eight inputs instead of 16, of course) and the technical specifications are equally as good. The monitor section boasts very similar specifications, as does the D?A converter section, so each of the separate elements within the D?Box are well matched, with no obvious weak points in the chain. February 2018 Retro Jungle Production With Pete Cannon 1 month 3 weeks ago. Everything You Wanted To Know About Studio Headphones. 2 months 4 weeks ago. Fuses for Peavey tweeters. Reference Mixing Thinking of getting a new mic, can anyone give me info. Money from Soundcloud.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Cookie Policy Please set-up an appointment to pick up your order. If you're looking for something that will be of a similar fit in your studio, please contact us using the methods below. More and more records are being tracked and mixed in remote or temporary locations with mobile DAW rigs. Control room setups can be tight. A reliable and flexible audio environment is a must. No need to sacrifice mix quality or struggle with monitor control. For integrated monitoring, mixing, and input selection for the computer musician on the go, the Dangerous D-BOX is the uncompromising and affordable solution for all DAW-based musicians and engineers who need to trust what they hear.It’s hard to understand what that means before you hear it. It’s sort of like the audio equivalent of looking through 2 eyes vs one. There is just a little extra space behind every sound. It’s definitely worth it to me to get that boost.That's where you come in. Let the pro audio world hear your voice with a review of the Dangerous Music D-BOX. Once you submit your review, please check your email and verify your address to have it posted. Vintage King can help answer any and every question to help you make the right decisions for your sound. Fill out the form below and we'll be in contact with you shortly. We're willing to work on it!Please fill out the form below with your contact information.Once the form is submitted, a Vintage King Audio Consultant will contact you as soon as possible with our best price on this product. This was my first purchase with you and it won't be my last. I only wish I'd discovered you years ago!Works flawlessly. The whole process has been so smooth. I will never hesitate to do business with you guys in the future and will recommend you to everyone I know.I was VERY pleased that my shipment arrived in time for a scheduled vocal tracking session. The packing insured that my order arrived safely. And the sales staff responded quickly to questions regarding the product.I can't thank you enough. It feels good to trust such a hefty purchase to folks who are so helpful and knowledgeable. Vintage King is a sound designers dream store.I've been in the studio business for forty plus years. The salesman I worked with at Vintage King was the best of the best. You all rock!The order was here fast considering it was out of stock. The sales person had SKB send it to me directly and I couldn't have been more pleased.Even though I was buying a comparatively modest piece of gear, your attention to detail made me feel like I was purchasing a six-figure mixing desk.You guys provided me the absolute best deals in ordering all the equipment to power my brand new recording studio. Your customer service is amazing and i will always deal with you from here on out.You guys really are the Kings!Truly impeccable service. Your team was professional, knowledgeable, provided speedy delivery above and beyond standard. Vintage King Audio is definitely my go to for all of my audio and information needs. This is so that you More info on this in the “Other Settings” section. Buy a good quality snake (from a place like Be sure not to use the mic We usually suggest to use inputs 7 and 8 because they are generally used the In order to maintain signal integrity, it The other D-Box connections are: DAW 11 and 12 will feed the Saffire SPDIF out, and will also feed Saffire Monitor All of the faders for paths that you are using Make sure the analog inputs all have paths. You adjust the panning position and level of each channel within your Digital to Audio Workstation and then the overall level of the stereo analog sum using the unit's sum output volume control. You can then send the sum through a balanced XLR pair of stereo sum outputs back through your analog to digital converter and into your DAW. For monitoring, the unit features two stereo pairs of balanced XLR outputs for your monitors and alternate reference speakers. A mono function button combines the left and right channels in the monitors and a left and right panning knob allows you to reposition the mix in stereophonic space. Eight LEDS on the front of the unit indicate the presence of your incoming signal. A volume control allows you to adjust the overall output signal to your monitors or alternate reference speakers. A talkback microphone, talkback remote jack for footswitch operation, and front panel talk back function button enable you to address the artist through their headphones. A DC input on the back of the unit and external power supply allow the unit to operate at a cooler temperature. The device is meticulously hand-built in the USA to mastering standards. Let us know YOUR RECENTLY VIEWED ITEMS Browsing History ON Clear History Not responsible for typographical or illustrative errors. Learn more All the knobs and buttons are of high quality. Besides two headphone inputs, there is a talkback, mono button and alternate speaker selection. The unit has 4 inputs in the front; Sum, Analog, DAW, and CD. The best way to route your main 2 bus from your DAW is to connect into the digital DAW connector. The Sum button is for you to hear how your mix sounds from your 8 outputs from your DAW into the unit with a D sub cable. To keep the price down, they eliminated some things like a dim button. I was able to compare the D-Box against my Presonus Central Station. In listening to a mix I did in Cubase, the D-Box offered a clearer low end while the Central Station was almost a little clouded in comparison. In the past many of my mixes had a little too much bass when I tested them on different sources with my Focal Twin monitors and decent amount of acoustic treatment in my studio. I was a little confused as why I was having this