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The totally re-engineered 2-BUS-XT delivers knock down kicks, vocals welded to the center, spacious sound stage, and an ultra high resolution depth of field that reveals everything, ultimately gluing your tracks together organically & effortlessly. You’ll experience the pleasure of mixing it better and faster with fewer plug-ins.

Leveraging the unsurpassed six layer board summing circuitry of the 2-BUS+, you’ll feel the legendary headroom alongside two unique custom color circuits designed by analog cause célèbre, Chris Muth.

After dozens of listening trials, the transformers were specifically chosen to add a tasteful hit of 2nd order harmonics for lower midrange warmth while preserving top-end clarity.. Perfect for adding complexity to sterile tracks that draw the listener in deep.

Coherence elevates the harmonic content of signals progressively by bringing up the detail as the levels are reduced, then allowing you to blend this result with the source mix, parallel compression style. Ride it during the hooks to add excitement.

Assign none, either or both to channels 15-16 or the mix buss all on true hard wired bypasses and breathe your music’s analog soul to life.

FEATURES

• Hand built in the USA

• Active analog summing circuits by renowned designer Chris Muth

• Super wide stereo imaging (crosstalk -97dB @ 1kHz) good luck finding crosstalk specs published by other companies

• Major headroom for any DAC (+27 dBu max input level)

• Effortless analog outboard gear integration

• Fully expandable with 2-BUS+, 2-BUS-XT, and D-BOX+

• Compact, single rack space

Unlike passive summing boxes that require huge amounts of make-up gain to restore the lost audio, or line mixers with volume and pan pot controls masquerading as “summing mixers” the active electronics in the 2-BUS-XT 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, thereby lowering the strain and increasing their efficiency- much like a 16 lane highway vs 2 lanes. Once there, the 2-BUS-XT’s exceptional summing circuits will provide all the headroom plus a vast soundfield, allowing your mixes to truly shine.

EMULATION IMPOSSIBLE

Many analog processors – from delays and reverbs to EQs, compressors and more – have been modeled in the digital realm, but analog summing remains impossible to emulate digitally. Summing is not designed to “give you the character of a console” as many analog and digital recreations mistakenly promote, but to give you the sonic benefits and beyond. 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 won’t hit. By summing individual tracks or subgroups of tracks (often called “stems”) with the 2-BUS-XT’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 plugins will sing with the detail, punch and clarity that only real analog summing can deliver. You’ll work faster, use less plug-ins and have fun.

MAKING THE ANALOG INVESTMENT

When you buy analog equipment, you’re making an investment that will hold its value for decades. Analog technology is time-tested. It won’t require an expensive upgrade, become incompatible with your computer or DAW, or start crashing. No matter what music production system you’re using in ten, fifteen, twenty years, the superior summing capabilities of the 2-BUS-XT will always be a relevant, compatible and valuable centerpiece in your studio.

PRIMED FOR EXPANSION

The 2-BUS-XT is sonically and ergonomically primed by intentional design to increase the reach of your Dangerous System.

Multiple units may be stacked for higher channel counts or team it up with the 2-BUS+ for three different color circuits or the D-BOX+ to add comprehensive monitor control. From conception, to astute design, to field testing by our Platinum Legacy Crüe, the 2-BUS-XT will breathe your music’s analog soul to life.

CHOOSING YOUR SUMMING AMP:

Since the creation of the Dangerous 2-BUS many manufacturers have released “summing box” products. Choosing one can be confusing, but if you ask 2 questions it becomes easy.

+ 1. IS IT REALLY A SUMMING AMPLIFIER, OR IS IT A LINE MIXER?

A true summing box designed to be a back-end for a DAW mixer will be “fixed gain and fixed pan,” because the fader and pan controls are in the DAW software mixer. You do not want to repeat these functions in the hardware because [A] you lose your recall capabilities and [B] you are running your audio through unnecessary electronics which will degrade the sound.

If it has pan pots and/or level controls on it, it is a line mixer, not a summing mixer, despite what the front panel might say. A line mixer is perfect if you need to sub-mix keyboards or a bunch of mic preamps to stereo, but is not the best option when mixing a track from your DAW.

+ 2. DO I WANT A CLEAN OR COLORED SIGNAL PATH FOR MY MIXING?

You want options. Many manufacturers have a color signature to their sound, incorporating components like transformers or tubes into the design. These components can sometimes shape the sound in a pleasing way, but you are trapped with that sound for everything you do. We chose to make the tone and color optional with the 2-BUS+ by designing three original analog color circuits that can be selected and adjusted as you need them. Say the transformer rips on one song, but isn't right on another– simply disengage it with the press of a button. Or suppose you like the harmonics, but want less of it. Other summing amps do not have these options; don't be a hostage to a single sound. That's why you see Dangerous summing in the GRAMMYS for Jazz, Hip Hop, Metal, Pop... you are the captain of your sound.

A true mastering-grade summing amp allows everything you record to come through in its clean, high-headroom environment. We at Dangerous have a deep foundation in designing and building mastering consoles and monitor controllers. With our approach to summing you can insert color where, when and how you choose with the onboard processors in the 2-BUS+, or with outboard gear and plug-ins. All options remain open, all options remain yours- the best of all worlds.

+ A NOTE ON PASSIVE SUMMING:

There are two types of passive summing devices: powered and non-powered. Non-powered summing amps simply employ a resistor network feeding a pair of busses. This process by its nature loses a considerable amount of level, requiring a high-gain amplifier (microphone preamplifier) to bring it back up to usable line level. Non-powered boxes require the user to insert a separate outboard mic pre for this makeup gain.

Other products have the amplifier built in, appearing on the outside like an active summing device but in fact employ the same non-powered summing as described above. You can often tell when non-powered summing is being used by a high input channel count (32 or 48 inputs) because the parts cost only pennies, as opposed to having expensive active receiver amplifiers on every input.

We have found through years of experience and testing that this non-powered approach is not the ideal way to handle this task, and that an active design using balanced receiver amplifiers, summing op-amps and line drivers yields the most exceptional performance.

Not having an active balanced design creates several potential problems:

• A balanced receiver provides common mode rejection (CMR) while a passive resistor network does not. Good CMR is key to low noise performance.

• A balanced receiver allows isolation of the D/A converter’s ground from the audio ground of the summing amp – passive does not. This could lead to poor crosstalk rejection, which means poor imaging.

• Active design also allows for a local ground reference for the inputs, which is the same ground reference as the summing op-amp. All these things contribute to a clean, quiet, low-distortion device that is stable.