This page is just for gear I want or gear I like.
If you are a musician and own a home studio this page is for you.
The SSL of Desktop Mixers
The Solid State Logic SiX is a fully professional desktop mixer you can use in the studio, in post production, and for podcasting. At first glance, SiX may look like other compact mixers, but a closer look will reveal its SSL large-format console lineage, with a flexible, intuitive feature set designed to accommodate any creative workflow. Take a listen, and you’ll hear the SSL pedigree: impeccable sonic performance that carries the DNA of over four decades of legendary SSL consoles.
Chandler Limited Curve Bender
Yamaha NS 10
Originally designed and marketed as a home audio “bookshelf” speaker, the Yamaha NS-10M has gained notoriety and popularity as a nearfield studio monitor starting from it’s appearance at the legendary Power Station studio in NYC.
The NS10 won Yamaha a Technical Grammy in 2007, citing that the speakers were used in “almost every studio.”
The NS10M “Pro” was introduced in 1987 and is technically an identical speaker. It came with grill covers and was designed for vertical orientation (most studios used NS-10M horizontally).
Notable users: Bob Clearmountain, Alan Moulder
The Yamaha NS10 is an 8-ohm two-way loudspeaker with a 10.4-litre Sealed cabinet measuring 382 × 215 × 199 millimetres (15.0 × 8.5 × 7.8 in) and weighing 6 kilograms (13.2 lb). Its 2.5 cm (0.98 in) particle-board cabinet has a wood veneer skin with seven black finishing layers. The domestic version of the speaker was vertically orientated, and came factory fitted with a grille.
Its two drivers are a 180 mm paper woofer and a 35 mm soft-domed The woofer’s diaphragm, weighing 3.7 g, is manufactured from a flat sheet of pressed pulp paper. Unconventionally, it is formed into conical shape not through moulding or pressure, but by curling and then gluing the two ends together. Against the black finish of the cabinet, the white bass/mid driver cone is a distinctive and iconic feature of the product.
The network is second order passive, crossing over at 2 kHz. The frequency range is quoted from 60 Hz to 20 kHz, and rated power handling is 25–50 W. The early version of the speaker has press-down type output terminals; later models had screw terminals.
Solid State Logic Fusion
Designed for the modern hybrid studio
Smartly designed for seamless integration into the modern studio, Fusion is outfitted with a palette of workflow-enhancing features such as ±12dB Input and Output Trim pots, an input overload status LED, large peak hold metering, a front-end highpass filter with three selectable cutoff frequencies, and tri-color status indicators for the Vintage Drive and HF Compressor sections. A set of XLR sends and returns can be used as a Stereo Insert for external stereo mix bus processing or switched to function as a mid-side (M-S) circuit, letting you apply separate EQ or compression to the middle (center) and sides of a stereo signal. M-S can be a highly effective method of achieving a range of creative stereo processing techniques. In Stereo Insert mode, the insert point can be switched to pre Violet EQ; when in M-S mode, the insert can be switched to pre Stereo Image. Stereo I/O is via XLR.
Not really gear but
If you spend any length of time in your studio
you will eventually be looking for comfort
“Holy Grail of Office Chairs“.
Herman Miller Aeron.
“The best ergonomic chair I’ve used by FAR.”
~Joe Rogan
Dangerous Music 2-BUS+ 16-Channel Analog Summing Mixer
Surpassing The Original
Dangerous Music invented the stand-alone analog summing mixer with the ground-breaking 2-BUS back in 1999, and now we’re redefining mixing yet again with the brand new 2-BUS+. With a redesigned analog summing circuit that exceeds previous specifications, the 2-BUS+ delivers unsurpassed imaging, dimensionality, punch and headroom. While the 2-BUS+ active summing sounds incredible on its own, it now includes three innovative custom color circuits that provide a vast array of flexibly routed tonal options. Harmonics is a euphoric odd- and even-order distortion generator; Paralimit is a hard-hitting FET-style limiter; and X-Former is a pair of Cinemag output transformers with an exclusive core-overdrive circuit. With it’s elegantly straightforward buttons and knobs, the 2-BUS+ puts endless combinations of robust analog sound at your fingertips. Meticulously developed by our hands-on team and brilliantly designed by the legendary Chris Muth, the 2-BUS+ embodies our dedication to sacrificing nothing in order to deliver the very best analog products available.