problem. As soon as I heard the music through the D-Box, it revealed the low-end rumble on some instruments that I did not hear with the Central Station. I knew now why I had issues with my mixes. It seems the Central Station remote had something to with the quality of the signal losing some definition by the way. The mid and highs on the D-Box also gave a crystal clear sound. With the color and less clarity of the CS, it reminded me of when I had lower end monitors the then upgraded to better ones. There are details in the music that I heard for the first time with the D-Box. When I switched back quickly to my Central Station, I found I could no longer could keep the Central Station in my rack. Out it went and the Dangerous took its place. The headphone amps are crystal clean and offer wonderful clarity as well. There are two connectors on the unit. I found it interesting that the top insert for the headphone jack was connected to the 2nd volume knob and not the first. If you need more than two headphone jacks, you could connect one of the headphone outputs into a headphone amp as the volume in the headphone amps are plenty loud. If the D-Box had no summing capabilities, the unit would still be well worth it’s current price. Though they cut some corners like no dim button or mute button, by pushing the DAW button in and out, it acts like a mute. This is helpful as you may want to talk to a client in your studio and you don’t want to change the volume on anything. Summing out of the Box: Many feel the benefit of summing out of the box is due to the pleasant harmonic distortion that the box gives from the internal transformers. If this is the case, you could just run your 2 bus through some mic pre’s, EQ, or compressor and add a character from it’s transformers and internal parts. I have done the later many times with my Manley and Portico gear as I prefer the added character they offered to my mixes. I then tried summing out of the box with the D-Box. First I just summed a 2 bus through the summing and back into Cubase. To be honest, there was almost no difference between a 2 channel ITB mix and the 2 bus that went into the Dangerous D-Box. I then took an entire mix, routed them through the 8 channels of the Dangerous and created a new 2-bus mix in Cubase. There are green lights that show which channels are receiving signal, and channels 7 and 8 have a separate pan control. The mixes sounded more spread out, a little deeper and a little more 3D. My mixes through the D-Box have a more professional sound with its spacial and enhanced sound. I heard all the instruments better as they are more defined. The D-Box gave the instruments and vocals more space in the mix. The ITB mix sounded tighter and more cluttered. Out of curiosity, I took my ITB mix and added a spacial enhancer that came with Cubase. Though it spread out the mix and subjectively it sounded better when done with care, it did not sound the same as the Dangerous Summing. The placement of the instruments seemed to be done at the source with the D-Box, while the plug seem to add something on top of the mix. Though many have different opinions on summing out of the box and what takes place to change the sound, each type of box will offer something a little different. My advise to try it out for yourself in your studio to hear if it works with your gear and setup. For me, I will always sum my mixes through the D-Box to hear the instruments have their own space in a mix and to hear the wider sensation of the music. It just sounds more polished and closer to the music you hear on the radio. This unit is really a great option for those who want a great monitor and summing unit all wrapped up in one at a decent price. Dangerous also provides great customer service. Pro: Clear sound, amazing definition in your mixes. Summing through 8 channels allows you to hear each instrument more defined and spread out. Con: Lack of a dim button, no separate cue and main monitoring controls.So I started looking at the various options available, their value for the money. I have heard all the comparisons that I could find on GS and on the net. I read everything I could find on the subject and at the end I took the money and I bought the Dangerous Music D-box. I was mixing a CD of pop-punk and in the first 5 minutes of using the D-box I had already decided that I was super happy of the new addition to my studio. Without even still use the analog summing I was struck by the DA converter that compared to my Mytek DA studio96 sounded equally detailed, but just a little warmer. But the most impressive thing was the frankly amazing difference in the quality of monitoring compared to that of my old Mackie 32-8. The highs are extraordinarily soft and defined, I would say extended. And the low frequencies are at least an octave deeper, soft yet punchy and powerful. Not to mention the middle frequencies, which are defined, detailed and clear. Certainly, it has become easier to achieve the result I was aiming for. Now we come to the part of the analog summing: The same mix that before listening to two-channel time now is divided as follows: Channels 1-2 Drums Channels 3-4 Guitars Channels 5-6 Keyboards, BVS, Fx Channel 7 Lead vocal (pan mono center) Channel 8 Electric Bass (pan mono center) Just enough time to reassign the channels and by magic a space subtle but definitely audible formed between instruments. Even before I could feel the impact of a 0.2 eq of tenths of a dB at the end of a mix, but now the difference is huge. Everything is more clear, and it takes me half the time to achieve what I was aiming for. Now it is good to say that, working ITB, I soon learned that the gain staging is all about it and in PTHD is ultra important to work at an optimum level, close to the calibration -18 dBFS (some plugins tend to sound awful when the level is too hot). But, thanks to analog summing now I have the opportunity, if they want, to push each stem up to a saturation level that I could not reach before ITB and definitely comparable to the sound of SSL I was used to. But much more transparent, with a color closer to a Neve desk. Definitely nice, very interesting. Surely there are more colorful summing boxes of the D-box but on my way to work this hardware is definitely ideal. If we add to this the ability to select two different