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Dangerous Music System Complete with Converters, Processors, and More

BH #DADMSC • MFR #DMSC DANGEROUS MUSIC SYSTEM COMPLETE
Dangerous Music System Complete with Converters, Processors, and More
Key Features
  • Includes CONVERT-2
  • Includes CONVERT-8
  • Includes CONVERT-AD+
  • Includes BAX EQ
Track and print your mixes through some of the best gear in the business, all in one shot with the System Complete from Dangerous Music. Flawlessly convert signal to and from the analog domain with the CONVERT-2 and CONVERT-AD+. Utilize 16 pristine channels of mastering-grade D/A for summing into the 2-BUS+. EQ and compress with the BAX EQ and COMPRESSOR. Route in all your other gear with the LIAISON and use the ST/SR for monitoring, all while changing among I/O with the included remote. Now, some of the best mixing and mastering gear in the world is available in one turnkey solution.
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Dangerous Music DMSC Overview

  • 1Description
  • 2Dangerous Music CONVERT-2 Two-Channel Reference-Grade Digital-to-Analog Converter
  • 3Dangerous Music CONVERT-8 Eight-Channel Reference-Grade Digital-to-Analog Converter
  • 4Dangerous Music CONVERT-AD+ 2 Channel Analog to Digital Converter
  • 5Dangerous Music BAX EQ Stereo Shelving Equalizer
  • 6Dangerous Music COMPRESSOR Dual-Channel VCA Compressor with Smart Dynamics
  • 7Dangerous Music LIAISON Signal Routing Matrix
  • 8Dangerous Music 2-BUS+ 16-Channel Analog Summing Mixer
  • 9Dangerous Music Stereo Monitor Control System with Remote Control

Track and print your mixes through some of the best gear in the business, all in one shot with the System Complete from Dangerous Music. Flawlessly convert signal to and from the analog domain with the CONVERT-2 and CONVERT-AD+. Utilize 16 pristine channels of mastering-grade D/A for summing into the 2-BUS+. EQ and compress with the BAX EQ and COMPRESSOR. Route in all your other gear with the LIAISON and use the ST/SR for monitoring, all while changing among I/O with the included remote. Now, some of the best mixing and mastering gear in the world is available in one turnkey solution.

Dangerous Music CONVERT-2 Two-Channel Reference-Grade Digital-to-Analog Converter

If you want an audiophile-grade DAC to handle the front end of your stereo monitoring rig in a mastering facility, the Dangerous Music CONVERT-2 is more than up to the task. This 2-channel digital-to-analog converter is designed to give you a clean, powerful, precise, and accurate performance as you monitor or route audio from the digital domain. Feed your stereo system with signal from the CONVERT-2, and you can be confident in what you're hearing as you work.

The CONVERT-2 is also enhanced by a bevy of easy-to-use features. Choose from different input calibrations at the press of a button, and rest easy as the CONVERT-2 automatically adjusts the sample rate when you switch among different sessions. All of this is designed to make stereo mastering a much simpler and more streamlined affair.

Award-Winning Pedigree
Dangerous has been building award-winning converters since 2002. Eager to develop a new DAC, Dangerous brought in Chris Muth and Paul Messick into the deisgn. These two world-renowned experts made sure—from the low-pass filtering on the analog side, to the JetPLL ultralow-jitter digital clocking—everything has been refined to deliver a supremely musical, yet transparent performance.
Hi-Fi Analog Signal Path
Renowned designer Chris Muth developed the audiophile-grade analog audio path for the CONVERT-2, meticulously fine-tuning the low-pass reconstruction filters that sit at the heart of any DAC. These filters are necessary for a DAC to function well and extra care has been paid to them here.
Artfully Digital
Dangerous brought in digital guru Paul Messick to ensure the digital circuitry of the CONVERT-2 matches its finely tuned analog circuit. Paul refined the CONVERT's JetPLL ultralow-jitter clocking technology until it virtually eliminated jitter in the audio band and beyond, resulting in a clearer sound with less ear fatigue.
Jitter Elimination Technology
Many digital audio systems are synced to the best-sounding clock in the rack, and Dangerous hopes you'll choose the CONVERT-2 as the master clock for this reason. Simply use the Word Clock output and set the CONVERT-2 into Master mode from the front panel, and all the digital gear in your studio will benefit from The CONVERT-2's Jitter Elimination Technology.
Instant Input Calibration
The device sports industry-standard reference levels of -14, -16, and -18 dBFS, so you can recalibrate the CONVERT-2 with the push of a button. While many professional converters are only aligned at the factory, the CONVERT-2 lets you move flexibly between different reference levels on the fly. Anyone who's ever fumbled around behind a rack while a second person watches an external meter knows the special value of our front-panel calibration buttons, especially when there are eight channels from which to work.
Automatic Sample Rate Detection
Simply select Auto on the front panel and the CONVERT-2 will match its sample rate to the input signal. If you've ever started working at the wrong sample rate, you'll know why this feature can be so important. If you're swapping among different DAW sessions at different sample rates, the CONVERT-2 will follow your every move. No more horrible jump-scares in the form of horrendously distorted audio.
On-the-Fly Input Switching
The CONVERT-2 lets you swap between multiple digital inputs on the fly from the front-panel buttons. No more digging into elaborate menus and system settings just to listen to iTunes, and no more rerouting software drivers just to hear a different output. Because the CONVERT-2 can automatically lock to the incoming signal's sample rate, you don't need to even think about sample rates as you switch between inputs.
A Multitude of I/O Options
Four digital inputs include USB, AES/SPDIF, ADAT and Optical SPDIF (TOSLINK). WC in and out are provided. Connections to the analog world are made possible by two XLR outputs. Furthermore, AES throughputs are on hand for routing digital signal to external gear like digital meters.
Extensive and Useful Metering
The CONVERT-2 offers the type of peak-over-average metering typically found in expensive outboard mastering meters. The meter automatically calibrates to the chosen input reference level, giving you consistent visuals on every project. A further enhancement is Dangerous Music's 3-word-over indicator, which tells you when three consecutive samples have clipped, meaning you're a breath away from violating industry standards for CD reproduction.

