![]() Making use of the insert points on the back, I patched in one of my stereo EQs, just to test the button on the front. The difference was subtle but audible and immediately noticeable, and the signal indicators gave me clear visual confirmation that all channels from the DAW were playing properly - a simple but very useful feature that’s missing on most summing boxes. Having made the switch to the 2–Bus+, I instantly heard a difference: the mid range became smoother and more detailed, and the stereo width even better defined. I have an eight–channel Dangerous Mixer, which is based on the same design as the original 2–Bus, so I’m familiar with the sound (or rather the lack of it) associated with the 2–Bus. Once set up, I sent a mix I was working on through the mixer and continued work. I’ve been using analogue summing boxes for over 10 years, so incorporating the 2–Bus+ in my setup was easy. Expansion XLRs permit the stacking of multiple units for configuring systems with 32, 48 or more channels. The rear panel is equipped with 16 inputs (presented as both XLR and D–sub connections), insert points on XLR, and main and monitor outputs, also on XLR. Rightmost on the front panel is a stepped master output–level trim control ranging from –4 to +6 dB. Conveniently, there’s also a button for inserting stereo outboard processing on the mix bus, via the I/O on the rear. The output level from each processor is adjusted using one of three knobs. A third processor, X–Former, is only available on the mix bus. These can also be patched to the mix bus and their sequence reversed. At a push of a button, channels 13–14 or 15–16 can be sent to two on–board audio processors (‘tone’ processors if you like), named Harmonics and Paralimit. Below are two mono buttons, for switching channels 1–2 or 9–10 into mono. The front panel features a signal-present indicator for each channel. The 2–Bus+ is a 2U, 19–inch rackmount, 16–channel summing mixer. So, 15 years after the original 2–Bus, does the 2–Bus+ bring anything fresh to the discussion? I believe it does. The debate over the potential benefits of analogue summing still rages, but the number of different summing boxes on the market shows that there’s plenty of interest in it. Finally, the CPU or DSP strain on the computer system could be reduced if outboard was used on sub-groups and the master bus. Thirdly, some people perceived sonic benefits, described variously as greater ‘width’, ‘depth’ or ‘punch’. Second, the analogue headroom that was deliberately designed into the 2-Bus meant that its mix bus was more ‘lenient’ than in Pro Tools, Logic and so on. First, by design, it preserves all the recall and automation capabilities of the DAW. There were a few reasons why a fixed-gain, fixed-pan summing amp seemed a good idea. This was a time when people were doing increasing amounts of mixing ‘in the box’ and realising that large consoles weren’t a necessity, but also discovering that the DAW’s mix bus was less forgiving than that of their console. This new version of Dangerous Music’s popular summing amp incorporates both technical and practical improvements.ĭangerous Music’s pioneering analogue summing mixer, the 2–Bus, was launched back in 2001, though some custom units were sold previously.
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