monitors (although it lacks a trim between the two), a talkback of excellent quality and with the option of remote control via the rear panel, and two headphone outputs, powerful enough for pro headsets and very precise this machine value compared to its cost is extraordinary. The technical specifications are very impressive and the operating manual is cristal clear. I particularly liked the warning to turn off the machine before wiring to prevent the configuration without decoupling capacitors create problems for systems connected to the D-box. A sensible practice in every case, but in the specific, required. Both in GS and on line is easy to find lots of information about D.box included an interesting video of Fab Dupont explains almost everything that is useful to know about the D-box and his older brothers 2Bus and 2Bus Lt. I would say that it is easy to think of paying this amount only for the DA converter or to the analog summing. So either we can consider any of the two as a gift, along with a good headphone amplifier and a talkback of world class quality. I worked on SSL, Neve, API, Cadac and I must say that in an instant I felt more at ease from the point of view of the sound and safer to be able to hear all the most minute details of my work.The Apollo is already a nice sounding interface stock, but I was expecting a noticeable improvement to both the AD and DA. My hopes were that the upgrade would put the DA conversion of the Apollo on par with dedicated monitoring converters and higher-end boxes like those from Apogee, Prism and Metric Halo. It was while we were connecting cables and routing wires that my friend asked me if I expected the modified unit to sound better than his Dangerous D-Box, a product I’d heard of many times but had no real experience with. I’ll admit I was a little puzzled. My impression of the D-Box was that it was primarily a monitor controller and summing box, and even though I knew it included DA as well, I never expected the quality to be anything to write home about. After all, the D-Box is a summing mixer, not a dedicated master DA converter and you can only do so much at its price point. My ignorance was about to get the best of me. Intent on showing me that I had been missing out on one of the most remarkable products of its kind, my friend (Ken) pulled up some of his favorite mixes and let me get accustomed to his superb listening setup. We listened for a while on the newly modified Apollo box and I must admit things were sounding fantastic. The music was clean, detailed, punchy and tonally balanced just like you’d expect from good quality conversion and a great monitoring setup. Quite frankly, it came as no surprise. I had been expecting to hear just that. What did come as a surprise, however, was the experience I had when Ken switched from the output of the Apollo to the D-Box’s built-in DA. The difference was anything but subtle. Not only was the imaging more pronounced, but the D-Box DA increased the depth and punch of the sound in a way that made the music feel “bigger”. What I was hearing sounded as good as some of the best DA converters I had ever heard, and for a box marketed as a summing mixer and monitor controller this almost seemed illogical. Obviously, I knew I was going to need to take a closer and much more personal look at the Dangerous D-Box the first chance I got. Fast forward three weeks and a big bright Fedex truck arrived with an ordinary brown box wielding a Dangerous Music label proudly declaring its contents were made right here in the USA. I’ve never been a fan of elaborate packaging and Dangerous Music apparently doesn’t see the need for it either. Put the money into the product where it counts I say. The carefully packed rack unit and stapled laser printed manual inside are clear signs that Dangerous Music shares this philosophy. The Dangerous D-Box My first impression of the D-Box upon “deboxing” (awful pun intended) was that the people who made it really went to great lengths to make a professional looking device whose aesthetic did not go overboard in trying to be flashy or overly cool. At the same time, it really does look awesome. The lightly polished rack face has a precision beveled edge that’s not quite sharp enough to cut you, and the Dangerous logo is printed in orange, making it mostly visible when viewing the unit from an angle. From left to right, there are two headphone jacks and their accompanying volume pots, a talkback mic and level control, several illuminated function switches, a make-up gain control for the summing section, a pair of pan pots (more on this later), 8 signal present LEDs and the main volume control. The custom knobs each have a machined indicator line on the face and a pair of rubber “tires” to aid in gripping them (I have seen at least one other manufacturer copying them now). A quick turn of any of the knobs reveals the pots are of exceptional quality. They are ultra-smooth, without feeling artificially weighted with heavy fader grease (a common trick used to make low-grade pots feel expensive). These feel like quality conductive plastic pots and you can tell these are not cheap parts just by turning the knobs. The D-box’s functions and input sources are controlled by a series of tactile switches that thoughtfully report their function with glowing led lights, illuminating from within the switches themselves. The familiar audible click you get when pressing any of these switches reveals that they control sealed relays within the D-Box that will remain free of corrosion for the duty life of the product. Again, this is a no-compromise way to go. The rear panel contains all of the jacks you need pipe audio in and out of the D-Box. Starting from the left there is a TS jack for a vanilla footswitch enabling remote control of the talkback mic (a thoughtful inclusion). Next is a pair of XLR female jacks for connecting the analog output of an interface (assuming it features a pair of dedicated main outs), or any other analog device you may want to reference. A 25-pin D-sub connector allows 8 analog inputs from your interface’s DA to be connected to the D-Box’s summing section, followed by a 5-pin din connector labeled DC IN (don’t worry, the PSU is a line-lump style, not a wall wart). After the PSU connector is a pair of AES 110-ohm digital inputs.