Unveil Your Sound With Active Analog Summing
Analog summing is a vastly misunderstood topic, but it doesn’t need to be. First, when multiple converters share the workload of getting your sounds from digital into analog, you’ll hear improved articulation and clarity across your mix. Once in the analog realm, these individual channels are electronically summed together with what’s called an “active analog summing circuit.” Unlike passive summing boxes that require huge amounts of make-up gain to restore the lost audio, or line mixers masquerading as “summing mixers,” the active electronics in the 2-BUS+ 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. The 2-BUS+ unveils all the details that bring your creations to life.
Emulation Impossible
Many analog processors – from delays and reverbs to EQs, compressors and more – have been beautifully modeled in the digital realm, but analog summing remains impossible to emulate digitally. 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 lacks appeal. And despite promising ad campaigns, analog mix bus emulation plugins just add distortion to the master fader, actually making problems worse. By summing individual tracks or subgroups of tracks (often called “stems”) with the 2-BUS+, 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.
Three Real Analog Tone Circuits
When it comes to adding analog color to your mixes, the design team at Dangerous has developed three totally original all-analog circuits: Harmonics, Paralimit and X-Former. Because these circuits are physically built into the 2-BUS+, you get a versatile selection of analog colors while never leaving the lush, open analog mixing environment.
Harmonics – Add the euphoric sound of an analog circuit on the edge of distortion to your whole mix, or to individual channel pairs. Carefully tuned to generate the perfect mixture of odd- and even-order harmonics, this effect runs parallel with the unprocessed signal so you can dial in just the right amount of tone. The top end subtly simmers, the bass gently growls, and the whole sonic image warms up in ways that only a real analog circuit can offer.
Paralimit – This is a FET Limiter set to stun. An original Chris Muth design inspired by the famous 1176 Limiting Amplifier “all buttons in” trick, you get an infinite ratio setting flooded with analog top-end. With its blend knob and assignment buttons, Paralimit gives you instant parallel compression, in stereo, in the analog domain, on the full mix or on a stereo stem – a flexible set-up that otherwise requires complex patching, careful level matching and significant amounts of analog outboard gear.
X-former – Last in line are a pair of customized Cinemag transformers with Chris Muth’s totally unique approach to driving the core. Switch them in for the solid, punchy sound that makes older analog consoles so loved, then turn up the X-Former knob to drive the core of the transformer in a way that’s totally unique to the 2-BUS+. X-former is all about dialing in just the right amount of classic analog console color whenever it’s called for.
Effortless Analog Parallel Processing
Because you can effortlessly assign Harmonics and Paralimit to the whole mix or to individual channel pairs, instantly flip their patching order, and blend them in with the original signal at the twist of a knob, the 2-BUS+ provides incredibly flexible parallel processing without any outboard gear or fussy patching. With the ability to switch in the on-board customized Cinemag transformers, as well as any outboard processors you like on the switchable stereo insert, you’ve got nearly limitless options all accessed from the uncluttered front panel. Whether you choose to run it pure and clean, blend in just a hint of delicious analog flavor, or push it into the red-zone, we’ve put the choice back in your hands when mixing.
Making The Analog Investment
When you buy analog equipment, you’re making a real investment that will hold its value for decades. Analog technology is time-tested. It wont need 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 and timeless analog tone processors of the 2-BUS+ will always be a relevant, compatible and valuable centerpiece in your studio.
Features
16 channels of the world’s best active analog summing, that even surpasses the original.
Three distinctive analog color options: Harmonics, Paralimit and X-Former.
Effortless routing and blending of analog color circuits via elegant user interface.
Switchable stereo analog insert for easy outboard gear integration.
Massive sounds, sacrificing no detail.
Crystal clear sonic imaging and three-dimensionality.
Endless headroom for modern digital signal levels.
Stepped output gain control for exact recalls.
Both XLR and D-Sub input connectivity.
Audiophile-grade components throughout.
Hand-assembled in the USA.
“Music is the moonlight in the gloomy night of life.”