Whether you want this clipping or not is up to you, but at least you have a reliable indicator for clipping in the CONVERT-2.

Monitor ST Connectivity
Simply hook up the device to Dangerous Music's award-winning MONITOR-ST/SR Remote to the rear-panel ports, and you've got best-in-class desktop remote control over the CONVERT's front-panel input selectors. Add the CONVERT-2 to your existing MONITOR-ST/SR rig for seamless integration of a quality DAC into your surround monitoring system.
UPC: 646437008211
Dangerous Music CONVERT-8 Eight-Channel Reference-Grade Digital-to-Analog Converter

If you want an audiophile-grade DAC to handle eight channels of conversion in your mixing, stem-mastering, or post-production facility, you'd be hard-pressed to find a better option than the Dangerous Music CONVERT-8. This converter is designed to give you a clean, powerful, precise, and accurate performance as you monitor or route audio from the digital domain. Feed your stereo, 2.1, 5.1, or 7.1 system with signal from the CONVERT-8, and you can be confident in what you're hearing as you tweak the signal in the digital domain. 

When Chris Muth and Paul Messick are involved in a design, you know both the analog and digital circuitry will be handled with an absolute attention to detail. Everything from the low-pass filtering on the analog side to the digital JetPLL ultra-low jitter digital clocking has been refined to deliver a supremely musical, yet transparent performance. Enhanced by a bevy of easy-to-use features, the CONVERT-8 is not only a game-changer for your sound, but a time-saver for your workflow.  

For Mixing and Monitoring in Stereo and Beyond
Whether you're tracking, mixing, or mastering, the CONVERT-8 will deliver powerful low end, articulate mids, and crystalline highs to every channel in your analog rig. Compatible with today's digital signals (including the ubiquitous ADAT format) the CONVERT-8 is ready to take on any mixing or monitoring job, from including stereo, 2.1, 5.1, and Dolby Atmos.
Award-Winning Pedigree
Dangerous has been building award-winning converters since 2002. Eager to develop a new DAC, Dangerous designed the CONVERT-8 from the ground up, utilizing an analog circuit designed by Chris Muth to deliver an open, articulate, and powerful sound. As a dedicated digital-to-analog converter, The CONVERT-8 has been optimized for the job of delivering stunning sound when mixing, stem mastering, and monitoring while tracking.
Hi-Fi Analog Signal Path
Renowned designer Chris Muth developed the audiophile-grade analog audio path for the CONVERT-8, meticulously fine-tuning the low-pass reconstruction filters that sit at the heart of any DAC. These filters are necessary for a DAC to function well, and extra care has been paid to them here.
Artfully Digital
Dangerous brought in digital guru Paul Messick to ensure the digital circuitry of the CONVERT-8 matches its finely tuned analog circuit. Paul refined the CONVERT's JetPLL ultralow-jitter clocking technology until it virtually eliminated jitter in the audio band and beyond, resulting in a clearer sound with less ear fatigue.
Jitter Elimination Technology
Many digital audio systems are synced to the best-sounding clock in the rack, and Dangerous hopes you'll choose the CONVERT-8 as the master clock for this reason. Simply use the Word Clock output, set the CONVERT-8 into Master mode from the front panel, and all the digital gear in your studio will benefit from The CONVERT's Jitter Elimination Technology.
Instant Input Calibration
The device sports industry-standard reference levels of -14, -16, and -18 dBFS, so you can recalibrate the CONVERT-8 with the push of a button. While many professional converters are only aligned at the factory, the CONVERT-8 lets you move flexibly between different reference levels on the fly. Anyone who's ever fumbled around behind a rack while a second person watches an external meter knows the special value of our front-panel calibration buttons, especially when there are eight channels with which to work.
Automatic Sample Rate Detection
Simply select Auto on the front panel and the CONVERT-8 will match its sample rate to the input signal. If you've ever started working at the wrong sample rate, you'll know why this feature can be so important. If you're swapping among different DAW sessions at different sample rates, the CONVERT-8 will follow your every move. You will have no more horrible scares in the form of horrendously distorted audio.
On-the-Fly Input Switching
The CONVERT-8 lets you swap between multiple digital inputs on the fly from the front-panel buttons. No more digging into elaborate menus and system settings just to listen to iTunes, and no more rerouting software drivers just to hear a different output.

