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The Dangerous Music Bax equalizer was built in response to demands from the professional studio community searching for unique sonic signatures. The Dangerous design team took inspiration from the classic Baxandall shelving curves of the 60s and 70s and created a unique equalizer with a 21st century mastering aesthetic. The result is pure emotive expression with audiophile accuracy.
Borrowing seeds of inspiration from Peter Baxandall’s legendary tone control that has graced hundreds of millions of hi-fi systems, the Dangerous design team has sculpted a unique sonic signature for the 21st century that gives you a whole new tool for tracking, mixing, and mastering.
First utilize the high and low pass filters: Cut 12 Hz to eradicate infrasonic content that devours headroom and achieve more dynamic range. Remove 70 kHz to take the brick wall filter burden off the converters and feel more air. Then craft broad, open curves and gentle sloping dips for effortlessly musical tracks.
The minimized phase delay design provides broad tonal control that will not alter the intrinsic sonic character of the source: instrument, recording path, stereo buss or final mix. For example, in tracking applications, add shimmer to a vocal without disturbing the character of the artist, microphone and preamp. On the stereo buss, tighten up the low end while accentuating the air. For mastering, craft sheen and punch without sacrificing phase accuracy.
- Stepped controls throughout for repeatability and identical stereo operation
- Broad Q shelving for a natural, open character
- 7-position High Pass and Low Pass filters on relays for phase coherency - 2-pole Butterworth configuration (12 dB/oct)
- 8-position High and Low Frequency Select
- +/- 5dB Cut and Boost controls in 1/2 dB steps
Borrowing seeds of inspiration from Peter Baxandall’s legendary tone control that has graced hundreds of millions of hi-fi systems, the Dangerous design team has sculpted a unique sonic signature for the 21st century that gives you a whole new tool for tracking, mixing, and mastering.
First utilize the high and low pass filters: Cut 12 Hz to eradicate infrasonic content that devours headroom and achieve more dynamic range. Remove 70 kHz to take the brick wall filter burden off the converters and feel more air. Then craft broad, open curves and gentle sloping dips for effortlessly musical tracks.
The minimized phase delay design provides broad tonal control that will not alter the intrinsic sonic character of the source: instrument, recording path, stereo buss or final mix. For example, in tracking applications, add shimmer to a vocal without disturbing the character of the artist, microphone and preamp. On the stereo buss, tighten up the low end while accentuating the air. For mastering, craft sheen and punch without sacrificing phase accuracy.