![]() Rounding out the features is a stepped attenuator that goes from -4 dB to +6 dB in 0.5 dB increments for the output. There's also an insert/bypass button for the external stereo insert loop (which is after all of the Color circuits in the signal chain). Each Color circuit has a level knob and engagement switch. The front panel features activity LEDs for the 16 inputs, mono buttons for inputs 1-2 and 9-10, and assignment buttons for Harmonics and Paralimit on inputs 13-14 and 15-16. The control of these tone circuits is pretty nice and thoughtfully done. The routing is easily accessible with front-panel buttons. X-Former always stays in the stereo output signal path, but Harmonics and Paralimit can be assigned separately to a pair of inputs so stems can be processed with those alone. Coloration is normally processed in that order, but Paralimit can be put in front of Harmonics if desired. If the original 2-BUS was a superhighway for sound, then the 2-BUS+ is one that's been freshly repaved, and I just got right back on and drove.Īlthough the new 2-BUS+ is still a 16-in, 2-out summing amp at heart, it now features three Color circuits that add a whole new dimension to Dangerous's design ethos: Harmonics, an odd/even distortion generator Paralimit, a FET limiter (my fave) that blends in an expertly crushed layer of your signal and X-Former, which uses a pair of customized CineMag transformers to provide some seriously voodoo'd-out core saturation. I plugged it in and kind of forgot that it was there, except for the fact that the overall sound of my mixes just seemed a little more robust and clear. The 2-BUS+ integrated into my studio seamlessly. ![]() I found the new 2-BUS+ to be solid and incredibly musical, while still retaining the original's openness and clarity that allows the unit to get out of the way of your signal. The 2-BUS+ is a redesign with major improvements to the circuitry, as well as a new op-amp in the summing circuit that Dangerous claims is cleaner, with lower noise and crosstalk. Dangerous sold a lot of these units, and when they went to build the new version, they did much more than strap a couple of features onto the old architecture. Released in 1999, a venerable staple of the world of analog summing is the Dangerous Music 2-BUS, a 16-input active summing amp renowned for its neutral but musical tone, massive headroom, and stable, detailed imaging. Once you settle on a workflow, a great external summing bus is an invaluable tool that is a pleasure to have around. It just feels easier and more intuitive to me. Plus, I really do like using analog hardware while mixing. I've definitely had great experiences in both worlds - analog summing and ITB mixing - but find myself happier with analog summing for the sonics and the gain-staging convenience it provides. It's great to talk about how nice places are, but at some point, you have to actually go and find out where you like to walk. I can see both sides of the long- running argument, but it's kind of like pontificating on hiking. Do people still argue about analog summing versus in-the- box mixing? I'm sure somewhere in Internet-world, the flames are still raging. ![]()
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