Because the CONVERT-8 can automatically lock to the incoming signal's sample rate, you don't need to even think about sample rates as you switch between inputs.

Four digital inputs include USB, AES/SPDIF, ADAT and Optical SPDIF (TOSLINK).

Connections Galore
The rear panel of the converter features a D-Sub connector for analog outputs 1-8, a D-Sub connector for AES/SPDIF In and Thru 1-8, two ADAT Inputs, one WC input, one WC output, one optical S/PDIF input, a USB Type-B input, an RJ-45 remote in connector for the Monitor ST, and an RJ-45 remote thru connector for the Monitor ST.
8-Channel Metering
Aside from giving you instant visual confirmation of your audio signal present across all eight channels, the metering indicator tells you when three consecutive samples have clipped, meaning you're a breath away from violating industry standards for CD reproduction, and are about to generate clipping distortion that would be audible in any digital file. Whether you want this clipping or not is up to you, of course, but at least you have a reliable indicator for clipping in the CONVERT-8.
Monitor ST Connectivity
Simply hook up the device to Dangerous Audio's award-winning MONITOR-ST/SR Remote to the rear panel ports, and you've got best-in-class desktop remote control over the CONVERT's front panel input selectors. Add the CONVERT-8 to your existing MONITOR-ST/SR rig for seamless integration of a quality DAC into your surround monitoring system.
Dangerous Music CONVERT-AD+ 2 Channel Analog to Digital Converter

Aiming to push the limits of previous iterations in this series, Dangerous Music’s CONVERT-AD+ is an analog-to-digital converter suitable for use in mixing and mastering situations. The unit brings the musical transparency for which Dangerous is famous then goes further by adding useful features and tonal-coloring possibilities. For instance, it offers two sets of XLR inputs that allow you to switch between sources, allowing you to audition different mastering chains or test your master against a reference. Zoomable meters are also on hand, letting you focus on the upper 10 dB of the scale. Another useful—albeit sneaky—inclusion is Dangerous’s proprietary Clip Guard technology, which is explained in depth in the features section.

For coloring the sound, Dangerous has included two features, the first being switchable Hammond Transformers to give the sound more analog heft, the second being a custom-tuned Emphasis control that imparts compression, second-order harmonics, and low-end, midrange, and treble frequencies in pleasant proportions. The transformers are switchable on/off, while the Emphasis control is blendable.

On the analog side, the CONVERT-AD+ provides two sets of XLR inputs, while the digital connections include AES/EBU, ADAT Optical, SPDIF Optical and Coaxial, and USB connection. BNC jacks are offered to clock the device to other units, or to allow you to use the Convert-AD+ as a master clock. 

Switchable Dual Inputs
With the push of a button, you can switch between any two balanced line input sources. You can use this feature to compare different mastering chains, to test your mix against a reference, to switch between recording and mixing mode, and more.
Proprietary Clip Guard Technology
Designed for those who like to push their A/Ds beyond 0 dBFS (commonly called clipping the converters), Dangerous has provided proprietary Clip Guard technology, which turns off the red light LED at your DAW of choice. Red indicates clipping on most meters, but on the AD+, the over indicator turns from green to yellow. Thus, your destination source, such as a CD pressing plant or iTunes, will not reject your master, since these red-light overs will not appear. This is not a limiter. If you can hear clipping and engage clip guard, it will sound identical. It simply disables the clip LED in your DAW or destination device, allowing you to clip to your heart's content.
Zoomable Metering
In most circumstances, the dynamics of a mix or master reside in the zone between the average and the peak levels. With the AD+'s meter-zooming technology, you can zoom in on just the top 10 dB of dynamic activity, allowing you a fine-grained look at what that matters most when mixing and mastering.
Switchable Transformers
It's no secret that a pair of transformers at the end of a mixing or mastering chain can give your final prints added vibe and weight. With the CONVERT-AD+, a push of a button gives you a pair of Hammond transformers wired in series.
Emphasis Control
When the transformers are switched in, Emphasis instantiates a proprietary EQ/compression combination that adds color to your mixing, mastering, and tracking work. Simply dial in the right amount, or none at all. In most cases, you'll notice a stronger low end footprint and a gentle saturation on the midrange and the highs. The more you play with it, the more you'll learn how the Emphasis control can improve your music.
Jitter Elimination Technology
JET is a patented clocking technology that Dangerous Music employs in order to reduce jitter to the point where it isn't a factor impacting the sound of the converters. Whenever zeros and ones are flying by at incredible speeds, a solid clock and balanced data-stream management system is of the utmost importance in providing an articulate, musical, and three-dimensional experience. You can use the CONVERT-AD+ as your studio's master clock.
Other Key Features at a Glance
  • Selectable Calibration Level cycles through three calibration levels for compatibility with other devices
  • Custom-crafted digital meter with Normal and Peak Hold modes provides precise visual feedback
  • Word Clock with three Modes: Internal, External, and Master
  • USB connection for Mac/Windows
  • Comprehensive I/O with two switchable stereo input paths, dual AES outputs, an optical ADAT output, an optical S/PDIF output, and a coaxial S/PDIF output
UPC: 646437008242
Dangerous Music BAX EQ Stereo Shelving Equalizer

