Discover what the platinum hit makers already know...
"If the Monitoring and Mix Buss don't deliver, neither will the song."
Put your recording interface’s D/A converters to work and distribute the load across 8 outputs instead of 2. Mix in stems (like having 4 master faders instead of 1.) Let the D-Box take the heat and rediscover your tracks:
-Hear the difference when angling the mic a half inch upward for more head voice or down for more body
-Feel the punch when carving out a 50Hz or 60Hz pocket in the bass track to make room for the kick
-Close your eyes and step into the space around the voice and instruments
Combine the D-Box with your 8 channel interface and discover...
Frequency Response: 1Hz-100kHz within 0.1dB
THD+N: < 0.003%
IMD: < 0.004%
Crosstalk: < -97dB
Noise: < -89dBu total energy in audio band
Maximum Input: +27dBu
Frequency Response: 1Hz-100kHz within 0.1dB
THD+N: < 0.003%
IMD: < 0.0035%
Crosstalk: < -100dB
Noise: < -91dBu total energy in audio band
Maximum Input: +26dBu
Locks to standard AES or SPDIF signals 32kHz-100kHz
Crosstalk: < -101dB
Nominal operating level: +4 dBu
25 kohms balanced
50 ohms balanced
Power consumption: 25 Watt
Warranty: Free 2 year extended warranty with online registration.
Standard warranty: 90 days parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians.
You can plug any digital device into this input, but we labeled it CD in order to give you an idea of one use for it. Most people like to reference their mixes against another mix (either their own or someone else's) so that they have a benchmark as to where they would like to go. The problem with this is that unless you are comparing the two mixes at the same level, through the same signal path, there is no way to accurately tell what you have to do to your tracks.
This is where the D-Box saves the day. If you plug a digital source (let's say the digital output of a CD Player) into the CD In on the D-Box, you can hear what it sounds like through the exact same circuitry that your mix is going through, giving you a more accurate comparison. Not only will the level of your reference be fixed, allowing you to compare it to the level of your own mix, but it will be played through the same D/A converter and monitoring signal path as your mix.
D/A converters can greatly alter the sound of a source. Cheap converters can often greatly degrade the signal quality, making a track crunchy or muddy. Even expensive converters can sometimes be a problem for monitoring, because boutique and home hi-fi converters can make the material sound brighter or fatter than it actually is. When it comes to monitoring, what you want is a Mastering-Quality "Reference Monitoring Converter" like the one we have in the D-Box. Basically what this means is that the converter is designed with the same philosophy as all of our analog monitoring gear- accuracy, transparency and neutrality. This allows you to make informed decisions on what to do to your tracks, because you are hearing exactly what's there.
Now imagine if you were to listen to the analog output of your cd player (or mp3 player, iPhone, computer, etc), through the cheap d/a converters that are built into this consumer-level device. The sound from the cd player that you are listening to will not accurately reflect what is really there in the track. When you compare your mix against this one, you are no longer comparing your mix to the true sound of the reference track, but to the sound of the track through this colored converter. This is not a proper way to reference your mix.
If you can hear both sources through the same Mastering-Quality D/A converter, however, you can feel safe in the knowledge that you are getting a true A/B comparison between the two.
"Read This First" Document Setting Up D-Box with Apogee Ensemble Setting Up D-Box with Focusrite Saffire Setting Up D-Box with Lynx Aurora 8 Setting Up D-Box with RME UFX Setting Up D-Box with UA Apollo 8-Channel Summing Example
D-Box / Apollo Interconnects D-Box / Apollo Setup D-Box 003 and Rosetta 800 D-Box and Presonus FireStudio D-Box with Ensemble TB *NEW* D-Box with FF800 Diagram D-Box with Prism Orpheus D-Box with Symphony 8x8 D-Box Analog Summing Setup for Focusrite Saffire Mix Control D-Box with 2-Bus LT Diagram UA Apollo Console w/ D-Box D-Box with Apogee Ensemble Diagram D-Box with Digi 003 Diagram
"Quite simply put, my D-Box has been the difference between a record and a hit record. In our business, sound is everything and there is no "plug in" that deliv...
Steve Freeman, Producer, Songwriter
“I’ve gotten into the D-Box summing, it’s exciting to apply it to soft-synths to get that warmth and that width in the mix.”
Morgan Page, Remixer
"I'm using every single function of the D-Box, every single day. I use the headphones on the D-Box all the time for mastering, for fades and cleaning up edits. ...
Nate Wood, Mastering Engineer
"The D-Box turns any room, bus or plane into the real deal. The analog summing creates a 'space' that you can't get 'inside-the-box' - making records with the D...
Pete Evick, Engineer
"This is an affordable unit that’s packed with features a lot of producers could use."
Mike Bell, Darkart Mastering
“The quality of the summing...in D-Box…is excellent.”
Simon Tillbrook, AudioMedia Magazine
“The built-in monitoring section in D-Box is great! Now I know what my mixes really sound like.”
Count, Producer/Mix Engineer
“Everything sounded smoother and just better overall.”
Mike Levine, Electronic Musician
“I really like having that analog stage in the D-Box, it adds something good sonically to the sound."
Ned Douglas, Engineer
“If you want to hear what the best D/A conversion sounds like, go listen to the D-Box. You will then realize what you have been missing. It's hard to find the...
Daniel Sadowski, Music Composer and Producer