Hey there- are you asking to talk to us about the differences? You can schedule a phone call or zoom on our support page, KZbin doesn't allow link drops here. Talk soon!

My experience: Summing mixers can wonderfully “lift the veil” IF you have good D/A & A/D conversion.

Summing mixers are not all built alike. Feel free to book a phone call or zoom on our webpage.

@@dangerousmusic ok

This is dependent upon the signal you are feeding it. If you'd like to set up a phone call or Zoom with us at your own convenience, hit the website and go to support. KZbin won't allow direct links in the comment section.

KZbin doesn't allow us to post links, but if you DM us, I can send you the audio files on dropbox. You'd have to sync up the audio change points, it's been awhile.

I’m so glad you asked! (Get me an address to send this check to.) Mixing is like writing a song. It requires inspiration. You need to get into the flow. Once there, woe betide the person who interrupts the magic! This is also true for a technological interruption that forces me to take off my creative cap and put on my Maytag service tech hat. The moment is lost. So when I tee up the session, I hand select the 6 heavy hitters from my outboard rack that will slay. You can select and route them to the LIAISON from the Flock with your mouse, or if you’re like me and a purist (no VCAs in the signal path please) a TT manual patchbay or if you have 6 or fewer items, just leave them connected full time. Then you can dance with the button activations, flips and parallel instantly, not thinking, looking, reading, groping, but listening, feeling and mixing.

Well, you did get me to jump down that rabbit hole. Cool piece. Since the company appears defunct (website dead ends and the founder passed in 2023) I couldn't determine how it was handling signal flow. From the basic description I suspect it was utilizing VCAs or DCAs. LIAISON is designed to be transparent and as close to straightwire as possible. We use microprossors to control the analog switching, not touching the audio. Different beast, similar qualities. Like a car and a motorcycle- they'll both get you to your destination (music Nirvana is mine), but by what means. Thanks for the comment.

Any extra points for not using the expression, "Game Changer"?

Ok I’ll give you that too

Thank you for being a member of the family, Chad! You are building an awesome Dangerous System.

Your best bet is to schedule a Zoom or old school phone call with support. We have a calendar app online. KZbin doesn't let you put links in the comments, so you'll have to navigate to it yourself. On a quick note, to use 12 mono, you will assign what you are tracking in your DAW, so it knows say, Left is a 500 series EQ and Right is a 500 series COMP.

Thank you!

@@dangerousmusicI have the AD+, Convert 8 and Compressor and love them all! Thanks

Thank you for trusting and believing in our passion!

You'd really want to use the D-BOX or D-BOX+ as your volume control, since the monitor path and D2A are so much more accurate. It will make everything from mic placement to mixing easier.

We all miss him deeply.

We have a LIAISON video about to pop that should help with this. But in a nutshell, you can run the LIAISON stand alone, put several together or.... if you're like me and have tons of outboard, I select what 6 choice pieces I'll be using for the session and connect them via the patchbay. KZbin doesn't allow links, but if you go to the LIAISON webpage, scroll all the way down to diagrams, you'll see a bunch of these setups. Feel free to hit us directly at [email protected] or book an appointment for a Zoom on the website. LIAISON really makes you think and work differently. It's badass.

Right on- please let us know some killer ways you employ it!

No dumb questions here! Are you printing with your analog vocal chain while tracking or while mixing? (You could do both with a LIAISON, by the way). You can hit us direct at [email protected] if it's simpler.

Hey brother- it would be a good financial decision to use all the same transformers in all the models, but I want variety! Your 2-BUS+ uses a pair of custom wound Cinemag transformers, the COVERT-AD+ employs a pair of Hammond transformers (yes, from the 100 year old Canadian organ company) and the 2-BUS-XT utilizes a pair of off the shelf little morsels we went through 25 permutations of listening tests to delight upon. Also, remember the AD+ has two (2!) fully hard wire bypassable circuits. The X-FORMER and EMPHASIS. Best-

Dogs hear more than we do!

Got it! Thanks

Whatever comes in on AES2 goes out the AES2 THRU and out the USB uplink. In other words, you could send your final mix to AES2. The AES2 THRU would send it to another station (say your 2-Mix on another computer or to another room in the facility). The USB Uplink receives the identical data as the AES2 Through. This way you can share your mixes "real time" (latency of course) through the interwebs using Zoom's music mode or your favorite podcasting program.

Good to understand the extremes (or limitations) like cranking 20db of boost at 12kHz on an EQ. You can always use less (said the bartender).

@@dangerousmusic indeed! I just wanted to hear less in the demo

He is separating those elements in the 2-BUS+, in order to add HARMONICS to one and PARALIMIT to the other. Then the LIAISON is inserted on the 2-BUS+ master insert and those elements are all being effected. Or you solo and print whichever elements you want colored one at a time. You could also dedicate BUS A on the LIAISON to one pair of channels on the 2-BUS+, to affect only those and print them back.

Yes! Hit the mono button and it is unchanged. There are a few left...

Thank you!

We shall keep at it! Thank you-