The Dangerous Music BAX EQ Stereo Shelving Equalizer is designed by mastering engineers for recording, mixing, and mastering. The unit is based on Peter Baxandall's classic tone control designs and allows you to precisely shape your sound. The back of device features a pair of 3-pin XLR inputs and a pair of 3-pin XLR outputs.

The front of the unit includes stepped control knobs for a 12 dB/octave low-frequency cut filter for reducing rumble from infrasonic content. A broad bandwidth shelving EQ control allows you to adjust several octaves at the same time with minimal phase delay, and stepped controls in 0.5 dB increments for left and right low-frequency levels enable you to discretely correct any stereo channel imbalances.

Similarly for the treble, the EQ includes stepped control knobs for an Ultrasonic cut filter, a high-frequency shelf filter for adjusting several octaves at once, and independent left and right high-frequency level controls for correcting stereo signal imbalances. When set to "Out", the cut filters are removed through a relay bypass for A/B comparisons of the signal with and without the cut equalization. A hard-wired engage button allows you to bypass all of the equalization hardware from the circuit for true A/B comparisons of the signal with and without the EQ.

UPC: 628586496958
Dangerous Music COMPRESSOR Dual-Channel VCA Compressor with Smart Dynamics

Mastering engineers take note: the Dangerous COMPRESSOR is designed to give you transparent dynamics control, so you can reign in dynamic material, make it loud, and minimize dynamic comprises. With a bevy of useful features, this VCA compressor can help you deliver a master that’s every bit as loud and impactful as the competition, while allowing you to retain a sense of dynamics.

A big selling point for the COMPRESSOR is its versatility: the BOX can handle anything from hip hop to acoustic folk with ease. Such versatility is achieved through separate detection circuits for the right and left channels (maintaining impeccable stereo separation), switchable dual-slope detection circuits (for handling peaks and average levels differently), and comprehensive sidechain filtering (to keep low end from triggering compression, or to help tame sibilant material). Add audiophile-grade components throughout as well as stepped controls for perfect recall, and you’ll have a compressor up for transparently handling the most demanding tasks—all without the intermodulation distortion so typical from similar methods employed in the digital realm.

Dual Detectors for Each Channel
When linked in stereo, most compressors take the left and right signals, combine them to mono, and send the combined signal to a detector circuit. This causes the loudest elements in the center to dominate information in the sides. Even worse, any out of phase information will either be ignored or exaggerated.

The COMPRESSOR utilizes two totally independent RMS detectors on each channel, with a nuanced and sophisticated circuit governing how they work together in stereo. This allows the unit to deliver crystal-clear and rock-solid stereo imaging when processing a full mix, a drum buss, a finished master, or any stereo material.

What's more, you can use each channel as an independent mono compressor, or you can cascade the two channels into each other for ultra-transparent compression with peak limiting. Try this for riding a vocal, a spiky lead instrument, or any other track where powerful yet transparent control is demanded.

Separate Peak and Average Control
The COMPRESSOR has a dual-slope detector that you can engage with the SmartDyn button. With SmartDyn engaged, the COMPRESSOR can control fast transient peaks without causing average volume levels to drop. This lets you maintain higher average volume levels while avoiding the pumping artifacts commonly incurred when pushing toward the expectations of modern loudness.

Smart Dynamics is equally helpful when tracking a dynamic singer or mixing a snappy drum kit, and most users end up leaving the "SmartDyn" button engaged at all times.
Automatic Attack and Release When Needed
The COMPRESSOR includes an automatic attack/release setting that works intelligently, so you can just focus on the threshold and make-up gain knobs. If you need more precise settings for attack and release, simply press the Manual Att/Rel button and start tweaking.
Comprehensive Sidechaining Possibilities
The COMPRESSOR includes two bypassable, audiophile-grade sidechain EQs. These feed the detector circuit, changing the behavior of the compression.

Bass Cut turns down low end below 60 Hz, so the COMPRESSOR won't overreact to low-frequency content, or create pumping.

