Originally Posted by mardyMcFly ➡️

I'm in the DAC trenches at the moment. I have a Crane Song HEDD Quantam and a Lynx Hilo. I've realized I need a DAC that really preserves or enhances the extended low end for EDM and punchiness, while also having the depth magic of the HEDD. Which DAC did you end up going for? At this stage I think I'm better off going full ITB for EDM, but still am hoping there's a DAC out there for me. Thinking my next try is Dangerous Convert.

Originally Posted by mardyMcFly ➡️

I'm in the DAC trenches at the moment. I have a Crane Song HEDD Quantam and a Lynx Hilo. I've realized I need a DAC that really preserves or enhances the extended low end for EDM and punchiness, while also having the depth magic of the HEDD. Which DAC did you end up going for? At this stage I think I'm better off going full ITB for EDM, but still am hoping there's a DAC out there for me. Thinking my next try is Dangerous Convert.

Originally Posted by poppaflavor ➡️

Guess what, you don't have to choose.

Hendyamps made a custom version (called "XL") for Audio Animals and is now selling it commercially to all.

Scroll down a bit on the Michelangelo page:
https://hendyamps.com/michelangelo

I aspire to this beast :-) Audio examples and concept is quite compelling. I was going to get the tube version, then I waffled and wanted the SS version, then I backtracked to the tube version. Then I said eff it... I'll just keep saving up and get the one I won't have to quibble about. Hopefully this year!

Originally Posted by buckan ➡️

how are these on the transients, i've seen some eqs create transient spikes, like cut lows and get more spikes

Originally Posted by Elisionary ➡️

I’ll cast an enthusiastic vote for the Dangerous Convert-2 and AD+. I perceive a punchy, extended low end with clear transients and pleasing highs. They also sound a bit wider and taller than other converters I tried. The “enhancement” on the Convert-2 is such that I probably wouldn’t use it for monitoring, although i’m sure it’d be great.

I almost went the Burl route, but the Burl AD sounded a bit narrow in comparison and didn’t like to be clipped like the AD+ did (clipping ITB, at the AD stage, or both is essential to achieving the LUFS required in modern electronic IMO). The Burl DAC was less distinct from the Convert-2 vs the Burl AD and Dangerous AD - I would’ve been happy with either. If you already have enough color on your desk I’d go for the Dangerous combo. I’d love to grab a Bomber for tracking, though. It really did have a beautiful low mid energy to it.

Originally Posted by Slug1 ➡️

Yes I was referencing the Burl DAC. It’s underrated particularly for pitching. If I wasn’t using Prism Dream I would probably use the Burl DAC. I’ve had both the Burl and Dangerous ADCs. I agree I preferred the Dangerous. Also underrated. It’s so balanced across the frequency spectrum. The Burl ADC is a great device but didn’t fit with getting to my sound. Quality kit though. I do like the Burl DAC a lot especially for bass driven music through an analog loop.

Originally Posted by Elisionary ➡️

I’ll cast an enthusiastic vote for the Dangerous Convert-2 and AD+. I perceive a punchy, extended low end with clear transients and pleasing highs. They also sound a bit wider and taller than other converters I tried. The “enhancement” on the Convert-2 is such that I probably wouldn’t use it for monitoring, although i’m sure it’d be great.

I almost went the Burl route, but the Burl AD sounded a bit narrow in comparison and didn’t like to be clipped like the AD+ did (clipping ITB, at the AD stage, or both is essential to achieving the LUFS required in modern electronic IMO). The Burl DAC was less distinct from the Convert-2 vs the Burl AD and Dangerous AD - I would’ve been happy with either. If you already have enough color on your desk I’d go for the Dangerous combo. I’d love to grab a Bomber for tracking, though. It really did have a beautiful low mid energy to it.

Originally Posted by MRSEED ➡️

personally I'd go digital recall the whole way.

Bettermaker Mastering Compressor or Wes TubeComp, or both

Wes TubeEQ or Black Box HGQ, or both

And add LTL Silver Bullet or some tape emulation into play if you really need extra colour.

Originally Posted by sergioelectro ➡️

Hello,

What is the most fatest analog summing unit for Dance music ? Looking for weight and strong analog sound fat creamy signature . Something really obvious.

Up to now, I have focused focused my attention on the folowwing units:

- Thermionic Culture Fat Bustard 2
- Great River Master 20
- Chandler Mini Mixer

Which one will sound the FATEST ?

Any other summing units that fits this goal ?

Thanks for sharing your experience

Regards

Sergio

Originally Posted by buckan ➡️

Anyone else finding themselves dialing back outboard and leaning into the rawer, vibe-first approach?

I'm re-recording, ITB and stem mixing through a hybrid analog/digital setup.

First recording driving into an SSL Pure Drive and using a Heritage Audio MCM-8 II on its send/return to add additional harmonic flavours without hyping the top.

I’ve been considering adding a second MCM-8 II in parallel — one more for filters and envelope generators — and to better integrate with my MCM20.4 and Dangerous Music rig during stem sessions.

But lately I’m starting to question how much of this really translates to the listener. With Gen Z, it’s all about “vibe” — aha, for them vibe is only to feel, not fidelity. I’m hearing tracks that sound like a JV-1080 and "authentic field recordings" run through a S950 OR Mackify plugin.

They're worse than the MP3 generation, signal path seems irrelevant.

So I’m thinking: maybe the industry is at the point where intentional imperfection (like Engmix) matters more than any traditional, gain-staged, headroom-perfect chain.

I still love my analog path, but isn't better worse in their ears?

Originally Posted by djalexg ➡️

cant say I like better maker sound much. Blackbox too slow on the mixes for dance music (im mixing on a console). Wes audio stuff sounds good though, fast and quite transparent, looks cool.

Originally Posted by Elisionary ➡️

What differences did you hear between the Burl DAC and the Dangerous Convert-2? I had a hard time choosing between them for a pitching DAC. I second guessed myself unlike with the AD+ which was an easier decision.

Originally Posted by Slug1 ➡️

Burl is deeper. Could almost be exaggerated in the deep lows and the highs. Dangerous is just very balanced across the spectrum. Dangerous also is super wide likely because of the insanely low crosstalk specs. Both are amazing. Especially for pitching. I would probably look elsewhere for monitoring. But at this level it’s just about preference. It’s all amazing stuff. Then there’s Mytek, Lynx, Apogee, Cranesong, Prism, Weiss, Lavry, Forsell. And some I missed. There are levels, but there are so many amazing options. It’s really preference.

Originally Posted by MRSEED ➡️

Black Box, are thinking HG2? I said the new HGQ.

Personally I think the Bettermaker Mastering Comp is great on dance music, and pissed on the Wes BusComp when i tested both on same music in same session. Wasn’t even a close call for me, i just disliked the BusComp a lot!

Wes’s Rhea is something else tho, i prefer it to the other Wes compressors (i have 2x Mimas, 2x Rhea), maybe even the Bettermaker at a push (although its a different sound entirely, VCA vs Vari Mu). So I think their expanded tubeComp will be a absolute winner, possibly a essential purchase for me.

Originally Posted by sergioelectro ➡️

Hello,

I was interesting in the WES Bus comp as a ssl compressor to put on my master 2 bus.

But, I just read your post.

Can the Bettermaker mastering comp act like a ssl bus compressor ????

Thanks for sharing
Sergio