The Sibilance Boost utilizes the BAX EQ's ultra-linear high-end shelf to push more treble content into the detector, which causes The COMPRESSOR to dynamically attenuate sibilance and other unwanted spikes of high-end, such as harsh cymbals, blaring loops, or erratic acoustic guitar strums.

VU and LED Metering
The dual VU meters can show you gain reduction, input levels, or output levels. There is a -6 dB offset button, so that loud material is always hovering in a usable range, perfect for visually monitoring average levels.

What VUs cannot show you are the lightning-fast transients. That's where the LED metering comes in. Together, the VU and LED meters provide critical insights into the intricate inner workings of the COMPRESSOR in action.
Audiophile-Grade Components
Chris Muth designed the COMPRESSOR, and his name is synonymous with fastidious design used throughout the world of high-end mastering studios. He ensured that only high-quality components were used, even in areas of the circuit that don't pass audio. Detector and control voltage circuits (which lie at the heart of any compressor but are not in the audio path) are often built from substandard components in order to cut costs. However, these detector components dictate how well any compressor behaves, and if you seek nuance and intelligence you'll adore the COMPRESSOR.
UPC: 628586497078
Dangerous Music LIAISON Signal Routing Matrix

The Dangerous Music LIAISON Signal Routing Matrix is a 2U rack mountable routing matrix designed by mastering engineers to connect up to six pieces of outboard equipment directly to your system. Additional pieces of equipment can be added to the signal path by daisy chaining, utilizing a patch bay, or integrating with a Dangerous Master unit.

The unit features balanced left and right XLR input and output pairs for six routing insert sends/returns and two busses, A and B. A 25-pin D-sub connector provides interfacing to two stereo pairs of external outputs for monitoring the Busses. In standalone mode you can monitor Buss A input for a preprocessing mix and Buss B output as a post processing mix. A switchable 120/240VAC outlet provides power to the unit.

The device's control interface enables you to instantaneously insert your outboard gear into the signal chain on either Buss A or Buss B with the push of a button. Deselecting the button bypasses the external gear on that insert from the signal chain. You can reverse the order of outboard equipment on each pair of sends by pressing the flip 1-2, flip 3-4, or flip 5-6 insert buttons. All of your configurations can be stored, recalled, and cleared as presets by utilizing the four preset buttons and clear and store buttons on the front panel of the device.

The unit includes a parallel processing buss on inserts 2, 4, and 6. Pressing any of the three parallel processing loop buttons blends the original unprocessed signal with the processed insert signal. A continuously variable potentiometer knob allows you to control the blend of unprocessed and parallel processing. A polarity button allows you to flip the signal of the parallel processing buss 180° out of phase. The device is hand-built in the USA to mastering standards.

UPC: 628586497030
Dangerous Music 2-BUS+ 16-Channel Analog Summing Mixer

Designed by Chris Muth, the Dangerous Music 2-BUS+ is a 16-channel analog summing mixer, with both XLR and D-sub inputs. The two-space rack unit expands upon the original with the addition of three separate custom audio processors that can be used to add tone and color to your mix.

The "Harmonics" processor is a tuned harmonic distortion generator implemented in a parallel-processing mode with a blend control. The "Paralimit" is an FET limiter which can also operate in parallel mode. These first two processors can be applied across the entire stereo mix or on a pair of stems. The "X-Former" processor inserts a pair of custom transformers onto the stereo mix and includes a control for core saturation. All three tone controls can be activated at once, and the order of the signal flow through distortion and limiting can be flipped.

The rear panel features two DB-25 line input connectors, sixteen XLR channel inputs, two XLR expansion inputs, two XLR outputs, two XLR monitor outputs, two XLR sends, and two XLR returns.

UPC: 646437008235
Dangerous Music Stereo Monitor Control System with Remote Control

The Dangerous MONITOR ST is a professional monitor controller designed for pro-level mixing and mastering applications. The MONITOR ST makes use of audiophile-grade components at every step for a flawless and pristine sound, one that doesn't color what you're hearing. Talkback, Solo, Dim, Mute, and Mono Controls are on hand, as is a dedicated sub output with its own filter.

As this is designed for professionals, the MONITOR ST comes with a bevy of bells and whistles to make your life easier, including a 20W-per-channel headphone amplifier, a talkback system for communicating with talent, and offset matching for automatically compensating the levels of different sources and monitors. You'll be able to run four analog inputs and one Aux input to three sets of speakers and a sub with the touch of a button. A comprehensive remote is included, so you can control all the features of this 1 RU unit from your sweetspot.

Handle All Monitors for Your 2.1 Setup
As the centerpiece of your studio, the MONITOR-ST handles complex routing elegantly. There are four analog inputs, one Aux input, three speaker outputs, plus a stereo subwoofer output with programmable level offset and filter that can be assigned to any of the three speaker pairs. It can even be used for a 4th pair of studio monitors.

All of these ins and outs can be custom calibrated with onboard, programmable level offsets that you can recall instantly for different devices and configurations. Need to monitor a commercial-level source like a CD player with your pro-level setup with the volumes perfectly matched? No problem.
Talkback Mic, Headphone Amp, and Auxiliary Routing
The onboard talkback mic, slate output, and the robust headphone amplifier round out all the routing needs for any studio. Send cue mixes over the headphones, or feed the cans with the mains. The Aux input can be layered with any of the four main inputs, offering up even more routing solutions.
Programmable Offsets
Main monitors louder than your near-fields? No problem. Just switch between them and adjust the MONITOR-ST's level offsets in Setup mode until they're matched and then store. Now every time you switch between speakers they are matched for apparent loudness. You can do the same with the inputs and with the Subwoofer output, getting all of your studio's gear in perfect balance for seamless monitoring.
Elegant Remote Control
Stay in the sweet spot while managing every signal in your studio. the MONITOR-ST's award-winning design is centered around an ergonomic and intuitive remote control that hosts access to all of the MONITOR-ST's features. Connected with a single, shielded Cat-5 cable, this remote is equally at home on a desk or the armrest of a big console. The illuminated switches give you instant visual feedback of all your settings, while the stepped volume knob triggers the audiophile-grade relays in the main unit.
Expandable and Compatible with Other Dangerous Gear
Require 5.1, 7.1, 10.2, or greater? Just add the MONITOR-SR to your ST system. The SR modules allow you to add as many channels as you need to handle all of your surround monitoring tasks, all with the world-class sound and control that the ST has to offer. And, with the Dangerous Music CONVERT-2 you can connect the ST's remote, and control a number of essential switching functions.

Dangerous Music CONVERT-2 Two-Channel Reference-Grade Digital-to-Analog Converter Specs

Key Specs
Form Factor
Rackmount
Converter Type
D/A Converter
Number of Channels
2
Maximum Sampling Rate
192 kHz / 24-Bit (PCM)
Number of Microphone Inputs
No
Analog Audio I/O
2x XLR 3-Pin Output
Digital Audio I/O
2x XLR 3-Pin AES3 / S/PDIF Thru
2x XLR 3-Pin AES3 / S/PDIF Input
1x TOSLINK Optical ADAT Input
1x TOSLINK Optical S/PDIF Input
Converter Type
D/A Converter
Number of Channels
2
Conversion Formats
ADAT, AES3, S/PDIF (Optical), TOSLINK
Display
No
Maximum Sampling Rate
192 kHz / 24-Bit (PCM)
Number of Microphone Inputs
No
Connectivity
Analog Audio I/O
2x XLR 3-Pin Output
Digital Audio I/O
2x XLR 3-Pin AES3 / S/PDIF Thru
2x XLR 3-Pin AES3 / S/PDIF Input
1x TOSLINK Optical ADAT Input
1x TOSLINK Optical S/PDIF Input
Host Connection
1x USB-B
Sync I/O
1x BNC Word Clock Input
1x BNC Word Clock Output
Network I/O
No
MIDI I/O
No
Expansion Slots
No
Other I/O
1x etherCON/RJ45 Remote Input
1x etherCON/RJ45 Remote Thru
Performance
Frequency Response
0 Hz to 20 kHz +0/-0.25 dB (at 96 kHz)
0 Hz to 30 kHz +0/-0.5 dB (at 96 kHz)
0 Hz to 40 kHz +0/-1 dB (at 96 kHz)
Dynamic Range
114 dBA (20 Hz to 20 kHz)
113 dB (20 Hz to 20 kHz)
SNR
< 114 dBA (20 Hz to 20 kHz)
< 113 dB (Unweighted, 20 Hz to 20 kHz)
THD+N
< 94.5 dB / 0.00188% (Unweighted, 1 kHz, 20 Hz to 20 kHz, at +4 dBu)
< 106.5 dB / 0.00048% (Unweighted, 1 kHz, 20 Hz to 20 kHz, at +22 dBu)
Crosstalk
> 114 dBu (1 kHz)
Digital Audio
Sample Rates
Up to 192 kHz
Bit Depths
Up to 24-Bit
Sync Sources
Internal, Word Clock
Clocking
Word Clock:
Jitter: 16 ps (100 Hz to 40 kHz)
18 ps (100 Hz to 1 MHz)
Compatibility
OS Compatibility
Windows
macOS
Mobile Device Compatibility
No
Power
Power Requirements
AC Input
AC Input Power
120 VAC, 60 Hz (T 2 A 250 V)
240 VAC, 50 Hz (T 1 A 250 V)
Physical
Rackmount Size
1 RU
Packaging Info
Package Weight
15.22 lb
Box Dimensions (LxWxH)
22.3 x 18.7 x 8.7"

Dangerous Music CONVERT-8 Eight-Channel Reference-Grade Digital-to-Analog Converter Specs

Key Specs
Form Factor
Rackmount
Converter Type
D/A Converter
Number of Channels
8
Maximum Sampling Rate
192 kHz / 24-Bit
Number of Microphone Inputs
No
Analog Audio I/O
1x DB-25 25-Pin 8-Channel Output
Digital Audio I/O
1x DB-25 AES3 / S/PDIF In/Thru
2x TOSLINK Optical ADAT Input
1x TOSLINK Optical S/PDIF Input
Converter Type
D/A Converter
Number of Channels
8
Conversion Formats
ADAT, AES3, S/PDIF (Optical), TOSLINK
Display
No
Maximum Sampling Rate
192 kHz / 24-Bit
Number of Microphone Inputs
No
Connectivity
Analog Audio I/O
1x DB-25 25-Pin 8-Channel Output
Digital Audio I/O
1x DB-25 AES3 / S/PDIF In/Thru
2x TOSLINK Optical ADAT Input
1x TOSLINK Optical S/PDIF Input
Host Connection
1x USB-B
Sync I/O
1x BNC Word Clock Input
1x BNC Word Clock Output
Network I/O
No
MIDI I/O
No
Expansion Slots
No
Other I/O
1x etherCON/RJ45 Remote Input
1x etherCON/RJ45 Remote Thru
Performance
Frequency Response
0 Hz to 20 kHz +0/-0.25 dB (at 96 kHz)
0 Hz to 30 kHz +0/-0.5 dB (at 96 kHz)
0 Hz to 40 kHz +0/-1 dB (at 96 kHz)
Dynamic Range
114 dBA (20 Hz to 20 kHz)
113 dB (20 Hz to 20 kHz)
SNR
< 114 dBA (20 Hz to 20 kHz)
< 113 dB (Unweighted, 20 Hz to 20 kHz)
THD+N
< 94.5 dB / 0.00188% (Unweighted, 1 kHz, 20 Hz to 20 kHz, at +4 dBu)
< 106.5 dB / 0.00048% (Unweighted, 1 kHz, 20 Hz to 20 kHz, at +22 dBu)
Crosstalk
> 114 dBu (1 kHz)
Digital Audio
Sample Rates
Up to 192 kHz
Sample Rate Conversion
No
Bit Depths
Up to 24-Bit
Sync Sources
Internal, Word Clock
Clocking
Word Clock:
Jitter: 16 ps (100 Hz to 40 kHz)
18 ps (100 Hz to 1 MHz)
Compatibility
OS Compatibility
macOS
Windows
Power
Power Requirements
AC Input
AC Input Power
120 VAC, 60 Hz (T 2 A 250 V)
240 VAC, 50 Hz (T 1 A 250 V)
Physical
Rackmount Size
1 RU

Dangerous Music CONVERT-AD+ 2 Channel Analog to Digital Converter Specs

Key Specs
Converter Type
A/D Converter
Number of Channels
2
Analog Audio I/O
2x XLR 3-Pin Input
2x XLR 3-Pin Output
Digital Audio I/O
2x XLR 3-Pin AES3 Output
1x TOSLINK Optical ADAT Output
1x TOSLINK Optical S/PDIF Output
1x RCA Coaxial S/PDIF Output
Number of Channels
2
Connectivity
Analog Audio I/O
2x XLR 3-Pin Input
2x XLR 3-Pin Output
Digital Audio I/O
2x XLR 3-Pin AES3 Output
1x TOSLINK Optical ADAT Output
1x TOSLINK Optical S/PDIF Output
1x RCA Coaxial S/PDIF Output
Host Connection
1x USB-B
Sync I/O
1x BNC Word Clock Input
1x BNC Word Clock Output
Network I/O
No
MIDI I/O
No
Performance
Frequency Response
20 Hz to 40 kHz +0/-0.035 dB (at 96 kHz)
SNR
< 121 dBA (20 Hz to 20 kHz)
< 118 dB (Unweighted, 20 Hz to 20 kHz)
THD+N
< 0 (1 kHz, Unweighted, 20 Hz to 20 kHz, +4 dBu Input)
< 0 (1 kHz, Unweighted, 20 Hz to 20 kHz, +22 dBu Input)
Crosstalk
> 118 dBu (15 Hz)
Digital Audio
Clocking
Jitter: 16 ps (100 Hz to 40 kHz)
18 ps (100 Hz to 1 MHz)
Physical
Rackmount Size
1 RU
Packaging Info
Package Weight
15.55 lb
Box Dimensions (LxWxH)
22 x 18.75 x 8.5"

Dangerous Music BAX EQ Stereo Shelving Equalizer Specs

I/O
Inputs: 2 x 3-pin female Neutrik XLR connectors
Outputs: 2 x 3-pin male Neutrik XLR connectors
Frequency Response
± 0.1 dB from 10 to 20,000 Hz
± 0.2 dB from 1 to 80,000 Hz
Maximum Level
>+28 dBu
Noise Floor
<-92 dBu band limited from 22 to 22,000 Hz
THD + N
<0.002%
IMD
<0.003%
Crosstalk Rejection Typically @ 1 kHz
>105 dB
Fuses
USA: 500mA fast blow for 120V
Europe: 250mA fast blow for 240V
Input Impedance
25KΩ
Output Impedance
50Ω
Rack Size
1U
Dimensions
1.75 x 19 x 12" (4.45 x 48.3 x 30.5 cm)
Weight
12.5 lb (5.67 kg)
Packaging Info
Package Weight
16 lb
Box Dimensions (LxWxH)
22 x 17 x 7"

Dangerous Music COMPRESSOR Dual-Channel VCA Compressor with Smart Dynamics Specs

Frequency Response
±0.25 dB from 15 to 80 kHz
Maximum Level
+27 dBu
Noise Floor
<-93 dBu Band Limited from 22 to 22 kHz
THD+N
<0.005%
IMD
<0.007%
Crosstalk Rejection Typically @ 1 kHz
>115 dB
Fuses
USA: 500 mA Fast Blow for 120 V
Europe 250 mA Fast Blow for 240 V
Input Impedance
20 Kilohms
Output Impedance
50 Ohms
Sidechain Filter
Bass Cut: 6 dB/Octave, -3 dB at 60 Hz
Sibilance Boost Corner Frequency is 1 kHz with +2 dB at 5000 Hz Shelving
Rack Unit Space
2
Dimensions
19 x 3.5 x 12" / 48.3 x 8.9 x 30.5 cm
Weight
19 lb / 8.6 kg
Packaging Info
Package Weight
17.905 lb
Box Dimensions (LxWxH)
22.4 x 18.7 x 8.6"

Dangerous Music LIAISON Signal Routing Matrix Specs

Frequency Response
Passive section: +0, -0.1 dB from 10 to 100,000 Hz
Active section: +0, -0.1 dB from 10 to 100,000 Hz
Maximum Level
> +28 dBu
Noise Floor
< -94.5 dBu from 22 to 22,000 Hz bandwidth
THD + Noise
< 0.002%
IMD
< 0.003%
Crosstalk Rejection Typically @ 1 kHz
Passive section: > 124 dB
Active Section: > 113 dB
Input Impedance
20 kΩ
Output Impedance
20 Ω
Fuses
USA: 500 mA fast blow for 120 V
Europe: 250 mA fast blow for 240 V
Rack Size
2U
Dimensions
1.75 x 19 x 12" (4.45 x 48.3 x 30.5 cm)
Weight
12.5 lb (5.67 kg)
Packaging Info
Package Weight
19.45 lb
Box Dimensions (LxWxH)
22.2 x 19 x 8.4"

Dangerous Music 2-BUS+ 16-Channel Analog Summing Mixer Specs

Physical
Type
Analog
Channels
16x input
2x output
Connectors
2x DB-25 line inputs
16x XLR channel inputs
2x XLR expansion inputs
2x XLR main outputs
2x XLR monitor outputs
2x XLR send
2x XLR return
Rack Spaces
2 RU
Dimensions
3.5 x 19.0" (8.9 x 48.3 cm)
Weight
Not specified by the manufacturer
Packaging Info
Package Weight
20.4 lb
Box Dimensions (LxWxH)
22.5 x 18.7 x 8.5"

Dangerous Music Stereo Monitor Control System with Remote Control Specs

I/O
Input:
Main Input: 25-Pin D-Sub
Aux Input (Left and Right): 2 x 3-Pin XLRF
Talkback Remote: 3-Pin XLRF
DC In: 5-Pin Power Adapter
Remote: Ethernet Cat 5e
Talkback Microphone: 1/4" Input Jack

Output:
Main Output: 25-Pin D-Sub Connector
Cue Amp Out: 3-Pin XLR Male Connector
Headphone Output: 1/4" Stereo Phono Jack
Slate: 3-Pin XLRM
Accuracy
Gain Tracking: > 0.05 dB for 6 Channels
THD + N
0.002%
IMD
0.003%
Frequency Response
1 Hz to 100 kHz at -0.1 dB
Crosstalk Rejection Typically @ 1 kHz
> 96 dB
Nominal Input Level
+4 dBu or -10 dBV
Crossover
-3 dB at 57 Hz
18 dB/Octave Modified Butterworth/Chebyshev Curve
Headphone Amp
THD: 0.002%
Headroom
+25 dBu to Main Outputs
Dimensions
Remote (W x D x Rear Height x Front Height)
12.3 x 4.2 x 1.5 x 0.9" / 31.2 x 10.6 x 3.9 x 2.4 cm

Monitor: 19.0 x 9.5 x 1.8" . 48 x 24 x 4.4 cm
Weight
14.5 lb / 6.6 kg
Packaging Info
Package Weight
16.8 lb
Box Dimensions (LxWxH)
22 x 17 x 10"

Dangerous Music DMSC Reviews

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